April 2, 2009 Sheridan College Institute of Technology and Advanced Learning 1430 Trafalgar Road Oakville ON L6H 2L1 (905) 845-9430

Submission: Bachelor of Applied Arts Music Theatre Performance

Applying for Ministerial Consent Under the Post-secondary Education Choice and Excellence Act, 2000

The Secretariat Postsecondary Education Quality Assessment Board Suite 1511 2 Carlton Street Toronto, Ontario M5B 1J3

Tel.: 416-325-1686 Fax: 416-325-1711

E-mail: [email protected]

Sheridan College Institute of Technology and Advanced Learning

1. Title Page

1.1 Submission Title Page

Full Legal Name of Organization: Sheridan College Institute of Technology and Advanced Learning Operating Name of Organization: N/A

Common Acronym of Organization: Sheridan College

URL for Organization Homepage: http://www1.sheridaninstitute.ca/

Proposed Degree Nomenclature: Bachelor of Applied Arts (Music Theatre Performance), BAA (MTP) Location (specific address) where program to be delivered (each location requires a location- specific consent from the Minister): 1430 Trafalgar Road, Oakville, Ontario L6H 2L1 Contact Information: Person Responsible for this Submission:* Name/Title: Dr. Mary Preece, Vice President Academic Full Mailing Address: 1430 Trafalgar Road, Oakville, Ontario, L6H 2L1 Telephone: (905) 845-9430 x4061 Fax: (905) 815-4002 E-mail: [email protected]

Site Visit Coordinator (if different from above):** Name/Title: Nancy Riddell, Coordinator Administrative Services Full Mailing Address: 1430 Trafalgar Road, Oakville, Ontario, L6H 2L1 Telephone: (905) 845-9430 x2666 Fax: (905) 815-4168 E-mail: [email protected]

Anticipated Start Date: September, 2010 Anticipated Enrolment for the first 4 years of the program: 166 Chair, Board of Governors Name/Title: Susanna D’Arcy Mailing Address: c/o Board of Governors Office, 1430 Trafalgar Road, Oakville, ON L6H 2L1 Telephone: (905) 844-5198

* The person who is the primary contact for the submission on matters pertaining to proposal content and communications from the Postsecondary Education Quality Assessment Board. ** This person will be the organization’s liaison for coordinating the site visit.

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1.2 Table of Contents

1. Title Page Appendix 1.1 Submission Title Page...... 1 Appendix 1.2 Table of Contents ...... 2 2. Executive Summary Appendix 2.1 Executive Summary ...... 4 3. Program Abstract Appendix 3.1 Program Abstract...... 9 4. Program Degree-Level Standard Appendix 4.1 Degree Level Summary...... 13 Appendix 4.2 Samples of Student Work...... 21 5. Admissions, Promotion, Graduation Standard Appendix 5.1.1 Admissions Requirements Direct Entry...... 22 Appendix 5.1.2 Admissions Policies and Procedures for Mature Students...... 23 Appendix 5.2.1 Credit Transfer/Recognition Policies and Procedures ...... 24 Appendix 5.2.2 Advanced Placement Policies ...... 29 Appendix 5.2.3 Degree Completion Arrangements...... 32 Appendix 5.2.4 Gap Analysis ...... 33 Appendix 5.2.5 Bridging Courses...... 50 Appendix 5.3 Promotion and Graduation Requirements...... 59 6. Program Content Standard Appendix 6.1.1 Program Advisory Committee Membership ...... 60 Appendix 6.1.2 Program Advisory Committee Minutes ...... 61 Appendix 6.2.1 Professional/Accreditation or Other Requirements...... 65 Appendix 6.2.2 Letters of Support: Professional/Accreditation or Other Requirements ...... 66 Appendix 6.3.1 Program Level Learning Outcomes ...... 69 Appendix 6.3.2 Course Descriptions ...... 73 Appendix 6.3.3.1 Program Hour/Credit Conversion Justification...... 100 Appendix 6.3.3.2 Academic Course Schedule...... 107 Appendix 6.3.3.3 Identification of Previously Assessed Subjects...... 110 Appendix 6.4 Course Outlines...... 113 Appendix 6.5.1 Program Structure Requirement...... 138 Appendix 6.5.2 Support for Work Experience ...... 139 Appendix 6.5.3 Work Experience Outcomes and Evaluation ...... 140 7. Program Delivery Standard Appendix 7.1.1 Quality Assurance Policies...... 144 Appendix 7.1.2 Policy on Student Feedback ...... 157 Appendix 7.1.3 Student Feedback Instruments ...... 158 Appendix 7.2.1 On-Line Learning Policies and Procedures...... 160 Appendix 7.2.2 Academic Community Policies...... 161 8. Capacity to Deliver Standard Appendix 8.1 Demonstrated Strength...... 162 Appendix 8.2.1 Library Resources ...... 164 Appendix 8.2.2 Computer Access...... 194 Appendix 8.2.3 Classroom Space ...... 195 Appendix 8.2.4 Laboratories/Equipment...... 196

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Appendix 8.3 Resource Renewal and Upgrading ...... 201 Appendix 8.4 Support Services...... 202 Appendix 8.5 Policies on Faculty ...... 204 Appendix 8.6.1 CV Release...... 209 Appendix 8.6.2 A Curriculum Vitae Exceptions ...... 210 Appendix 8.6.2 B Curriculum Vitae Teaching and Curriculum of DW courses...... 212 Appendix 8.6.2 C Curriculum Vitae Teaching and Curriculum of DO and DL courses...... 250 Appendix 8.6.2 D Curriculum Vitae for Program Development Consultants...... 254 Appendix 8.6.2 E Curriculum Vitae for On-line Learning Professional Staff ...... 256 Appendix 8.7 Enrolment Projections and Staffing Implications ...... 271 9. Credential Recognition Standard Appendix 9.1 Program Design and Credential Recognition...... 272 10. Regulation and Accreditation Standard Appendix 10.1 Current Regulatory or Licensing Requirements...... 275 Appendix 10.2 Letters of Support From Regulatory/Licensing Bodies ...... 276 11. Program Evaluation Standard Appendix 11.1 Periodic Review Policy and Schedule...... 277 12. Academic Freedom and Integrity Standard Appendix 12.1.1 Academic Freedom Policy ...... 293 Appendix 12.1.2 Academic Honesty Policy ...... 294 Appendix 12.1.3 Academic Honesty Procedure ...... 295 Appendix 12.2 Policy on Intellectual Products...... 296 Appendix 12.3 Policy on Ethical Research Practices ...... 297 13. Student Protection Standard Appendix 13.1 Academic Calendar Information ...... 298 Appendix 13.2.1 Dispute Resolution ...... 299 Appendix 13.2.2 Fees and Charges...... 300 Appendix 13.2.3 Student Dismissal...... 301 Appendix 13.2.4 Withdrawals and Refunds ...... 302 Appendix 13.3 Student Protection Information ...... 303 14. Economic Need Appendix 14.1 Evidence of Economic Need...... 305 15. Non-Duplication of Programs Appendix 15.1 Similar/Related College Programs...... 344 Appendix 15.2 Similar/Related University Programs...... 348 16. Optional Material Appendix 16.1.1 Program Map...... 354 Appendix 16.1.2 Trends in the Music Theatre Industry ...... 355 Appendix 16.1.3 ASK Analysis & Graduate Profile ...... 359 Appendix 16.1.4 Music Theatre Curriculum Framework: Principles of Curriculum...... 368 Appendix 16.1.5 Ministry/PEQAB Framework Comparison...... 370 Appendix 16.1.6 Content Analysis by Discipline: Comparative Data for Gap Analysis ...... 373 Appendix 16.1.7 New Breadth Electives...... 398 Appendix 16.1.8 Inventory of Awards...... 404

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2. Executive Summary

Appendix 2.1 Executive Summary

Introduction In this age of great change, the performing arts industry finds itself in transition. The scope and complexity of a performing arts career has evolved over the last twenty or thirty years, so that talent alone—even exceptional talent—is no longer sufficient for successful performance careers. Canadian graduates compete on the international stage for work and the international performance landscape is changing. Increasingly, the baccalaureate degree is considered an entry-level requirement for a performance career, where the nature of these careers is broadening in scope and complexity.

In Canada, there are currently no baccalaureate degree programs in Music Theatre Performance. Sheridan’s proposed baccalaureate program in Music Theatre Performance is a response to this gap. It is worth noting as well that although many such programs do exist in the United States as BA or BFA programs in Music Theatre Performance, across North America there are barely a handful of graduate programs in this field.

Furthermore, Canada’s cultural sector—currently valued at $84.6 billion, or 7.4% of the country’s gross domestic product—is taking centre stage in discussions about the new creative economy. Art and culture, of which the performing arts industry is a significant component, are the cornerstones of this creative economy. The success of our current and future economy in a national and global sense requires creativity, adaptability, innovation, imagination and artistic ability, in addition to the traditional business and entrepreneurial strengths.

There is heightened interest in graduates from creative and performing arts degree programs that focus on such attributes and abilities. Governments and organizations which influence public policy recognize the need to strengthen existing creative industries specifically, and harness creative talent in order to strengthen all industries.

Sheridan’s proposed Music Theatre Performance baccalaureate degree program is, therefore, extremely timely and critical to both the health of the industry and to the future of our economy. Creative and performing artists have the potential to play a key role, participating in the generation, presentation and wide distribution of new ideas and new ways of engaging with audiences and society at large. As such, the comprehensive and holistic design of the program reflects an educational experience that will allow performing artists to engage more effectively and competitively with a constantly changing global landscape.

Sheridan’s proposed program would build on the strengths of Sheridan’s current related arts programs through the design of degree level curriculum for the disciplines of acting, singing, dancing and music, all of which will be informed by professional, entrepreneurial and breadth studies. Through research, critical analysis and scholarly writing, complemented by intensive studio studies, students prepare for performance careers in theatre and media and become well positioned to provide industry leadership, develop production companies, and pursue teaching careers.

College Strength As one of Canada’s premier polytechnic institutes, the Sheridan Institute of Technology and Advanced Learning educates 15,000 full-time and 35,000 part-time students annually at its campuses in Oakville and Brampton, Ontario. It is a leader in providing learning-centred, performance-based curricula as praxis—a unique integration of theoretical and skills-based education—in visual and performing arts,

BAA (Music Theatre Performance) 4 Sheridan College Institute of Technology and Advanced Learning community service, as well as in various technical fields. Given this, the proposed Bachelor of Applied Arts in Music Theatre Performance is aligned extremely well with the strategic goals of Sheridan.

School Strength In particular, the School of Animation, Arts, and Design (SAAD) is the largest of its kind in Canada. It offers programs with credentials ranging from one-year certificates to two- and three-year diplomas, graduate certificates, and select baccalaureate programs. Of these latter programs, those in Animation and Illustration are among the most successful in Ontario. In addition, a number of collaborative degree programs are offered through partnership with the University of Toronto at Mississauga (Art and Art History, Theatre and Drama Studies and Communication, Culture and Information Technology) and with York University (Bachelor of Design). As well, articulation agreements have been developed with a number of other colleges and universities, including Griffith University in Australia, Fleming College, and the Ontario College of Art and Design (OCAD). Programs in development or recently submitted to PEQAB include Interior Design, Photography, Game Design, and Interaction Design.

Specifically, the proposed Bachelor of Applied Arts in Music Theatre Performance is an excellent fit within the School of Animation, Arts and Design, in terms of the school’s proven strength in professional education and preparation for careers in art, media, the performing arts, and design. Key thrusts in the development of new curricula in the SAAD include:

• the creation of educational pathways to higher levels of academic achievement and credentialing for Sheridan students, alumni and faculty • strategies of developing educational programs that incorporate the most recent literature in the field of teaching and learning in higher education • a strong commitment to the current and future needs of individuals, industries, and society through the design of curriculum • a strong commitment to the scholarship of teaching and learning (S of TL) and the scholarship of curriculum planning (S of CP) • the development of programs whose curricula are designed using a variety of models and processes in order to encourage collaboration and integration across disciplines

The scope and rigour of the proposed program design, and the design of bridging opportunities (Appendix 5.2.3 – 5.2.5) ensure a wide range of educational pathways. Graduates from this proposed program will have the opportunity to pursue graduate degree programs. Whether or not they opt for further graduate studies, the curriculum of this proposed degree program ensures that they will be prepared to engage in research within the performing arts industry, or engage in different aspects of the industry such as arts advocacy, public policy, or administration. These skills are also transferable across a broad spectrum of industries.

Program Rationale There is a compelling case for a Bachelor of Applied Arts in Music Theatre Performance program to be offered by Sheridan College. Currently, Sheridan offers an Advanced Diploma in Music Theatre- Performance, a long-standing, mature program that is well-known and widely respected. But, as current literature indicates, this older system of training and mentoring is no longer sufficient in today’s performing arts industry.

A degree-level credential in the performing arts is now as critically important as in other professional fields. Music Theatre performers compete on an international stage with degree-credentialed counterparts. Further advancement into artistic management positions also requires basic entrepreneurial, business and administrative skills.

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The cyclical nature of the performing arts industry has the potential to shorten a career lifespan. A degree credential, particularly one that prepares graduates for a broader spectrum of employment opportunities, will help to promote a longer career in the industry. As well, graduates will be able to use their creative skills across a broader range of industries within this and other sectors.

Internationally, the creative and performing arts industries are recognizing the importance of business skills to strengthen the sector as a whole. Initiatives are currently being developed in response to evidence of a burgeoning skills gap within the creative industries. Conversely, business and industry have identified the significance of creative thinking and problem solving as necessary skills in business programs–skills which are an integral focus of the performing arts.

Since the performing arts sector is comprised of small businesses, their ability to sustain themselves is vital to assuring a stronger creative sector. An indication of this need is the inclusion of business and entrepreneurship components in the theatre and performing arts curriculum of current degree programs in the United Kingdom and the United States.

Program Design The proposed baccalaureate program has been designed in accordance with the degree framework prescribed by the Ministry of Training, Colleges and Universities (MTCU) and the Postsecondary Education Quality Assessment Board (PEQAB) and best practices within all fine arts performance baccalaureates.

The proposed Bachelor of Applied Arts in Music Theatre Performance would be the first baccalaureate program of its kind in Canada. Its structure and rigour are consistent with other baccalaureate programs in the fine arts in Ontario and Canada, and parallel comparable degree programs in the United States. As with all such applied degrees, this proposed program provides a comprehensive and thoughtful curriculum based on theoretical exploration and analysis, building research skills, scholarly writing and the practical studio skills needed to prepare graduates for their chosen profession. The program employs a learning- centred performance-based philosophical approach aligned with the required high standards of the PEQAB as reflected in the program critical performance and program learning outcomes. The structure of the courses within the program also reflects this construct and rigour.

The program design allows for three years in which students develop, refine and master solid foundational knowledge and skills while assimilating the affective characteristics and qualities necessary for success in the field. Through meta-cognitive processes and growth in the disciplines, students continue to develop their personal artistic vision through the duration of the program. In Year 3, they are required to declare a major area of study for their final year. With appropriate grades and permission from the school, students can opt to declare more than one major for their fourth year.

The foundational studies in Years 1 through 3 are complemented by professional, business, technology and entrepreneurial studies, and small-scale research projects that simulate industry conditions. In Year 4, students extend their professional studies in one or more of the three disciplines, and engage in the design and implementation of a Capstone Project that they first identified in Semester 6. This project encompasses all the learning they have achieved to that point in a culminating performance. The project is comprehensive in scope, and includes legal, financial, logistical, and networked aspects as well as the actual performance, informed and enriched by the significant theoretical base upon which it is built. The project also gives them an opportunity to build on the experience of the 14-week Work Term as well as increasing their networking opportunities with employers and artists in the industry. It is a problem-based project, using a methodology that has been documented as successful at the University of Guelph and

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McMaster University. With increasing independence through refinement and mastery of foundational knowledge and skills, students take increasing responsibility for their own learning.

Theory and conceptual development based on principles of the disciplines augment the practical studio studies. Students are required to assimilate the theoretical material and integrate it into practical applications to enhance specific technique and overall performance. Guest practitioners in the field reinforce this synthesis of theory and practice through presentations, interactive lectures and demonstrations. Additional focus on professional practices, protocols and etiquette as well as attention to business and entrepreneurial concepts and skills are also part of the curriculum construct.

The proposed baccalaureate offers students a comprehensive learning experience focused on the three disciplinary pillars of acting, voice, and dance. The documented success of this “triple threat” has been applied to the proposed degree program with intensive studio studies that support a rigorous academic program. Within the context of these disciplines and in the other areas of the program, significant degree level academic requirements have been designed to address the theoretical, historical and analytical elements of this level of education program.

Studio studies have been created with program and course learning outcomes reflecting the significant level of research, critical thinking and the resulting performance required of students. In so doing, the proposed program also addresses the changing nature of the Music Theatre industry, the growing importance of the creative economy, and the need for Sheridan graduates to maintain a competitive edge in an industry with an ever-expanding and demanding market.

In addition to the three disciplines of acting, voice, and dance, the program includes the additional following components: music studies, professional practice, business and technology, entrepreneurial studies, and industry involvement.

Threaded through the entire program is a solid focus, in every core course, on the following areas of learning: communication, collaboration, research, scholarly writing, self-reflection and meta-cognition, artistry and artistic vision, critical and creative problem-solving, and decision-making and leadership.

Finally, the breadth studies provide students with a different lens in which to view themselves, the nature of their chosen career, and society in general. The availability of four (4) breadth electives allows students an opportunity to explore a range of diverse studies or focus on one or two areas of particular interest outside their discipline.

Curriculum Approach and Design In order to achieve the learning identified in the program design, a curriculum model was developed that was extensive in scope and eclectic in nature. The program was designed using the principles related to the Scholarship of Teaching and Learning (S of TL) and the Scholarship of Curriculum Development (S of CD). This approach results in curriculum as praxis, where knowledge and skills are integrated, and the studio studies are not considered a simple application of theory but rather a process in which theory and practice are integrated into a holistic design for learning.

In addition, the curriculum reflects Sheridan’s commitment to learning-centred, performance-based student achievement, with the inherent quality control processes and tools to address development, implementation, validation, assessment and design. Specifically, the curriculum approach is reflective of the emergent research in learning as it relates to the design and development of curricula in our post- modern era. This includes the specific design of learning opportunities and experiences that address such elements as creativity, collaboration, innovation, sustainability, adaptability, social justice, and strategic thinking.

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As a result of the eclectic design of the program and the curriculum, 15 program learning outcomes were developed along with a program critical performance that states:

By the end of the program, graduates will have demonstrated the ability to generate creative, artistic, and innovative acting, vocal, and dance performances that are informed by cultural literacy, and reflect a commitment to personal and professional growth.

This statement, with the accompanying program learning outcomes in Appendix 6.3.1, reflects the integrated and academically rigorous nature of the proposed program.

Institutional Capacity to Deliver Sheridan College currently offers four different programs in theatre studies: Advanced Diploma in Music Theatre-Performance, Performing Arts Preparation, Theatre and Drama Studies (a joint program with University of Toronto at Mississauga) and Theatre Arts-Technical Production.

Sheridan is extremely well positioned to offer a baccalaureate degree in Music Theatre Performance. Most full-time faculty assigned to these programs possess a graduate degree credential, with terminal degrees in their disciplines. In addition, Sheridan offers state-of-the-art production studios, rehearsal spaces, and tutorial rooms. There are two theatre spaces—a main stage theatre and a black-box studio theatre—that serve as venues for the six annual productions that the Music Theatre-Performance Advanced Diploma program currently mounts.

In addition, the black-box studio theatre serves as a venue to present work under development. This program, known as the “Bold Strokes” series, promotes work of faculty, students and alumni. It is initiatives such as these that a baccalaureate program could nurture and further develop, thereby contributing to the development of our own theatre community, as well as to the broader national cultural life.

Research and library resources, student assistance, study and technical infrastructure and all post- secondary support systems for a positive, enriched and successful student experience are well founded and currently supporting the over 15,000 full-time and 35,000 part-time students as well as the currently running baccalaureate programs in fine arts, business, computer systems and health sciences.

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3. Program Abstract

3.1 Program Abstract

The Music Theatre Performance baccalaureate gives students theoretical and practical training in three core disciplines of acting, singing, and dance through a comprehensive and holistic approach that includes societal, cultural, community and international considerations. Through concentrated studies, students prepare for performance careers in theatre and media. Research and scholarly writing supports further graduate study in the discipline or the pursuit of a teaching career. A special focus on business and entrepreneurial skills prepares graduates to assume leadership roles in the entertainment industry or to generate their own production companies.

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4. Program Degree-Level Standard

General Program Design and Outcome Emphasis

Baccalaureate degree programs in this category are normally designed to require a level of conceptual sophistication, specialized knowledge, and intellectual autonomy similar to that in an honours or specialist degree program (see below for these program descriptions) but with the disciplinary content oriented to an occupational field of practice.

Students in applied programs learn by doing, with a focus on preparing for entry into an occupational field of practice. Such programs incorporate a blend of theory and practice, and normally include a terminal project or other practice-based exercises intended to develop and demonstrate the student’s readiness for employment in the occupational field of practice.

The Program Critical Performance statement states: By the end of the program, graduates will have demonstrated the ability to generate creative, artistic, and innovative acting, vocal, and dance performances that are informed by cultural literacy, and reflect a commitment to personal and professional growth.

This culminating Critical Performance and the Program Learning Outcomes that make the achievement of this learning possible provide the framework around which the specific curriculum for this program is developed. The emphasis is on a learning-centred, performance-based approach that is aligned with the high standards of learning required of baccalaureate programs in general in combination with the performance standards required of graduates by the Music Theatre industry.

The structure of the courses in this program accommodates both the theoretical and the practical requirements of an applied degree program. Practical learning is refined in the studio environment; theory and concepts augment practical studies through interactive lectures. In addition, guest practitioners in the field are invited to demonstrate the connection between theory and practice.

In the last year of the program, students are challenged to generate original, creative work that reflects their personal artistic voice and individual style. In creating these professional portfolios, students synthesize the knowledge and skills they have mastered through the program, particularly as it applies to research, critical thinking and problem solving, in the context of industry requirements.

Throughout the development of the program and its subsequent delivery, a number of formal and informal quality assurance processes ensure the degree-level standard of the program. These include continuous program, course and lesson-level development within a collaborative environment. Faculty teams meet regularly to develop new courses and to review and revise existing courses as required during the implementation phase. This significant commitment on the part of the faculty ensures the creation and ongoing development of a balanced and integrated curriculum. In addition, the collaboration between faculty and external industry experts has ensured approval of every discipline-related course outline through the college’s internal approval process. A record of this approval process is provided as part of this submission requirement.

From an academic perspective, the course work within the program has been developed to degree-level standards. To ensure that student performance and progress are at the appropriate level, the curriculum design reflects a rigorous approach to evaluation. Student learning is evaluated with a variety of products and performances that demonstrate the ability to integrate and incorporate theoretical constructs to solve

BAA (Music Theatre Performance) 10 Sheridan College Institute of Technology and Advanced Learning visual, communication, performance and production problems. Student work must also reflect an understanding and application of technical and mechanical elements critical to the field.

The work reflects the needs of the industry and accommodates trends in the field. The evolutionary nature of curriculum design and development processes associated with the program ensures that future changes within the industry will continue to be addressed and reflected in updated course and program material.

Industry input is also garnered through employer feedback related to the student work experience. A checklist is generated based on the program and course outcomes met to that point (i.e., the end of Semester 6) and employers use this to provide feedback on student performance. In addition, employers are encouraged to comment on the nature of the checklist items, to ensure that the outcomes accommodate industry requirements.

Current faculty engage in significant professional development processes tied to their work in program and course development. Degree-level indicators and the theories and tools that address them are the framework within which all work is generated. New faculty (full- and part-time) engage in formal professional development processes designed to hone their skills in development and delivery of quality programs.

The confirmation of relevance and validity from both industry and academic perspectives is addressed in the annual program self-assessment process, and will be part of a formal review when the program has completed its first full cycle of implementation.

Preparation for Employment and Further Study

In addition to personal and intellectual growth, the programs are primarily designed to prepare students for employment in the field of practice, second-entry professional degree programs, or, depending on the content of the program and the field, entry into either graduate study or bridging studies for an appropriate graduate program.

The 14-week Work Term between Semesters 6 and 7 places students in the actual industry work environment. Attached to this internship is an assessment of student performance, based on course and program learning outcomes achieved to the end of Semester 6.

In addition, in Year 4, there are two Showcase Performances that simulate industry productions. Students work in a production setting, engage in weekly meetings with the director/faculty, and engage in regular rehearsals that conform to production processes found in industry. As well, in this final year, students manage a project from concept to completion within their specialization discipline that integrates entrepreneurial knowledge and skills needed for success in the field with quality performance levels required by the industry.

Faculty members bring considerable industry experience to the process. Students are required to complete group and individual tasks comparable to the work in the field, and use tracking tools and processes to ensure unique and original performances in quality productions by the end of Year 4. The level of knowledge and skill acquired by students in this program allows them the option of moving into related graduate programs of study.

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Length of the Program

Classroom instruction is typically eight semesters in duration (normally 120 credits or the equivalent) and may be supplemented by required workplace experience (e.g. two to four supervised co-operative work terms).

The current program map reflects eight semesters of classroom learning and development. The program consists of 120 credits/206 hours with a single major; 127 credits/210 hours with a double major (The latter is the choice of the student in excess of program requirements/hours over the eight semesters.) Students declare their intent to major in Year 3, with a proposal attached to their refined Artist’s Statement as part of their evaluation requirements.

Students take 24 credits of breadth courses (20% of 120 credits). Electives and mandated breadths are placed strategically to balance student workload in each semester and to ensure that students have sufficient credits in a semester to qualify as full-time students in each semester. Students may consider a double specialization in two of the disciplines in Year 4 at their request and with the approval of the school. In addition, there is a 14-week Work Term experience for students between Semesters 6 and 7.

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4.1 Degree Level Summary

Criteria PEQAB Proposed Baccalaureate Program in Music Theatre Framework Performance Depth and Breadth of Knowledge Identification of concepts, principles and theories related to the field is a a. A developed knowledge significant element in the curriculum design process. It relates to the field and critical understanding of of Music Theatre specifically and tangentially to Narrative and the key concepts, Storytelling; History of the Theatre; Physiology; Research, Inquiry and methodologies, current Scholarly Writing as well as Entrepreneurship and Personal and advances, theoretical Professional Development. approaches and assumptions In addition, students are required to demonstrate an understanding of in a discipline overall; as specific concepts, principles and theories related to acting, singing, dance well as in a specialized area and music through visual, written and oral assignments and in practical of a discipline; applications through performance. Their finished products must reflect a successful application of these principles, as well as an attention to c. A developed ability to: i) current advances in the field. gather, review, evaluate, and interpret information; and ii) Within each of the related fields in the discipline, students are required to compare the merits of gather information from primary and secondary sources, and in many alternative hypotheses or cases, from original sources as well. creative options, relevant to This analysis and interpretation of data is an intended part of the one or more of the major curriculum design in the courses throughout the program. In addition, fields in a discipline; students participate in regular and ongoing collective critique processes related to performance, to research material, to storytelling, and to design elements related, but not limited to, acting, singing, dance and music. d. A developed, detailed The research begins in the first year when students are asked to reflect on knowledge of, and the Artist’s Statement from their application portfolio. Through the length experience in research in an of the program, they re-examine this initial statement, and refine it as their area of the discipline; research informs their learning and adds depth and breadth. At the end of the program, students refine and formalize their personal Artist’s Statement as part of their final portfolio requirement, ensuring that it reflects the process of inquiry undertaken during the program. In addition, the specific disciplines (acting, singing, dance, and music) e. developed critical thinking within the general Music Theatre discipline incorporate extensive and analytical skills inside research that focuses on historical context and concepts, principles and and outside the discipline; theories related to the various discipline, through the courses in each semester. f. The ability to apply The breadth course Composition and Rhetoric exposes students to the learning from one or more concept of argumentation, and the development of methodical reasoning. areas outside the discipline. The skills associated with these concepts are then developed and further refined through subsequent breadth and core discipline courses. Each discipline within the Music Theatre Performance field provides a context for students to assess current practices and to critique peer performances. In this way, students master analytical skills and provide feedback and assessment in a constructive manner. Throughout the length of the program, textual analysis is a large component of theatrical education and training. Deep and reflective

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Criteria PEQAB Proposed Baccalaureate Program in Music Theatre Framework Performance readings of plays are integral to script analysis, and help to clarify complex literary components, as well as facilitate the development of dramaturgical skills. These include critical investigation, communication and creative problem solving. Critical thinking skills are developed in the process of conducting research into the world of plays, proposing findings to the production teams, and from this, begins the process of collaboration. The more time that students have to pursue dramaturgical inquiry and collaboration, the more their interpretive process is stimulated, which is crucial for any professional artist. Throughout the performance production processes in the last year of the program, students are required to use critical thinking and analysis skills in order to solve significant challenges unique to Music Theatre production. Faculty have collaborated to create seamless integration among all courses. Content, skills and attitudes developed in one stream are transferred to courses in other streams. In addition, evaluation strategies in many of the courses have been designed to reflect the nature of this integration. Breadth courses have been developed with a focus on critical and creative thinking, analytical processes, and the development of thoughtful evaluative skills. While study in the breadth courses is in areas outside the discipline, students integrate the learning unique to these courses to inform their work in their major field of study. Elements of film, art, literature, mythology, music, cultural studies, kinesiology, physics and history are made relevant to the field of Music Theatre and inform students’ work. Knowledge of Methodologies In many forums, including critiques; auditions, rehearsals, production An understanding of methods meetings and productions; and in formal debate settings, students of enquiry or creative incorporate the methodologies originally identified in Composition and activity, or both, in their Rhetoric to devise and sustain oral and written arguments. primary area of study that Research is a critical component of the program of study. Students enables students to: conduct extensive research related to the history, origins and nature of a. evaluate the acting, singing, dance, and music in the respective related courses. In appropriateness of different addition, they investigate the most current developments in the industry approaches to solving and in related areas of professional practice as well as the increasing problems using well impact of technology on the field. established ideas and techniques; Students also examine the ongoing research and literature in the field b. devise and sustain which informs their individual paths of inquiry related to their individual arguments or solve problems projects. using these methods; In addition, as part of their research requirements, they investigate c. describe and comment government agencies and sponsorships, as well as venues for volunteer upon particular aspects of and paid employment opportunities. current research or

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Criteria PEQAB Proposed Baccalaureate Program in Music Theatre Framework Performance equivalent advanced scholarship Application of Knowledge Students develop the strategies needed to do this in the first semester a. The ability to review, Composition and Rhetoric course, and transfer that learning to lines of present and critically argument they develop for course work within the discipline as well as in evaluate qualitative and the various breadth offerings. There are a number of opportunities to quantitative information to: identify a point of view, define an argument, refine the strategy to put i. develop lines of argument; forward in that argument, receive feedback from others, and revise and ii. make sound judgements in finalize one’s argument. Students do this in both formal and informal accordance with major contexts. theories, concepts and Significant attention is paid to the major theories, concepts and methods methods of the subject(s) of of the subject of study. Students are exposed to these and the basic study; iii. apply underlying principles associated with the theories throughout the four years of the concepts, principles and program. Their ability to make sound judgements is developed techniques of analysis, both incrementally through the four years, and through connections that are within and outside the designed across the different disciplines within the program. discipline; iv. where appropriate use The successful application of these underlying concepts, principles and this knowledge in the techniques is critical to the ability to deliver a quality performance that creative process; and integrates acting, singing, dance, and music expertise. These have been identified in the design of the curriculum and are validated in the quality b. The ability to use a range of the work through the use of related evaluation templates and rubrics. of established techniques to: Within the program, these applications are addressed in all the core i. initiate and undertake disciplines; outside the disciplines, they are reflected in the wording of the critical evaluation of course learning outcomes and in the nature of the evaluation strategies. arguments, assumptions, abstract concepts and Significant discussion conducted concerned the creative process and information; ii. propose strategies for creative teaching and learning. From the initial applicant solutions; iii. form portfolio process to the final program outcomes and graduate repertoire appropriate questions for the and portfolio, engagement in the creative process is addressed. purpose of solving a problem In addition to the usual critical thinking and problem-solving, special iv. solve a problem or create attention is given to creative thinking. Through the design of the a new work; and curriculum, the creative process is evaluated in incremental steps as well as holistically. Abstract concepts and related information have been identified in the development and design of the curriculum design. Within the core disciplines of acting, singing, dance, and music, the content and evaluation of these concepts builds over the duration of the program. In addition, connections are made across these disciplines in an integrated learning process. A variety of limited opportunities to propose solutions exist in Years 1 and 2 of the program; the significant learning and exercise of problem solving strategies occurs in Years 3 and 4.

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Criteria PEQAB Proposed Baccalaureate Program in Music Theatre Framework Performance The design of the curriculum allows students to participate in these problem-solving processes collectively and collaboratively as well as independently. Specific emphasis is placed on the nature and value of cohort learning in the program. It is a particularly important aspect of the spiraled curriculum. The use of guiding questions is a pedagogical practice that has been included in the design of the curriculum, and in the delivery of the program. Through a repetitive exposure to these types of questions that appears in the design and development of required projects, students assimilate this pattern of questioning and learn to form similar, appropriate questions for their own investigations. From the students’ initial application process to their culminating achievement of the program critical performance, there is an emphasis on originality and creativity. Creativity is part of the problem-solving process, particularly as it relates to mastering and integrating techniques across the disciplines of acting, singing and dancing. In terms of performance, specific examples of challenges include: relating storytelling for an intended audience, taking direction, characterization, placing the story and character in the appropriate historical context, interpreting the story effectively in singing and dance to accurately reflect the intent of the author/composer/choreographer. In upper level collaborative projects, students also create their own productions. In this context, they are required to be creative with respect to production decisions, as they relate to costuming, lighting, props, music, negotiations, contracts, marketing and the like. All of these considerations require an extremely sophisticated level of problem-solving, creativity and originality, if one is to be successful in the program, and subsequently, in the industry. c. The ability to make use of There are many strategies and sources for students to access material scholarly reviews and related to critical inquiries of their disciplines, and to Music Theatre primary sources. Performance in general.

• Students use physical and virtual archives to access original material, such as plays, videos, images, relating to productions. Many theatrical institutions, such as the Stratford Festival Theatre, or the Shaw Festival Theatre, have such archives. Universities and commercial institutions would also make their archives available, in many cases. Many excellent online resources allow access to original material, as well as references–for example, North American Drama Online. • American Theatre Magazine is an excellent resource for original material, since it publishes new scripts in their pages every other month. • The following are examples of highly respected journals from which students can access scholarly reviews and primary sources related to inquiries in performance and drama studies:

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Criteria PEQAB Proposed Baccalaureate Program in Music Theatre Framework Performance o Performing Arts Journal o Educational Theatre Journal (both from Johns Hopkins University Press) o Performance Research: A Journal of the Performing Arts published by Routledge Press o Studies in Musical Theatre published by University of Portsmouth o Journal of American Drama and Theatre published by Martin E. Segal Theatre Center Communication Skills Communication is identified as a significant program outcome. At the The ability to communicate course level, it is a recurring outcome through each of the disciplines in information, arguments, and the program. Students are provided with a variety of venues and analysis accurately and opportunities to refine formal and informal communication skills, in terms reliably, orally and in of their understanding of the concepts, principles and theories related to writing to a range of their program. audiences. Through a complex synthesis of theory and best practice, students learn to communicate points of view, arguments, and analysis in a coherent, reliable and professional manner that may be oral, written, visual and/or specifically kinesthetic in nature. In addition to the traditional communications requirements for a baccalaureate program, students have the additional learning associated with communicating through their performances, through their craft and their artistry. Their ability to create these performances is crucial to their ability to engage the audience and elicit strong responses from their viewers. Through historical and contemporary theatre studies, students investigate the importance of audience, the nature of different audiences, and the components of storytelling that must be addressed in order to engage the audience. Theories informed by psychology and physiology allow students to incorporate the related concepts and principles into believable characterizations. They also recognize the fine line that exists between characterization and the challenge of overpowering the general performance through a caricature of the character, and when this is and is not appropriate. Awareness of the Limits of Knowledge The specific inclusion of designated breadths within the program will An understanding of the reinforce for students that learning does not take place in a vacuum. It is limits of their own all about making connections. As these connections are forged and made knowledge and ability, and explicit, students learn how to learn. Through meta-cognitive processes, an appreciation of the they recognize the limitless possibilities of learning. uncertainty, ambiguity and Upon entry, student learning experiences evolve from a specific focus to limits to knowledge and how an investigation of possibilities and alternative paths available to them. this might influence analyses For example, those that recognize that their own knowledge and ability and interpretations. may be limited in one area – perhaps acting – find that they are ready to embrace the performing arts through musicality.

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Criteria PEQAB Proposed Baccalaureate Program in Music Theatre Framework Performance Significant attention to self-examination and self-reflection in terms of one’s own learning, and meta-cognition in general, is threaded through the curriculum. Professional Capacity/Autonomy The Program Critical Performance statement states: By the end of the a. Qualities and transferable program, graduates will have demonstrated the ability to generate skills necessary for further creative, artistic, and innovative acting, vocal, and dance performances study, employment, that are informed by cultural literacy, and reflect a commitment to community involvement and personal and professional growth. other activities requiring: Within the construct of this statement, the qualities and related skills i. the exercise of initiative, critical to further study, success in the industry, and active community personal responsibility and involvement include: confidence, collaboration, creativity, independence, accountability in both passion for the work, adaptability, refined communications skills, personal and group contexts; commitment to personal artistic growth and cultural literacy and ii. working effectively with commitment to quality product. others; iii. decision-making in complex contexts; Learning outcomes at the program and course levels are designed to ensure that graduates exit the program having developed and refined these qualities and their related skills. These are also mapped to specific lesson level outcomes in the different courses. Because the curriculum is performance-based, it is necessary for students to demonstrate the achievement of these characteristics and skills and an understanding of the related content, at different levels (introductory, refined, and mastered) through the progression of the program. The program curriculum and its delivery are designed to enable students to consistently and systematically increase personal responsibility for their own learning. The first two years of the program provide the foundation in terms of the learning in all three domains – cognitive, psychomotor and affective. Learning is directed by faculty with some opportunities for personal creativity and self expression by the students. Within this context, students are exposed to a wealth of information that they must then synthesize as they begin to create and/or refine their own personal style. In Years 3 and 4, students have considerable freedom in which to exercise decision-making and problem-solving techniques. This ongoing independent development is supported by structured classes, where faculty continue to deliver concepts and specific content. Master classes and capstone courses in the final year continue to provide a venue for new learning and confirmation contact with faculty. They are characterized by significant self-study, independent investigations and intensive individual project development by students. In addition, students must collectively design and adhere to a production schedule in order to complete their collaborative performances on schedule. They must exercise independent judgement in order for their individual and collective projects to succeed.

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Criteria PEQAB Proposed Baccalaureate Program in Music Theatre Framework Performance The individual and group critique is an important methodology in the personal and cognitive development of students in an arts program. Through these critiques, students refine and master the ability to constructively receive and provide feedback. This process assists them in making personal and professional choices around their own work, and also helps them build an awareness of the community of learners of which they are a part. Students are evaluated formatively, summatively and cumulatively on their collaborative processes. Interactive lectures, student handbooks, and other materials also address the group process and the steps involved in effective team-building for production purposes. Students engage in a variety of strategies designed to facilitate the effectiveness and efficiency of their group. They select and experiment with these strategies, including reflective journals and diaries through which they learn to manage the work and the group process effectively. Within this construct, students are also evaluated on their ability to work both as effective group members and also as leaders of the group when required. The complexity of any major Music Theatre performance is a result of the many different facets of the production itself but also of the nature of the decision-making and problem-solving that is inherent in every level of development. There are decisions around types of characterization, strategies to effectively relate the story, technical requirements, originality of the story, scoring of the music, dialogue, selection of appropriate settings, the level of complexity of the story needed to engage the audience, the timing and sequencing of scenes, the style and nature of music, dance, and acting best suited to drive the story, the special effects needed to enhance the story element. All these elements create a complex context in which to make production and performance decisions at every level. Because the process is informed and directed by so many different disciplines – history, literature, mythology, art, film, anatomy, technology, music – a complex process of decision making is involved. The curriculum includes a variety of different decision-making models. Guiding questions are a critical component of this methodology, and students are encouraged to employ Socratic questioning to their thought processes and decision-making. b. The ability to manage Throughout the program, students accept increasing responsibility for their own changing their own learning, and learn to adapt to changing circumstances in their circumstances, both within own lives, in the program work, and in the industry. and outside the discipline Required breadth courses provide them with information and examples and to select an appropriate through history of the challenges faced by others in a variety of program of further study; disciplines, and what these individuals did to meet these challenges. The Productions and Capstone Projects scheduled in Year 4 identify the types of challenges faced in an actual production. Students are required to respond to the ongoing demands that occur as a result of different

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Criteria PEQAB Proposed Baccalaureate Program in Music Theatre Framework Performance decisions made along the way. Finally, students participate in all interdisciplinary streams throughout the program and engage in all facets of the production process. This combination of work is critical to helping them to determine if they wish to become actors, dancers, singers – or a triple threat combining all three – directors, producers, coaches, teachers, public policy officials, lobbyists for the industry, or agents. As the students evolve and grow through the program, so does their vision of the field and of their place within the field. c. Behaviour consistent Academic integrity is a stated institutional expectation of all students and within academic integrity is included in each course outline. In addition, issues specifically related and social responsibility to copyright, artistic and creative license and intellectual property are addressed throughout the program. From the initial applicant portfolio to the final independent production, students are apprised of the requirement for original work. In terms of social behaviour, the curriculum incorporates significant examples of Music Theatre productions that are themselves social commentary. Guided questioning and specific assignments are designed to encourage students to think critically about social issues and make responsible decisions around such issues. Performance is viewed as a vehicle for social commentary and a potential agent of social change. Significant studies are conducted in both the historical and contemporary contexts of music theatre. Finally, a scholarship/award has been designated for a student or group of students in Year 4, who develop a performance addressing a significant social issue or an area of civic responsibility, encouraging them to consider the effectiveness of their medium and their personal work in the larger context of important social/civic agendas.

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4.2 Samples of Student Work

This is an application for a new program.

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5. Admissions, Promotion, Graduation Standard

5.1 Direct Entry Admission

5.1.1 Admission Requirements Direct Entry

Program Admission Requirements

• Grade 12 U English • Five other M or U level credits (the highest scored), Academic with an overall average of 65%

Related work/volunteer experience Experience in a theatre production recommended

• A comprehensive audition, which includes a music theory examination at the preliminary rudiments level Other (e.g. portfolio, specialized of the Royal Conservatory of Music. testing, interview, G.R.E., etc.) • An Artist’s Statement • An 8 x 10 photograph

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5.1.2 Admission Policies and Procedures for Mature Students

Approved by Sheridan’s Board of Governors March 26, 2003 Approved by Ministry with the BAHSc. (Exercise Science & Health Promotion) December 31, 2007

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5.2 Advanced Standing

5.2.1 Credit Transfer/Recognition Policies and Procedures

SHERIDAN COLLEGE INSTITUTE OF TECHNOLOGY AND ADVANCED LEARNING

SHERIDAN NO OF PAGES: POLICY NO. COLLEGE BOARD POLICY

TITLE: APPROVED BY: ADVANCED STANDING Academic Council: April 26, 2007 Board of Governors: May 23, 2007

REPLACES POLICY: APPROVAL DATE: REVIEW DATE: ADVANCED STANDING May 23, 2007 May 22, 2010

POLICY STATEMENT: Sheridan recognizes that some students who enter a program at the College will have earned post- secondary credits at other recognized post-secondary institutions and may wish to apply these credits towards the Sheridan credential. Advanced standing refers to the transferring of credit earned at another recognized post-secondary institution towards a Sheridan credential.

Students may apply to receive advanced standing for specific Sheridan course(s) based on the successful completion of similar courses at other recognized post secondary institutions subject to meeting applicable Sheridan policies.

Candidates must have achieved a minimum course grade of 65% or the minimum pass for promotion within the program, whichever is higher, for a request for advanced standing to be considered. Courses considered for advanced standing must have been completed within five years prior to the request.

Note: Use of Advanced Standing credits is subject to the requirements of Sheridan’s Graduation and Second Credential Policies.

PRINCIPLES: Sheridan’s acceptance of transfer credits from other recognized post-secondary institutions is based on the recognition that, while learning experiences may differ in a variety of ways, their substance may be essentially equivalent in terms of their content and rigour. Insofar as possible, acceptance of transfer credit should allow for maximum recognition of previous learning experiences at the post-secondary level. Advanced standing is intended to recognize transfer of credit(s) earned at another recognized post secondary institution and to apply those transfer credit(s) toward a Sheridan credential.

Course transfer credit is based on the equivalency of educational achievement and learning outcomes. To receive advanced standing for a course, the learning outcomes of the course from another institution must match 80% of the learning outcomes for the corresponding Sheridan course.

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Advanced Standing is not recorded on a student’s transcript as achievement but as transfer. The course is reflected on the transcript as “AS” and is not used in the calculation of Grade Point Average. The granting of advanced standing will be done in a fair, reasonable and consistent manner across all programs.

Students who do not believe that the decision they received regarding the granting of Advanced Standing is fair, have the right to appeal this decision through the Academic Appeals and Consideration Policy.

SCOPE: The Advanced Standing Policy applies to all full- and part- time Sheridan post secondary students.

INFORMATION AND COMPLIANCE PLANS: Students and faculty members are informed about College policies in a number of ways. By the time a policy is developed, it has been reviewed by a number of internal operational committees and councils, many of which include student and faculty member representation. Relevant policies are discussed at Orientation Sessions, and at the beginning of courses. Policies are referenced in the Student Handbook, noted on course outlines and appear on the Sheridan web site. Faculty members receive an internal communications bulletin, Information Sheridan, which highlights new policies.

SANCTIONS:

Responsible Executive:

Contact: Vice President Academic Department: Office of the Vice President Academic Telephone: 905-845-9430, ext. 4061

Related Policies:

• Prior Learning Assessment and Recognition • Second Credential • Academic Appeals and Consideration • Graduation • Residency

Related Procedures: 1. Advanced Standing 2. Academic Appeals and Consideration

Definitions / Explanations / Examples:

Advance standing is a process by which Sheridan evaluates courses/credits students have earned at another recognized post secondary institution and where there is a strong degree of similarity between the two courses, grants credit for the course towards a Sheridan credential.

Course is a unit of study identified by a particular name and number and leading to identified learning outcomes.

Course Credit is a quantitative measurement indicating the relative weight assigned to a particular course.

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Course Outline: a contract between the college and the students that specifies learning outcomes to be achieved and how the learning outcomes will be evaluated.

Learning Outcomes describe what the learner should know and be able to do in order to be granted credit for a course. Some learning outcomes may be deemed essential; others may be optional or desirable. Content or contexts in which learning has been achieved is less important than the demonstration of its achievement (COR – 1994).

Recognized Post-Secondary Institution: Institutions that have been given the authority to grant academic credentials by their provincial or territorial governments through charters or legislation that ensures or enables mechanisms for institutional and program quality. http://www.cicic.ca/en/post- sec.aspx?sortcode=2.20.26

Appendices: (note the number of the Appendix and title of the page)

Procedures: Academic Standing Supporting Documents: Advanced Standing Request Form

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SHERIDAN COLLEGE INSTITUTE OF TECHNOLOGY AND ADVANCED LEARNING

NO OF PAGES: PROCEDURE NO. SHERIDAN COLLEGE ACADEMIC PROCEDURE TITLE: EFFECTIVE DATE: REVIEW DATE:

ADVANCED STANDING May 24, 2007 May 22, 2010

PROCEDURES: Applications for advanced standing should be submitted at least two weeks before the beginning of a semester in order to ensure a timely review of requests. This timeframe will also allow students to register for another course in lieu of the course for which they have received transfer credit. To ensure that incoming students have an opportunity to consider requests for advanced standing, reference to this timeframe will be included in their initial offer package.

Applications for advanced standing will be considered by the School responsible for the program in the case of discipline courses, and by the School of Community and Liberal Studies in the case of General Education, Humanities and Social Sciences Electives.

Receiving Advanced Standing credit may affect a student’s course load which in turn may impact fees and eligibility for OSAP, scholarships, bursaries and other sponsorships. It is the student responsibility to check their status when applying for Advanced Standing.

Advanced standing is granted or denied by the Associate Dean or designate. Positive results are available to students through self service “View my transfer credits” and negative results are to be e-mailed to the student by the decision maker. Courses for which Advanced Standing have been granted show on the transcript with a grade of AS and are not included in the calculation of the grade point average.

If a student transfers programs, any advanced standings will be reviewed by the Associate Dean or designate at the time the transfer is requested. Any changes in advanced standings granted previously will be communicated to the student, by the decision maker, with reasons, at the time of the change.

For Students Seeking Advanced Standing

1. It is in your best interest to apply for advanced standing at least two weeks before the semester begins. This timeline may allow you to register for another course if you choose and will also open space in the course for which you are seeking transfer and may open a space in the current course to another. If you apply later in the semester and your request for advanced standing cannot be processed before the last day to drop a course without academic penalty, and you remain in the course, your grade in that course will be recorded on your transcript. You may apply for advanced standing at any time during the semester being aware of the consequences. 2. Match your previous course learning outcomes with course learning outcomes for the Sheridan course for which you are seeking advanced standing. If you feel that the course you took at another recognized post secondary institution matches 80% of the learning outcomes of the Sheridan course, and if your grade in the course meets the program requirements, you may apply for Advanced Standing.

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3. You will be required to provide a course outline or equivalent documentation (translated to English if necessary at your expense) to demonstrate the learning outcomes and standards of the course completed. You also need an official copy of your transcript from your previous institution. 4. Advanced Standing Process a. You can obtain an application online at _____, or on-campus at any of the following locations: Office of the Registrar, your Academic School Office or Student Advisement Centre; b. Complete the application form and attach a copy of the course outline and a copy of your transcript; c. Submit the application form and related documentation to your Academic School Office in the case of core courses, or to the School of Community and Liberal Studies for General Education, Humanities and Social Sciences Electives. If you are unsure as to where to take the completed forms, assistance will be provided by the Student Advisement Centre. d. Make sure that you keep a copy of the completed documentation that you have submitted; e. Every attempt will be made to process Advanced Standing requests within 10 business days of your submission. Positive results are available to you through self service “View my transfer credits” and negative results are to be e-mailed to your Sheridan account by the Office of the Registrar. If transfer credit is given, it will be noted on your transcript as “AS”, Advanced standing requests which are denied are not noted on your transcript. Important: Please note that requests for Advanced Standing will not be considered unless accompanied by all required documentation;

If your application is for a course you are currently taking, you should continue to attend class until your request is officially approved.http://www.sheridanc.on.ca/pla/nf_faqs.htm – top

5. The Associate Dean or designate will evaluate the Advanced Standing application within 10 business days of receipt of the application in the School Office. Once the decision has been made the Associate Dean or designate will note the decision on the Advanced Standing application form and forward it to the Office of the Registrar. Registrarial staff will check to ensure that the Advanced Standing is legitimate (i.e. has not been used before, etc.) and enter the credit on the students record available through self service “View my transfer credits”. If the decision is negative, the Registrarial staff will e-mail the student at their Sheridan e-mail address.

6. All of the student’s documentation will be left in the School Office for the student to pick up. 7. Transcription

Advanced Standing is recognition of credit transfer. Applicants who have been granted Advanced Standing for a course will have it noted on their student record as AS and it will not contribute to the calculation of the grade point average.

Advanced Standing requests that are denied will not be noted on the student’s record.

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5.2.2 Advanced Placement Policies

SHERIDAN COLLEGE INSTITUTE OF TECHNOLOGY AND ADVANCED LEARNING

SHERIDAN NO OF PAGES: POLICY NO. COLLEGE BOARD POLICY

TITLE: APPROVED BY: PRIOR LEARNING ASSESSMENT AND Academic Council: April 26, 2007 RECOGNITION Board of Governors: May 23, 2007

REPLACES POLICY: EFFECTIVE DATE: REVIEW DATE: PRIOR LEARNING ASSESSMENT AND RECOGNITION May 23, 2007 May 22, 2010

POLICY STATEMENT: Sheridan recognizes that the learning outcomes of an individual course may be achieved by a number of different means including relevant work/life experience, self-study, and training on-the-job. Prior Learning Assessment and Recognition (PLAR) provides students and potential students with an opportunity to have their previous learning recognized by the College for credit.

A student or potential student may apply for PLAR when mastery of the learning outcomes of a Sheridan course can be clearly demonstrated through the institution’s established PLAR challenge processes such as a portfolio assessment, competency test or challenge exam.

PLAR is distinguished from the Advanced Standing process which focuses on the determination of equivalency of formal educational courses rather than the equivalency of experiential learning.

In some instances, where formal educational documentation is not available, a student or potential student may choose to apply for PLAR as a way of gaining recognition for formal learning.

Students who have been withdrawn from or been unsuccessful in completing a Sheridan course may apply for PLAR for that course only after one year has elapsed and providing that reasonable evidence of additional relevant learning can be demonstrated.

Note: Use of PLAR credits is subject to the requirements of Sheridan’s Graduation and Second Credential Policies.

PRINCIPLES: PLAR offers flexible assessment practices for all candidates providing them with an opportunity for an assessment of learning no matter when, where or how it was acquired. Relevant learning will be credited towards the awarding of a Sheridan credential whenever applicable and measurable.

PLAR is intended to recognize learning acquired prior to enrolling in a course and is not intended to provide an avenue to avoid academic penalties or sanctions that result from participation in a Sheridan course.

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Course credit received through PLAR will be noted on the transcript in alpha grade format unless otherwise specified on the course outline. This credit will be used in calculating the grade point average.

Many college courses have prerequisites, courses that must be successfully completed before a student registers in a subsequent course. Students with advanced skills or knowledge in their field should challenge introductory level courses before proceeding to challenge more advanced level courses.

Students or potential students who do not believe that the decision they received regarding the granting of PLAR is fair, have the right to appeal this decision through the Academic Appeals and Consideration Policy.

SCOPE: Prior Learning Assessment and Recognition is available to all persons who have an Ontario Secondary School Diploma (OSSD) or equivalent or are 19 years of age or older. To qualify for PLAR credit a person must meet the entrance requirements for the program in which they are seeking credit, including demonstration of proficiency in English.

PLA is available for most credit courses; to see if PLA is available for a course, please check the course outline.

INFORMATION AND COMPLIANCE PLANS: (a) Students and faculty members are informed about College policies in a number of ways. By the time a policy is developed, it has been reviewed by a number of internal operational committees and councils, many of which include student and faculty member representation. Relevant policies are discussed at Orientation Sessions, and at the beginning of courses. Policies are referenced in the Student Handbook, noted on course outlines and appear on the Sheridan web site. Faculty members receive an internal communications bulletin, Information Sheridan, which highlights new policies.

Responsible Executive:

Contact: Vice President Academic Department: Office of the Vice President Academic Telephone: 905-845-9430, ext. 4061

RELATED PROCEDURES, BACKGROUND DOCUMENTS AND FORMS: 1. Prior Learning and Assessment Procedure 2. Prior Learning and Assessment Request Form

RELATED POLICIES: 1. Advanced Standing 2. Second Credential 3. Academic Appeals and Consideration 4. Graduation

Definitions / Explanations / Examples:

Challenge Process is a method of assessment other than portfolio, developed by a subject-expert faculty to measure an individual’s learning achievements against documented course learning outcomes. It measures demonstrated learning through a variety of written and non written evaluation methods, for the purpose of awarding a credit without requiring enrolment in a course (Council of Regents – 1994). • Written test

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• Standardized exam • Demonstration of competence • Criteria-based interview • Product assessment • Simulation • Other

Course Outline is a detailed description of a course that specifies learning outcomes to be achieved and how the learning outcomes will be evaluated.

Learning Outcomes describe what the learner should know and be able to do in order to be granted credit for a course. Some learning outcomes may be deemed essential; others may be optional or desirable. Content or contexts in which learning has been achieved is less important than the demonstration of its achievement (Council of Regents – 1994).

Portfolio is a presentation of samples of work demonstrating knowledge and skill in the area in which the student or potential student is seeking PLAR. Details on what is included in a portfolio vary depending on the field.

Prior Learning Assessment (PLA) is a the process which uses a variety of tools to help learners reflect on, identify, articulate and demonstrate past learning which has been acquired through work experience, unrecognized training, independent study, volunteer activities, and hobbies and which is not recognized through formal transfer of credit mechanisms. PLA allows the evaluation of past learning against established academic standards so that credit can be awarded by a credentialing body. (Council of Regents – 1996)

PLAR Applicant is a student or potential student who decides to undertake the PLAR process in order to gain recognition or credit for learning acquired through work or life experience.

PLAR Assessor is a faculty member who has expertise in the subject matter and the learning requirements, assessment methods and tools of a particular course. In some cases, the PLAR Assessor may be a team of faculty members.

Appendices: (note the number of the Appendix and title of the page)

Procedures: PLAR Procedures Supporting Documents: PLAR Application Form

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5.2.3 Degree Completion Arrangements

Degree completion arrangements have been formulated for bridging between Sheridan’s Advanced Diploma programs in Music Theatre – Performance, and the proposed baccalaureate program in Music Theatre Performance. The Advanced Diploma program has a graduated affinity to the Music Theatre Performance degree program, in terms of general structure and design, and the emphasis on artistry in acting, singing and dance, the three disciplines that constitute the “triple threat” in the industry. In creating the degree completion arrangements, consideration was given to the studio nature of the Advanced Diploma program and the increased scope (depth and breadth) of the comparable performance aspect of the proposed baccalaureate program as well as the significant research and scholarly writing components of the latter program.

The most likely candidates applying for advanced standing and requiring possible bridging will be from Ontario Community College three-year Advanced Diploma programs in Music Theatre - Performance programs. Applicants for advanced standing from other colleges and universities will also be considered on a case-by-case basis.

In the case of Sheridan, Advanced Diploma graduates will be provided advanced standing in most courses in Semesters one (1) through six (6) BAA Music Theatre Performance, provided that the graduates have achieved a GPA of 3.0 in their Advanced Diploma program, and provided that they complete the appropriate gap bridging courses.

In addition, the Music Industry: Professional Practice course in Semester 5 is one for which students cannot be granted advanced standing. Also, students will be required to take a minimum of one Master Class and one Capstone course in Semesters 7 and 8 respectively.

As well, analysis of the courses in the Advanced Diploma program aligned with three mandatory breadth courses (History of Western Theatre, History of Early Music Theatre, and History of Contemporary Music Theatre ) in the proposed baccalaureate program indicates gaps in required learning. These gaps have been accommodated in learning outcomes and material provided in the Music, Commercial Vocal Performance, and Music Theatre Vocal Performance: History and Analysis and Music Theatre: Entrepreneurial Practice and Professional Portfolio bridging courses. This data is available both in the detailed Content Analysis in Appendix 16.1.6 and in the Gap Analysis in Appendix 5.2.4.

Degree Completion arrangements also include the completion of the breath course Composition and Rhetoric and four (4) breadth electives. In addition, students will be required to complete a 14-week Work Term following successful completion of the four (4) bridging courses for which the course outline information is provided (Appendix 5.2.5). The nature of the theoretical, research and writing foci of these courses ensures acquisition of identified gaps in learning in the major disciplines and professional courses, while the independent study design requires the assumption of responsibility by students for their own learning, particularly in the final semesters of a baccalaureate program.

Finally, the degree completion arrangements have been formulated (totaling 35.85%) in accordance with the residency requirement identified by PEQAB.

BAA (Music Theatre Performance) 32 Sheridan College Institute of Technology and Advanced Learning

5.2.4 Gap Analysis

The degree-level learning outcomes at both the program and course levels, are written to create and develop the artistry and technical skills required in the Music Theatre industry, and that are informed by a number of other disciplines to reflect a rich and multi-dimensional mosaic of historical and cultural contexts. While a comparison of program learning outcomes reflects the attempt to demonstrate where it is perceived that the Ministry Standard for a Music Theatre – Performance Advanced Diploma program reflects some general similarities in content to the proposed degree counterpart, it is only through the course-by-course content analysis of concepts and principles and the identified evaluation of the application complexity of the subject matter that the remediation of the gap is apparent and results in a bridging plan. This is particularly obvious in the concept development and evaluation plans of the four bridging courses required for degree completion.

Rationale and Methodology Because the program design involves so much integration, and the performance nature of it is intended to lead to industry entry-level mastery in one or more discipline, the degree completion arrangements were determined by reviewing the entire Music Theatre – Performance Advanced Diploma program and the proposed baccalaureate program, to generate a gap analysis.

This was done by first comparing the program critical performance for this proposed program with the Ministry’s (MTCU) standard for Music Theatre - Performance Advanced Diploma Program.

The next step involved aligning the course offerings in the proposed program with those of the Advanced Diploma program, by semester. Once this was done, the program critical performance and program learning outcomes were mapped to these aligned courses in each of the two programs by discipline or category for organizational purposes, and greater clarity in identifying the gaps, and to more easily identify the spiraled curriculum design through the semesters in each area. The final step was to thoroughly analyze the material (cognitive, psychomotor, and affective) in each of the courses in the Advanced Diploma program aligned with the comparable material in their corresponding baccalaureate courses resulting in a Content Analysis (see Appendix 16.1.6). The final result of this process is the Gap Analysis that formed the foundation for the Degree Completion Arrangements and the Bridging Plan.

Table 5.2.4.1: Comparison of Program Learning Outcomes

Bachelor of Applied Arts in Music Theatre Music Theatre – Performance Advanced Diploma Performance Program Ministry Standards (MTCU Code 61912) Program Critical Performance: By the end of the Program Purpose: This program is designed to provide program, graduates will have demonstrated the ability to practical and relevant training to acquire skills in voice, generate creative, artistic and innovative acting, vocal acting, scene study, improvisation, singing, dance and dance performances that are informed by cultural choreography (tap, jazz, ballet), act pacing and audio literacy, and reflect a commitment to personal and and T.V. competencies, as well as audition techniques, professional growth. to enable the graduates to perform in the music theatre entertainment industry. Program Outcomes Program Goals 1. Research the history of music theatre in order to 1. To sing with the appropriate techniques and style to develop a personal acting, vocal, and dance repertoire satisfy the Canadian musical theatre and commercial that is informed by, and responds to, trends in the music industry needs and demands, as well as to use the evolution of the art and its industry. performer related equipment. 2. Create a professional repertoire that reflects a 2. To demonstrate the competencies of sight singing, comprehensive and detailed understanding of the nature elementary arranging, transposition and commercial and requirements of the North American music theatre theatrical analysis. industry.

BAA (Music Theatre Performance) 33 Sheridan College Institute of Technology and Advanced Learning

Bachelor of Applied Arts in Music Theatre Music Theatre – Performance Advanced Diploma Performance Program Ministry Standards (MTCU Code 61912) 3. Perform a wide variety of styles of material required 3. To act with appropriate techniques and styles in effect by todayʼs theatrical and music industries at the entry- in the Canadian musical theatre and commercial music level professional standard expected by the industry. industry. 4. Generate creative individual and collective music 4. To demonstrate the appropriate techniques and styles performances informed by inquiry, research and in the area of ballet, tap and jazz in effect in the scholarly writing, using appropriate methodology. Canadian musical theatre and commercial music industry. 5. Generate acting, vocal and dance performances that 5. To demonstrate a basic acquaintance with the history engage the audience, reflecting strong narrative, and literature of the field. characterization, and believable relationships among characters. 6. Create believable characters with fully developed 6. To demonstrate elementary competencies needed to physicality and voice, informed by psychology and based perform in video and audio studios. on thoughtful research and critical analysis. 7. Refine musical literacy in order to interpret, through 7. To demonstrate efficient audition techniques. performance, the intent and methodology of the composer. 8. Integrate meta-cognitive practices and systems of 8. To understand the process of contracts and knowledge in order to enhance oneʼs personal vision and agreements commonly used in Canada by agents, oneʼs relationship with the audience during managers, and producers for entertainment purposes. performances. 9. Develop aural acuity that reflects the multi- 9. To prepare the appropriate support documents such dimensional nature of musicianship by integrating as photographs and resume. constructs of music knowledge with listening skills. 10. Develop original and unique performances by 10. To demonstrate the performance skills necessary to engaging in critical and creative problem-solving and enter the field at a professional level with the integration decision making. of appropriate performer-related equipment. 11. Foster personal development and collegial working 11. To demonstrate the appropriate professional relationships that conform to established industry behaviour and life skills necessary to successfully hierarchy, professional etiquette, and protocols, through compete in the Canadian entertainment industry. self-reflection, effective communications and collaboration strategies. 12. Generate a personal physical regimen to maintain effective acting, vocal and dance technique, for success in music theatre and commercial performance. 13. Generate a personal methodology and approach to work required of the field of study and the music theatre industry. 14. Design comprehensive, cogent, and creative entrepreneurial strategies related to self-promotion and marketing that incorporate effective presentation, communication, and technological skills, where appropriate. 15. Incorporate, where appropriate, current and evolving technologies into individual performances and collaborative projects.

BAA (Music Theatre Performance) 34 Sheridan College Institute of Technology and Advanced Learning

Table 5.2.4.2: Alignment of BAA (Music Theatre Performance) Courses and Advanced Diploma Music Theatre-Performance Courses (by semester)

Total Cr/Hrs BAA Music Theatre Performance Credits Hours Total Cr/Hrs Advanced Diploma Music Theatre- Credits Hours Performance SEMESTER 1 SEMESTER 1 Fundamentals of Acting 3 cr 5 h (60h) Acting 1 5.5 cr 77 hrs Introduction to Shakespeare 2 cr 28 hrs Fundamentals of Vocal Tech. & Theory 3 cr 5 h (60h) Vocal Technique 1 1.5 cr 19 hrs 15 credits 32.5 credits Music Theatre Vocal Performance 1 5 cr 70 hrs Fundamentals of Dance Technique 3 cr 6 h (84h) Dance 1 4.5 cr 63 hrs 25 hours 34+ hours Dance Performance 1 3 cr 42 hrs Aural Concepts and Music Theory 3 cr 6 h (84h) Ear Training 1 3 cr 42 hrs Music Theory 1 2 cr 28 hrs Commercial Performance 1-Technique 1.5 cr 21 hrs Computer Skills 1.5 cr 21 hrs Stagecraft 1 1 cr 13 hrs Composition and Rhetoric 3 cr 3 h (42h) SEMESTER 2 SEMESTER 2 Principles of Contemporary Acting 3 cr 5 h (60h) Acting 2 5 cr 68 hrs Scene Study 1-Contemporary 1.5 cr 21 hrs Vocal Technique: Physiology & Anatomy 3 cr 5 h (60h) Vocal Technique 2 1.5 cr 20 hrs 15 credits 32.5 credits Music Theatre Vocal Performance 2 3 cr 42 hrs Dance Technique: Physiology & Anatomy 3 cr 6 h (84h) Dance 2 4.5 cr 63 hrs 25 hours 32.5 hours Dance Performance 2 3 cr 42 hrs Fundamental Musicianship 3 cr 6 h(84h) Ear Training 2 3 cr 42 hrs Music Theory 2 3.5 cr 49 hrs Commercial Performance 2-Solo 3 cr 42 hrs Music Technologies 1 1.5 cr 24 hrs History of Western Theatre 3 cr 3 h (42h) Theatre Survey-Classical 3 cr 42 hrs Theatre Survey-Modern 3 cr 42 hrs SEMESTER 3 SEMESTER 3 Principles of Classical Acting 3 cr 5 h (60h) Acting 3 5.5 cr 76 hrs Scene Study 2-Classical 2 cr 28.5 hrs Vocal Performance: Context Analysis 3 cr 5 h (60h) Vocal Technique 3 1.5 cr 19 hrs 15 credits 35.5 credits Music Theatre Vocal Performance 3 6 cr 84 hrs Dance: Artistry, Interpretation & Expression 3 cr 6 h (84h) Dance 3 4.5 cr 63 hrs 25 hours 35+ hours Dance Performance 3 2 cr 28 hrs Contemporary Concepts & Applications of 3 cr 6 h (84h) Ear Training 3 3 cr 42 hrs Musicianship Music Theory 3 3.5 cr 49 hrs

BAA (Music Theatre Performance) 35 Sheridan College Institute of Technology and Advanced Learning

Total Cr/Hrs BAA Music Theatre Performance Credits Hours Total Cr/Hrs Advanced Diploma Music Theatre- Credits Hours Performance Commercial Performance 3 3 cr 42 hrs Music Technologies 2 1.5 cr 21 hrs History of Early Music Theatre 3 cr 3 h (42h) Theatre Survey-Early Music Theatre 3 cr 42 hrs SEMESTER 4 SEMESTER 4 Principles of Modernism in Acting 3 cr 5 h (50h) Acting 4 2.5 cr 31.5 hrs Scene Study 3-Modern 1.5 cr 21 hrs Styles in Vocal Performance 3 cr 5 h (60h) Vocal Technique 4 1.5 cr 20 hrs 15 credits 34 credits Music Theatre Vocal Performance 4 1.5 cr 21 hrs Styles in Dance Performance 3 cr 6 h (84h) Dance 4 4.5 cr 63 hrs 25 hours 35 hours Dance Performance 4 2 cr 28 hrs Music Performance: Notation, Transcription 3 cr 6 h (84h) Ear Training 4 4 cr 56 hrs and Scoring Music Theory 4 1 cr 14 hrs Commercial Performance 4 15 cr 21 hrs Music Technologies 3 1 cr 42 hrs Production 1 6 cr 84 hrs Professional Practice 1 4 cr 56 hrs History of Contemporary Music Theatre 3 cr 3 h (42h) Theatre Survey-Contemporary MT 3 cr 42 hrs SEMESTER 5 SEMESTER 5 Acting Styles and Media 3 cr 5 h (60h) Acting 5 3.5 cr 45.5 hrs Vocal Technique 5 1.5 cr 21.5 hrs Music Theatre Vocal Performance 5 4 cr 56 hrs 15 credits Commercial Vocal Repertoire Development 3 cr 5 h (60h) 31 credits Commercial Performance 5-Critique 5 cr 70 hrs Music Technologies 4 1.5 cr 21 hrs 24 hours Dance Repertoire Development 3 cr 6 h (84h) 31 hours Dance 5 4.5 cr 63 hrs Music Industry: Professional Practice 3 cr 5 h (60h) Production 2 6 cr 84 hrs Professional Practice 2 5 cr 70 hrs Breadth elective 3 cr 3 h (42h) SEMESTER 6 SEMESTER 6 Post-Modern Theories of Acting 3 cr 5 h (60h) Acting 6 2 cr 31 hrs 16 credits Music Theatre Vocal Project 3 cr 5 h (60h) 27 credits Vocal Technique 6 1.5 cr 22.5 hrs Dance Project 3 cr 6 h (84h) Dance 6 4.5 cr 63 hrs 31 hours 28+ hours Commercial Performance 6-AV Tech. 2 cr 42 hrs MTP: Production I 4 cr 12 (168) Production 3 12 cr 168 hrs Breadth Elective 3 cr 3 h (42h) Professional Practice 3 5 cr 70 hrs SEMESTER 7 Master Class (specialization) 3 cr 3 h (42h) 14 credits Audition Techniques 3 cr 7 h (98h) 27 hours MTP: Production II 5 cr 14 h (14h) Breadth elective 3 cr 3 h (42h)

BAA (Music Theatre Performance) 36 Sheridan College Institute of Technology and Advanced Learning

Total Cr/Hrs BAA Music Theatre Performance Credits Hours Total Cr/Hrs Advanced Diploma Music Theatre- Credits Hours Performance SEMESTER 8 Capstone Project (specialization) 4 cr 1 h (14h) 15 credits Audition Master Class 3 cr 6 h (84h) 24 hours MTP: Production III 5 cr 14 h (196) Breadth elective 3 cr 3 h (42h)

Table 5.2.4.3: Gap Analysis by Discipline

ACTING DISCIPLINE

Related BAA Music Theatre Performance Related Baccalaureate Related Adv. Gap Elements Bridge/Degree Program Learning Outcomes Courses by Discipline Diploma Courses by Completion Discipline Requirements 1. Research the history of music theatre in Fund. of Acting Acting 1 -Critical analysis of Elizabethan drama. Completion of a bridge order to develop a personal acting, vocal, and Intro. to Shakespeare -Analysis of work of Viola Spolim, et al. course worth six (6) dance repertoire that is informed by, and Principles of Contem- Acting 2 -Michael Shurtleffʼs Twelve Guideposts of credits: responds to, trends in the evolution of the art porary Acting Scene Study 1 Acting. and its industry. Principles of Classical Acting 3 -Historical context of Shakespeareʼs Acting: Historical and Acting Scene Study 2 canon. Cultural Context and 3. Perform a wide variety of styles of material Principles of Modernism Acting 4 -Analysis of genres of Shakespearian Analysis required by todayʼs theatrical and music in Acting Scene Study 3 work. industries at the entry-level professional Acting Styles & Media Acting 5 -Comparative analysis of poetry and Evaluation Plan standard expected by the industry. prose. a) annotated bibliography Post-Modern Theories Acting 6 -Modern interpretive approaches to and review of the of Acting 5. Generate acting, vocal, and dance acting. literature Dramaturgy Master performances that engage the audience, -Principles and work of Peter Brook, b) research paper Class (PCP)* reflecting strong narrative, characterization, Philippe Gaulier et al. c) essay Acting Capstone Project and believable relationships among -Contemporary methodologies of acting. d) comparative analysis (PCP) characters. -Research of prominent contemporary e) exam Canadian playwrights. f) seminar presentation 6. Create believable characters with fully- -Physiology and anatomy considerations developed physicality and voice, informed by related to acting and other disciplines in psychology and based on thoughtful research the field. and critical analysis. -Alexander technique. -Research on the Theatre Guild and its 10. Develop original and unique artistic historical and cultural context. performances by engaging in critical and -Research on the emergence of the creative problem-solving and decision-making. Actorsʼ Studio.

BAA (Music Theatre Performance) 37 Sheridan College Institute of Technology and Advanced Learning

Related BAA Music Theatre Performance Related Baccalaureate Related Adv. Gap Elements Bridge/Degree Program Learning Outcomes Courses by Discipline Diploma Courses by Completion Discipline Requirements Fund. of Acting Acting 1 11. Foster personal development and collegial Intro. to Shakespeare -Research on the history of the American working relationships that conform to Principles of Contem- Acting 2 school of method acting. If acting is chosen as the established industry hierarchy, professional porary Acting Scene Study 1 -Research noteworthy actors, directors, area of specialization, etiquette, and protocols, through self-reflection, Principles of Classical Acting 3 playwrights. students must take the effective communications, and collaboration Acting Scene Study 2 -Classical methodologies of acting. following degree strategies. Principles of Modernism Acting 4 -Research on the technique of requirements: in Acting Scene Study 3 “personification”. 13. Generate a personal methodology and Acting Styles & Media Acting 5 -Research/analyze English Renaissance Dramaturgy Master approach to work required of the field of study Post-Modern Theories Acting 6 Theatre. Class and the music theatre industry. -Research concept of Elizabethan World of Acting Picture. Acting Capstone Dramaturgy Master 15. Incorporate, where appropriate, current -Research and analyze the “new” Project Class (PCP)* and evolving technologies, into individual naturalism. Acting Capstone Project performances and collaborative projects. -Work and philosophies of Freud and (PCP) Darwin regarding the modern view of the world. -Roles of men and women in society. -Research 20th century fathers of heightened realism. -Work of Tennessee Williams, Arthur Miller, Chekov. -Sociopolitical climate and context of post-World War II America. -Psychosexual issues of post -1945 era. -Critical self-reflection and meta- cognition. -Approaches to acting – schools, formal & informal. -Performance informed by research. -Significant scope of research and scholarly writing.

*(PCP) Program Critical Performance

BAA (Music Theatre Performance) 38 Sheridan College Institute of Technology and Advanced Learning

VOCAL DISCIPLINE

Related BAA Music Theatre Performance Related Baccalaureate Related Adv. Gap Elements Bridge/Degree Program Learning Outcomes Courses by Discipline Diploma Courses by Completion Discipline Requirements 1. Research the history of music theatre in Fundamentals of Vocal MT Vocal Perf. 1 -Research of traditional music theatre Completion of a bridge order to develop a personal acting, vocal, and Technique & Theory Vocal Technique 1 repertoire from the Golden Age of Music course worth six (6) dance repertoire that is informed by, and Commercial Perf. 1 Theatre. credits: responds to, trends in the evolution of the art Vocal Technique: MT Vocal Perf. 2 -Research of contemporary commercial and its industry. Physiology & Anatomy Vocal Technique 2 vocal material. Music, Commercial Commercial Perf. 2 -Origins of commercial vocal as a Vocal Performance and 2. Create a professional repertoire that reflects Music Technologies discipline. Music Theatre Vocal a comprehensive and detailed understanding Vocal Performance: MT Vocal Perf. 3 -Research and analysis of composers, Performance: History of the nature and requirements of the North Context Analysis Vocal Technique 3 lyricists, book writers, performing artists. and Analysis American music theatre industry. Commercial Perf. 3 -Protocols for success. -Analysis of music structure. Music Technologies 2 3. Perform a wide variety of styles of material -Song as storytelling. Styles in Vocal MT Vocal Perf. 4 required by todayʼs theatrical and music -Self-care strategies. Performance Vocal Technique 4 industries at the entry-level professional -Research of contemporary music Evaluation Plan standard expected by the industry. Commercial Perf. 4 theatre. a) annotated bibliography Music Technologies 3 -Concepts of subjectivity and objectivity. and review of the 5. Generate acting, vocal, and dance Commercial Vocal MT Vocal Perf. 5 -Development of a personal work literature performances that engage the audience, Repertoire Development Vocal Technique 5 process. b) comparative analysis reflecting strong narrative, characterization, Commercial Perf. 5 -Principles of contemporary commercial c) research paper and believable relationships among Music Technologies 4 voice repertoire and technique. d) exam characters. Music Theatre Vocal Vocal Technique 6 -Principles of classical vocal technique. e) seminar presentation Project Commercial Perf. 6 -Performance of a classical Italian aria. f) reflective paper 6. Create believable characters with fully- Music Theatre Vocal -Spontaneity in performance. developed physicality and voice, informed by Performance Master No comparators -Complexity in performance. psychology and based on thoughtful research Class OR Commercial -Group microphone technique. and critical analysis. Production Master -Performance of Early Music Theatre Class (PCP) (pre-Golden Age of Broadway)and 8. Integrate meta-cognitive practices and Music Theatre Vocal commercial vocal repertoire. systems of knowledge in order to enhance Performance Capstone -Research of the styles and composers of oneʼs personal vision and oneʼs relationship Project OR Commercial pre-Golden Age of Broadway. with the audience during performances. Production Capstone -American Operetta. Project (PCP) -Ornamentation. 10. Develop original and unique artistic -The English Art Song. If Vocal is chosen as the performances by engaging in critical and -American Popular Song. area of specialization, creative problem-solving and decision-making. -Personal style and creativity. students must take the -Artistry. following degree -Relationship with the audience. requirements:

BAA (Music Theatre Performance) 39 Sheridan College Institute of Technology and Advanced Learning

Related BAA Music Theatre Performance Related Baccalaureate Related Adv. Gap Elements Bridge/Degree Program Learning Outcomes Courses by Discipline Diploma Courses by Completion Discipline Requirements 11. Foster personal development and collegial Fundamentals of Vocal MT Vocal Perf. 1 -Research of genres and composers. working relationships that conform to Technique & Theory Vocal Technique 1 -Analysis of technical and stylistic Music Theatre Vocal established industry hierarchy, professional Commercial Perf. 1 modifications for mastering Performance Master etiquette, and protocols, through self-reflection, Vocal Technique: MT Vocal Perf. 2 commercial/pop vocal material. Class effective communications, and collaboration Physiology & Anatomy Vocal Technique 2 -Collaborative rehearsal process. OR Commercial strategies. Commercial Perf. 2 -Refined character development informed Production Master Music Technologies by research, analysis, and physical and Class 12. Generate a personal physical regimen Vocal Performance: MT Vocal Perf. 3 vocal exploration. required to maintain effective acting, vocal, Context Analysis Vocal Technique 3 -Refinement of artistic vision. and and dance technique, for success in music Commercial Perf. 3 -Critical self-reflection and meta- theatre and commercial performance. cognition. Music Theatre Vocal Music Technologies 2 -Performance informed by research. Performance Capstone Styles in Vocal MT Vocal Perf. 4 13. Generate a personal methodology and -Significant scope of research and Project OR Commercial Performance Vocal Technique 4 approach to work required of the field of study scholarly writing. Production Capstone and the music theatre industry. Commercial Perf. 4 Project Music Technologies 3 15. Incorporate, where appropriate, current Commercial Vocal MT Vocal Perf. 5 and evolving technologies, into individual Repertoire Development Vocal Technique 5 performances and collaborative projects. Commercial Perf. 5 Music Technologies 4 Music Theatre Vocal Vocal Technique 6 Project Commercial Perf. 6 Music Theatre Vocal Performance Master No comparators Class OR Commercial Production Master Class (PCP) Music Theatre Vocal Performance Capstone Project OR Commercial Production Capstone Project (PCP)

BAA (Music Theatre Performance) 40 Sheridan College Institute of Technology and Advanced Learning

DANCE DISCIPLINE

Related BAA Music Theatre Performance Related Baccalaureate Related Adv. Gap Elements Bridge/Degree Program Learning Outcomes Courses by Discipline Diploma Courses by Completion Discipline Requirements 1. Research the history of music theatre in Fundamentals of Dance Dance 1 -Research on the general origins of Completion of a bridge order to develop a personal acting, vocal, and Technique Dance Performance 1 genres of dance commonly used in music course worth six (6) dance repertoire that is informed by, and Dance Technique: Dance 2 theatre. credits: responds to, trends in the evolution of the art Physiology & Anatomy Dance Performance 2 -Historical context of ballet from 15th and its industry. Dance: Artistry, Dance 3 century Italian renaissance to the France Dance: Historical, Interpretation and Dance Performance 3 of Louis XIV. Cultural and 2. Create a professional repertoire that reflects Expression -Historical context of jazz from African Kinesthetic Analysis a comprehensive and detailed understanding Styles in Dance Dance 4 American vernacular dance. and Context of the nature and requirements of the North Performance Dance Performance 4 -Historical context of tap from African American music theatre industry. Dance Repertoire Dance 5 gumboot dance and other international dance forms. Evaluation Plan Development 3. Perform a wide variety of styles of material -Fundamentals of human anatomy and a) annotated bibliography Dance Project Dance 6 required by todayʼs theatrical and music physiology. and review of the Choreography Master industries at the entry-level professional -Principles of movement related to literature standard expected by the industry. Class (PCP) No comparators anatomy and physiology. b) comparative analysis Dance Performance -Principles of physical health and c) research paper 5. Generate acting, vocal, and dance Capstone Project wellness. d) seminar presentation performances that engage the audience, -Research on the basic structure and reflecting strong narrative, characterization, function of muscles used in dance. and believable relationships among -Physical workouts, warm ups, stretching, If Dance is chosen as the characters. cool downs. area of specialization, -Basic rehabilitation techniques. students must take the 8. Integrate meta-cognitive practices and -Nutrition, diet and personal wellness. following degree systems of knowledge in order to enhance -Additional dance styles including requirements: oneʼs personal vision and oneʼs relationship Modern, lyrical and Latin. with the audience during performances. -Related dance and anatomical terminology. Choreography Master 10. Develop original and unique artistic -Critical and comparative analysis of Class performances by engaging in critical and different dance styles. and creative problem-solving and decision-making. -Interpretation of select and general Dance Performance dance styles and techniques. Capstone Project 11. Foster personal development and collegial -Fundamentals of character development working relationships that conform to and storytelling within dance. established industry hierarchy, professional -Refined artistry, interpretation and etiquette, and protocols, through self-reflection, expression. effective communications, and collaboration -Efficient assimilation of styles within the strategies. choreography.

BAA (Music Theatre Performance) 41 Sheridan College Institute of Technology and Advanced Learning

Related BAA Music Theatre Performance Related Baccalaureate Related Adv. Gap Elements Bridge/Degree Program Learning Outcomes Courses by Discipline Diploma Courses by Completion Discipline Requirements Fundamentals of Dance Dance 1 Completion of a bridge 12. Generate a personal physical regimen Technique Dance Performance 1 -Research specific artists and icons in the course worth six (6) required to maintain effective acting, vocal, Dance Technique: Dance 2 music theatre in the various genres and credits: and dance technique, for success in music Physiology & Anatomy Dance Performance 2 styles. theatre and commercial performance. Dance: Artistry, Dance 3 -Comparative analysis of styles and Dance: Historical, Interpretation and Dance Performance 3 artists and choreographers associated Cultural and 13. Generate a personal methodology and Expression with given styles. Kinesthetic Analysis approach to work required of the field of study Styles in Dance Dance 4 -Research historical and cultural data and Context and the music theatre industry. Performance Dance Performance 4 (modern, jazz – lyrical and Broadway). Dance Repertoire Dance 5 -Critical self-reflection and meta- 14. Design comprehensive, cogent, and cognition. Evaluation Plan Development creative entrepreneurial strategies related to -Research the role and importance of a) annotated bibliography Dance Project Dance 6 self-promotion and marketing that incorporate dance in music theatre. and review of the Choreography Master effective presentation, communication, and -Research the evolution of dance from literature technological skills, where appropriate. Class (PCP) No comparators accessory to plot support to narrative. b) comparative analysis Dance Performance -Additional dance styles and their origins. c) research paper 15. Incorporate, where appropriate, current Capstone Project -Choreography and meta-cognition. d) seminar presentation and evolving technologies into individual -Refined self-management processes. performances and collaborative projects. -Research for a dance project. -Original choreography for project If Dance is chosen as the performance. area of specialization, -Critical self-reflection and meta- students must take the cognition. following degree -Performance informed by research. requirements: -Significant scope of research and scholarly writing. Choreography Master Class and Dance Performance Capstone Project

BAA (Music Theatre Performance) 42 Sheridan College Institute of Technology and Advanced Learning

MUSIC DISCIPLINE

Related BAA Music Theatre Performance Related Baccalaureate Related Adv. Gap Elements Bridge/Degree Program Learning Outcomes Courses by Discipline Diploma Courses by Completion Discipline Requirements 3. Perform a wide variety of styles of material Aural Concepts and Ear Training 1 -Research historical and cultural context Missing research required by todayʼs theatrical and music Music Theory Music Theory 1 of major music periods and movements. elements have been industries at the entry-level professional Fundamental Ear Training 2 -Contribution of choral music in the integrated into the two standard expected by the industry. Musicianship Music Theory 2 context of historical, cultural and social bridging courses: Contemp. Concepts & Ear Training 3 development and movements. 4. Generate creative individual and collective Applications of Music Theory 3 -Performance informed by research. Music, Commercial music performances informed by inquiry, Musicianship -Greater scope of research and scholarly Vocal Performance and research and scholarly writing, using Music Performance: Ear Training 4 writing. Music Theatre Vocal appropriate methodology. Notation, Transcription Music Theory 4 -Critical self-reflection and meta- Performance: History and Scoring cognition. and Analysis 7. Refine musical literacy in order to interpret, -Greater scope of research and scholarly and through performance, the intent and writing. Music Theatre: methodology of the composer. Entrepreneurial Practice and 8. Integrate meta-cognitive practices and Professional Portfolio systems of knowledge in order to enhance oneʼs personal vision and oneʼs relationship with the audience during performances.

9. Develop aural acuity that reflects the multidimensional nature of musicianship by integrating constructs of music knowledge with listening skills.

10. Develop original and unique artistic performances by engaging in critical and creative problem-solving and decision-making.

11. Foster personal development and collegial working relationships that conform to established industry hierarchy, professional etiquette, and protocols, through self-reflection, effective communications, and collaboration strategies.

13. Generate a personal methodology and approach to work required of the field of study

BAA (Music Theatre Performance) 43 Sheridan College Institute of Technology and Advanced Learning

Related BAA Music Theatre Performance Related Baccalaureate Related Adv. Gap Elements Bridge/Degree Program Learning Outcomes Courses by Discipline Diploma Courses by Completion Discipline Requirements and the music theatre industry.

14. Design comprehensive, cogent, and creative entrepreneurial strategies related to self-promotion and marketing that incorporate effective presentation, communication, and technological skills, where appropriate.

15. Incorporate, where appropriate, current and evolving technologies, into individual performances and collaborative projects.

BAA (Music Theatre Performance) 44 Sheridan College Institute of Technology and Advanced Learning

PROFESSIONAL COURSES

Related BAA Music Theatre Performance Related Baccalaureate Related Adv. Gap Elements Bridge/Degree Program Learning Outcomes Courses by Discipline Diploma Courses by Completion Discipline Requirements 1. Research the history of music theatre in Music Industry: Professional Practice -Research and analysis of industry Completion of a bridge order to develop a personal acting, vocal, and Professional Practice 1 landscape. course worth three (3) dance repertoire that is informed by, and Audition Techniques Professional Practice -Research and analysis of development credits: responds to, trends in the evolution of the art 2 and practice of music theatre industry. and its industry. Audition Master Class Professional Practice -Research and analysis of types of Music Theatre: 3 Canadian theatre organizations and Entrepreneurial 2. Create a professional repertoire that reflects Computer Skills functions of their most influential Practice and a comprehensive and detailed understanding Stagecraft 1 personnel. Professional Portfolio of the nature and requirements of the North -Protocols and processes of professional American music theatre industry. stagecraft. -Formulation of career goals. 3. Perform a wide variety of styles of material -Refinement of self-management and required by todayʼs theatrical and music organizational processes. Evaluation Plan industries at the entry-level professional -Development of career path strategies. standard expected by the industry. -Management of financial records. a) Professional portfolio -Design of rudimentary budgets. b) Strategic Project Plan 4. Generate creative individual and collective -Categorize incomes and expenditures. c) Research Project music performances informed by inquiry, -Formulation of plan for basic personal d) Exam (10 research and scholarly writing, using financial sustainability. appropriate methodology. -Comparative analysis of employment and self-employment: strengths and 5. Generate acting, vocal, and dance challenges. performances that engage the audience, -Business principles. reflecting strong narrative, characterization, -Analysis of project management. and believable relationships among -Creation of project proposals. characters. -Generation of business and entrepreneurial strategies. 6. Create believable characters with fully- -Design of websites. developed physicality and voice, informed by -Document layout and design. psychology and based on thoughtful research -Use of spreadsheets for bookkeeping and critical analysis. purposes. -Adaptation of choreographic style. 8. Integrate meta-cognitive practices and -Research of the play being produced. systems of knowledge in order to enhance -Research of roles. oneʼs personal vision and oneʼs relationship -Refined artistry /performance informed with the audience during performances. by research.

BAA (Music Theatre Performance) 45 Sheridan College Institute of Technology and Advanced Learning

Related BAA Music Theatre Performance Related Baccalaureate Related Adv. Gap Elements Bridge/Degree Program Learning Outcomes Courses by Discipline Diploma Courses by Completion Discipline Requirements 10. Develop original and unique artistic Music Industry: Professional Practice Completion of a bridge performances by engaging in critical and Professional Practice 1 -Analysis and evaluation of the audition course worth three (3) creative problem-solving and decision-making. Audition Techniques Professional Practice process in relation to success in the credits: 2 industry. 11. Foster personal development and collegial Audition Master Class Professional Practice -Consolidation of personal Artistʼs Music Theatre: working relationships that conform to 3 Statement. Entrepreneurial established industry hierarchy, professional Computer Skills Practice and etiquette, and protocols, through self-reflection, Stagecraft 1 Professional Portfolio effective communications, and collaboration strategies.

12. Generate a personal physical regimen required to maintain effective acting, vocal, Evaluation Plan and dance technique, for success in music theatre and commercial performance. a) Professional portfolio b) Strategic Project Plan 13. Generate a personal methodology and c) Research Project approach to work required of the field of study d) Exam (10 and the music theatre industry.

14. Design comprehensive, cogent, and creative entrepreneurial strategies related to self-promotion and marketing that incorporate effective presentation, communication, and technological skills, where appropriate.

15. Incorporate, where appropriate, current and evolving technologies, into individual performances and collaborative projects.

And the Program Critical Performance

BAA (Music Theatre Performance) 46 Sheridan College Institute of Technology and Advanced Learning

PROFESSIONAL COURSES – PRODUCTION

Related BAA Music Theatre Performance Related Baccalaureate Related Adv. Gap Elements Bridge/Degree Program Learning Outcomes Courses by Discipline Diploma Courses by Completion Discipline Requirements 1. Research the history of music theatre in MTP: Production 1 Production 1 Self-reflection It would appear that most order to develop a personal acting, vocal, and MTP: Production 2 Production 2 Self-evaluation elements are present in dance repertoire that is informed by, and MTP: Production 3 Production 3 both the advanced responds to, trends in the evolution of the art diploma and the degree and its industry. programs.

2. Create a professional repertoire that reflects Any differences would a comprehensive and detailed understanding appear to be related to of the nature and requirements of the North two elements: American music theatre industry. a) Integration: the degree program reflects a 3. Perform a wide variety of styles of material stronger and more required by todayʼs theatrical and music intentional integration industries at the entry-level professional across the disciplines. standard expected by the industry. b) Scope: in terms of the 5. Generate acting, vocal and dance degree program, the performances that engage the audience, scope reflects a deeper reflecting strong narrative, characterization, and broader approach in and believable relationships among terms of the research characters. and the historical and cultural contexts that 6. Create believable characters with fully- inform the process. developed physicality and voice, informed by psychology and based on thoughtful research Rather than address this and critical analysis. minor variation by requiring students to 8. Integrate meta-cognitive practices and engage in productions as systems of knowledge in order to enhance part of the bridge, these oneʼs personal vision and oneʼs relationship elements are addressed with the audience during performances. in the capstone courses in particular, and also in 10. Develop original and unique artistic the master classes and performances by engaging in critical and composite courses that creative problem-solving and decision-making. are part of the bridge.

BAA (Music Theatre Performance) 47 Sheridan College Institute of Technology and Advanced Learning

Related BAA Music Theatre Performance Related Baccalaureate Related Adv. Gap Elements Bridge/Degree Program Learning Outcomes Courses by Discipline Diploma Courses by Completion Discipline Requirements 11. Foster personal development and collegial MTP: Production 1 Production 1 Self-reflection working relationships that conform to MTP: Production 2 Production 2 Self-evaluation Therefore, there is no established industry hierarchy, professional MTP: Production 3 Production 3 requirement to include etiquette, and protocols, through self-reflection, production as part of the effective communications and collaboration bridge or as part of the strategies. remaining requirement for degree completion. 12. Generate a personal physical regimen required to maintain effective acting, vocal, and dance technique, for success in music theatre and commercial performance.

13. Generate a personal methodology and approach to work required of the field of study and the music theatre industry.

14. Design comprehensive, cogent, and creative entrepreneurial strategies related to self-promotion and marketing that incorporate effective presentation, communication and technological skills, where appropriate.

15. Incorporate, where appropriate, current and evolving technologies into individual performances and collaborative projects.

And the Program Critical Performance

BAA (Music Theatre Performance) 48 Sheridan College Institute of Technology and Advanced Learning

BREADTHS

Related BAA Music Theatre Performance Related Baccalaureate Related Adv. Gap Elements Bridge/Degree Program Learning Outcomes Courses by Discipline Diploma Courses by Completion Discipline Requirements 1. Research the history of music theatre in Composition & Rhetoric Research and critical analysis of social, Students bridging from order to develop a personal acting, vocal, and History of Western Theatre Survey - political, economic and historical factors, the Sheridan Advanced dance repertoire that is informed by, and Theatre Classical trends and events that affected the Diploma program are responds to, trends in the evolution of the art History of Early Music Theatre Survey - development of New York City as a key required to complete the and its industry. Theatre Modern international centre of commerce, and the following courses to meet History of Theatre Survey - Early general history of NYC to the 1940s. degree requirements: 10. Develop original and unique artistic Contemporary Music Music Theatre performances by engaging in critical and Theatre Research and critical analysis of social, Composition and creative problem-solving and decision-making. Breadth Elective Theatre Survey – political, economic and historical factors, Rhetoric Contemporary Music trends and events that affected the 13. Generate a personal methodology and Theatre development of Broadway as the hub of Four Breadth Electives approach to work required of the field of study Breadth Elective Gen. Ed. Elective entertainment for NYC. and the music theatre industry. Breadth Elective Gen. Ed. Elective The gap elements in this Breadth Elective section are addressed and integrated through the four bridging courses.

BAA (Music Theatre Performance) 49 Sheridan College Institute of Technology and Advanced Learning

5.2.5 Bridging Courses

Course Title: Acting: Historical and Cultural Context and Analysis – Bridging Course

Course/Subject Description: In this course, students research historical and contemporary approaches to the craft of acting in Europe (with particular emphasis on Russia and England) and North America (the United States and Canada.) They examine the nature of the craft within the framework of generally accepted contemporary concepts, principles, and theories, and analyze the evolution of the craft from the time of Shakespeare to the present. They generate project work in a variety of media that focuses on the relationship between the actor and the craft of acting. In addition, students demonstrate their ability to work both independently and co-operatively. Students explore the canon of William Shakespeare and its historical context, with an emphasis on the comparative critical analysis of the four genres into which Shakespeare's plays are divided. They correlate these genres with their contemporary equivalents. Students investigate the ʻclassical structureʼ of Shakespearean monologues, correlating this structure with the construct of well-crafted contemporary dramatic monologues and music theatre solo songs. In addition, students research and analyze Elizabethan drama as a reflection of the concept of the Elizabethan World Picture. They analyze the practices of English Renaissance Theatre, and the emergence of 'personification' as an acting technique employed by its actors, which evoked significant emotional response from its contemporary audiences. Students research the dramatic literature acting styles of the Restoration period within a historical and political context, including the English civil war and the rebuilding of the theatrical tradition, as well as the emergence of career dramatic writers like Congreve and Goldsmith. They research the evolution of Farce from the works of Moliere (late 1600s) to Feydeau (late 1800s, early 1900s), and on to contemporary times. They analyze the emergence of Melodrama (mid 1700s to early 1900s) as a legitimate form of drama and forerunner of musical theatre. As well, students research the evolution of the two most commonly employed, yet diametrically opposed, contemporary acting techniques, as characterized by the great modern actors who personified these general approaches (most specifically the turn-of-the-20th-Century actresses Sarah Bernhardt and Eleanora Duse.) Through an overview of the work and philosophies of Darwin and Freud regarding the modern view of the world (including the changing roles of men and women) students investigate the emergence of Modernism and Post- Modernism with the establishment of the Moscow Art Theatre at the turn of the 20th Century as a leading influence on the craft of Acting, and the Theatre Guild in New York City as a tonic to the rampant commercialism of Broadway in the early 20th Century (with special attention given to the works of Chekhov, Ibsen, Shaw, and OʼNeill). Through an examination of the emerging psychosexual issues and of the sociopolitical climate of post- World War II era in America, students investigate the establishment of the Group Theatre and Actorsʼ Studio (with special attention given to the works of playwrights Tennessee Williams and Arthur Miller) as proponents of the American school of ʻHeighted Realismʼ and ʻMethodʼ Acting. Student analyze Michael Shurtleff's Twelve Guideposts to Acting in the context of classical, modern, and contemporary methodologies of acting Through written work, and visual and oral presentations, students refine their communications, research and meta-cognition skills in the context of Acting, and reinforce their understanding of the historical and theoretical foundations of the discipline.

Method(s) of Instruction: One-on-one tutorials, small group sessions, guidance and direction through the assignment work.

Content Outline by Topic: This course is part of a bridging program offered to graduates of specific Music Theatre Advanced Diploma programs bridging into the BAA Music Theatre Performance program. As such, it is considered an independent study course that does not include a weekly topical, but has very specific areas targeted for learning and further development, to be evaluated by an advisor assigned to the student during the bridging semester.

Actual Contact Hours: 42

BAA (Music Theatre Performance) 50 Sheridan College Institute of Technology and Advanced Learning

Course Title: Acting: Historical and Cultural Context and Analysis – Bridging Course

Method(s) and Frequency of Evaluation of Student Performance: Annotated bibliography and review of the literature 10% Two research papers @15% 30% Essay 10% Comparative analysis chart 15% Exam 10% Seminar presentation 25%

Resources to be purchased/provided by students: N/A

Textbook Requirements: TBD

Learning Outcomes: 1. Research historical and contemporary approaches to the craft of acting in Europe (with particular emphasis on Russia and England) and North America (the US and Canada). 2. Examine the nature of the craft within the framework of generally accepted contemporary concepts, principles and theories. 3. Analyze the evolution of the craft from the time of Shakespeare to the present. 4. Generate project work I n a variety of media that focuses on the relationship between the actor and the craft of acting. 5. Analyze the four genres into which Shakespeareʼs plays are divided, correlating these genres to their contemporary equivalents. 6. Correlate the classical structure of Shakespearean monologues with the construct of well-crafted contemporary dramatic monologues and music theatre solo songs. 7. Analyze Elizabethan drama as a reflection of the concept of the Elizabethan World Picture. 8. Analyze the practices of English Renaissance Theatre and the emergence of ʻpersonificationʼ as an acting technique employed by its actors to evoke significant emotional response from its audiences. 9. Research the dramatic literature acting styles of the Restoration period within a historical and political context, including the English civil war and the rebuilding of the theatrical tradition, as well as the emergence of career dramatic writers like Congreve and Goldsmith. 10. Research the evolution of Farce from the works of Moliere (late 1600s) to Feydeau (late 1800s, early 1900s), and on to contemporary times. 11. Analyze the emergence of Melodrama (mid 1700s to early 1900s) as a legitimate form of drama and forerunner of musical theatre. 12. Research the evolution of the two most commonly employed, yet diametrically opposed, contemporary acting techniques, as characterized by the great modern actors who personified these general approaches (most specifically the turn-of-the-Century actresses Sarah Bernhardt and Eleanora Duse. 13. Investigate the emergence of Modernism and Post-Modernism with the establishment of the Moscow Art Theatre at the turn of the 20th Century as a leading influence on the craft of acting, and the Theatre Guild in New York City as a tonic to the rampant commercialism of Broadway in the early 20th Century (with special attention given to the works of Chekhov, Ibsen, Shaw, and OʼNeill) through an overview of the work and philosophies of Darwin and Freud regarding the modern view of the world (including the changing roles of men and women). 14. Investigate the establishment of the Group Theatre and Actorsʼ Studio (with special attention given to the works of playwrights Tennessee Williams and Arthur Miller) as proponents of the American school of ʻHeighted Realismʼ and ʻMethodʼ Acting through an examination of emerging psychosexual issues and of the sociopolitical climate of post-World War II era in America. 15. Analyze Michael Shurtleff's Twelve Guideposts to Acting in the context of classical, modern, and contemporary methodologies of acting.

Information about course designer/developer: Course designed by other: Greg Peterson, Norra Taylor

Faculty qualified to teach the course and/or statement “faculty to be hired”: Greg Peterson, Mimi Mekler, Denise Norman

If the method of instruction includes on-line delivery (technology based, computer-based, web-based), what percentage of the course content will be offered on-line? N/A

BAA (Music Theatre Performance) 51 Sheridan College Institute of Technology and Advanced Learning

Course Title: Acting: Historical and Cultural Context and Analysis – Bridging Course

Faculty qualifications required to teach/supervise the course: Minimum 10 years experience as a professional in the theatre industry and/or the film and television industry; minimum 5 years teaching experience; Masters preferred.

Classroom Requirements: Smart Classroom

Equipment Requirements: Dependent on student selected project

BAA (Music Theatre Performance) 52 Sheridan College Institute of Technology and Advanced Learning

Course Title: Music, Commercial Vocal Performance, and Music Theatre Vocal Performance: History and Analysis – Bridging Course

Course/Subject Description: Students research the historical and cultural evolution of western music, as well as the concepts, principles, and theories of contemporary commercial and music theatre vocal performance styles. Through written, visual, and oral presentations, they refine their communication, research, and meta-cognition skills while reinforcing their understanding of the historical and theoretical foundations of the vocal discipline in music theatre performance, thereby enriching their individual performance styles. In addition, students research major periods in the evolution of Western music: Medieval, Renaissance, Baroque, Classical, Romantic, and Modern, as well as the major composers who championed each of these eras. They evaluate the role of choral music in its various forms in this evolution. They also generate a critical comparative analysis of the different genres of popular song that emerged from these eras, including the Classical Italian Aria, the English Art Song, the Operetta Song, and the American Popular Song. As well, students analyze the historical, political, social, and economic contexts of the evolution of early jazz and ragtime music in America, the development of the Golden Age of Broadway musicals, the subsequent emergence of divergent popular musical styles, and the resultant diversification of the contemporary commercial music market. Using audio-visual digital recordings of performances by major music theatre and commercial performing artists, students evaluate refined artistry through an examination of individual interpretation, character development, and physical and vocal expression. They analyze the differences between classical and contemporary commercial vocal performance styles focusing on their effectiveness in communicating emotionally with the audience. In addition, they refine their individual vocal performance style through scholarly research and analysis. Students generate work in a variety of media that focuses on the relationship between the singer and the song, the singer and the audience, and the vocal performance style and the effectiveness of its communication. Through concentrated research, and critical and comparative analysis, students demonstrate their ability to work independently while developing a significant awareness of the continuing evolution of Commercial Vocal Performance and Music Theatre Vocal Performance styles and the place of singers as agents of this evolution.

Method(s) of Instruction: One-on-one tutorials, small group sessions, guidance and direction through the assignment work.

Content Outline by Topic: This course is part of a bridging program offered to graduates of specific Music Theatre Advanced Diploma programs bridging into the BAA Music Theatre Performance program. As such, it is considered an independent study course that does not include a weekly topical, but has very specific areas targeted for learning and further development, to be evaluated by an advisor assigned to the student during the bridging semester.

Actual Contact Hours: 42

Method(s) and Frequency of Evaluation of Student Performance: Annotated bibliography and review of the literature 10% Two research papers @15% 30% Essay 10% Comparative analysis chart 15% Exam 10% Seminar presentation 25%

Resources to be purchased/provided by students: N/A

Textbook Requirements: TBD

Learning Outcomes: 1. Research the historical and cultural evolution of western music. 2. Compare the concepts, principles, and theories of contemporary commercial and music theatre vocal performance styles. 3. Analyze the historical and theoretical foundations of the vocal discipline in music theatre performance. 4. Research major periods in the evolution of Western music as well as the major composers who championed each of these periods. 5. Evaluate the role of choral music in the evolution of the major eras in music history.

BAA (Music Theatre Performance) 53 Sheridan College Institute of Technology and Advanced Learning

Course Title: Music, Commercial Vocal Performance, and Music Theatre Vocal Performance: History and Analysis – Bridging Course

6. Generate a critical comparative analysis of the different genres of popular song that emerged from the major eras in music history. 7. Research the origins of commercial music in America. 8. Analyze the historical, political, social, and economic contexts of the evolution of early popular song, jazz, and ragtime music in America, 9. Analyze the historical, political, social, and economic contexts of the development of the Golden Age of Broadway musicals, the subsequent emergence of divergent popular musical styles, and the resultant diversification of the contemporary commercial music market. 10. Evaluate refined artistry through the examination of individual interpretation, character development, and physical and vocal expression. 11. Analyze the differences between classical and contemporary commercial vocal performance styles. 12. Refine individual vocal performance style through scholarly research and analysis. 13. Generate work in a variety of media that focuses on the relationship between the singer and the song, and on vocal performance as a form of communication. 14. Refine communications, research, and meta-cognition skills through written, visual, and oral presentations. 15. Refine personal processes related to organization skills, and resource, information and time management skills.

Information about course designer/developer: Course designed by other: Greg Peterson, Norra Taylor

Faculty qualified to teach the course and/or statement “faculty to be hired”: Greg Andrews

If the method of instruction includes on-line delivery (technology based, computer-based, web-based), what percentage of the course content will be offered on-line? N/A

Faculty qualifications required to teach/supervise the course: Minimum 10 years experience as a professional in the music theatre industry and/or the commercial vocal and recording industry; minimum 5 years teaching experience; Masters preferred.

Classroom Requirements: Smart Classroom

Equipment Requirements: Dependent on student selected project

BAA (Music Theatre Performance) 54 Sheridan College Institute of Technology and Advanced Learning

Course Title: Dance: Historical, Cultural and Kinesthetic Analysis and Context – Bridging Course

Course/Subject Description: In this course, students research the general origins of the three genres of dance commonly used in Music Theatre: Ballet, Jazz, and Tap. They research the historical and cultural context of: 1. Ballet from the 15th century Italian renaissance and the French society of Louis XIV, 2. Jazz from African American vernacular dance, and 3. Tap from African gumboot dance and other international dance forms. They generate a critical and comparative analysis of these three dance genres. They also analyze the evolution of other contemporary dance styles, including Modern, Lyrical, and Latin. Students generate a comparative and critical analysis between these genres and the significant contributions of Broadway choreographers like George White, George Balanchine, Agnes De Mille, Jack Cole, Jerome Robbins, Bob Fosse, Michael Kidd, Gower Champion, Michael Bennett, Tommy Tune, Jerry Mitchell, and Susan Stroman. They evaluate the development and evolution of dance in Music Theatre from accessory, to plot support (most significantly in character development), to narrative. Students research the basic structure and function of muscles generally used in dance. They analyze the principles of movement in the context of human anatomy and physiology fundamentals, using appropriate terminology. They generate an individual health and wellness program that includes nutritional, diet, and exercise information including recommendations for basic rehabilitation techniques for injuries commonly experienced by dancers. Students evaluate the refined artistry, interpretation, and individual expression in iconic (recorded) dance performances in Music Theatre. They analyze the effect of choreography to communicate emotionally with the audience. Through concentrated research and critical and comparative analysis, students develop a significant awareness of the continuing evolution of Dance as a discipline and the place of dancers as agents of this evolution. In addition, through written, kinesthetic, and oral presentations, students refine their communications, research and meta- cognition skills in the context of Dance, and reinforce their understanding of the historical and theoretical foundations of the discipline. Students generate work in a variety of media that focuses on the relationship between the dancer and the art of dance as a form of communication while Integrating learning from self-reflection and meta-cognition into personal written, oral and kinesthetic discourse.

Method(s) of Instruction: One-on-one tutorials, small group sessions, guidance and direction through the assignment work.

Content Outline by Topic: This course is part of a bridging program offered to graduates of specific Music Theatre Advanced Diploma programs bridging into the BAA Music Theatre Performance program. As such, it is considered an independent study course that does not include a weekly topical, but has very specific areas targeted for learning and further development, to be evaluated by an advisor assigned to the student during the bridging semester.

Actual Contact Hours: 42

Method(s) and Frequency of Evaluation of Student Performance: Annotated bibliography and review of the literature 10% Research paper and comparative analysis chart 35% Exam 20% Seminar presentation 35%

Resources to be purchased/provided by students: N/A

Textbook Requirements: TBD

Learning Outcomes: 1. Research the general origins of genres of dance commonly used in music theatre. 2. Research the historical and cultural context of ballet from the 15th century Italian renaissance to the French society of Louis XIV.

BAA (Music Theatre Performance) 55 Sheridan College Institute of Technology and Advanced Learning

Course Title: Dance: Historical, Cultural and Kinesthetic Analysis and Context – Bridging Course

3. Research the historical and cultural context of jazz from African American vernacular dance. 4. Research the historical and cultural context of tap from African gumboot dance and other international dance forms. 5. Analyze the evolution of contemporary dance styles, including Modern, Lyrical and Latin. 6. Generate a critical and comparative analysis of different dance styles and the significant contributions of specific artists, choreographers and other icons to the development and evolution of those different genres and styles in dance as a discipline. 7. Analyze the evolution of dance from accessory, to plot support, to narrative. 8. Analyze the fundamentals of character and storytelling within dance. 9. Evaluate the development and evolution of the role of dance in music theatre. 10. Research the basic structure and function of muscles generally used in dance. 11. Analyze the principles of movement in the context of human anatomy and physiology fundamentals, using appropriate terminology. 12. Generate an individual health and wellness program that include nutritional, diet and exercise information and recommendations for basic rehabilitation techniques for injuries commonly experienced by dancers. 13. Evaluate refined artistry, interpretation and individual expression in select researched dance performances. 14. Evaluate the role and importance of dance in music theatre, with specific reference to iconic performances. 15. Integrate learning from self-reflection and meta-cognition into personal written, oral and kinesthetic discourse. 16. Analyze the effect of choreography within certain dance styles on the ability of the dancer to communicate emotionally with the audience. 17. Refine individual communication skills. 18. Refine personal processes related to organization skills, and resource, information and time management skills.

Information about course designer/developer: Course designed by other: Greg Peterson, Norra Taylor

Faculty qualified to teach the course and/or statement “faculty to be hired”: Marc Richard, Gillian Saunders

If the method of instruction includes on-line delivery (technology based, computer-based, web-based), what percentage of the course content will be offered on-line? N/A

Faculty qualifications required to teach/supervise the course: Minimum 10 years experience as a professional in the music theatre industry and/or dance industry; minimum 5 years teaching experience, Masters preferred.

Classroom Requirements: Smart Classroom

Equipment Requirements: Dependent on student selected project

BAA (Music Theatre Performance) 56 Sheridan College Institute of Technology and Advanced Learning

Course Title: Music Theatre: Entrepreneurial Practice and Professional Portfolio – Bridging Course

Course/Subject Description: In this course, students research the Canadian Music Theatre industry landscape in terms of current trends and practices in the field. They research commercial, festival, regional, summer stock, and independent theatre organizations that routinely produce musicals and their performance venues. They analyze their administrative and operational structures, and their specific functions, including the identification of their most influential personnel and their backgrounds. Students generate personal career plans that include general goals and career path strategies. They generate a comparative analysis of employment and self-employment strengths and challenges (a SWOT analysis). They consolidate these insights into an Artistʼs Statement. Students analyze bookkeeping practices. They manage finances by designing rudimentary personal budgets on spreadsheets categorizing sources of income and expenditures. Students formulate basic plans for personal financial sustainability, based on business principles and entrepreneurial strategies. Students also research common legal issues encountered by self-employed artists in the industry and the professional associations and individuals that provide assistance and advice in these situations. Students research the social, political, economic, and historical factors, trends, and events that affected the development of New York City as a key international centre of commerce and the development of Broadway as its hub of entertainment. They analyze how Broadway influenced the development of the Music Theatre industry in Canada. Students develop a major project plan, which incorporates effective document layout and design skills and reflects strategic marketing skills. Through concentrated research and critical and comparative analysis, students develop a significant awareness of the entrepreneurial nature of the Music Theatre industry. In addition, through written and oral presentations, students refine their communications, research, and meta-cognition skills in the context of the Music Theatre industry, and reinforce their understanding of the historical and theoretical foundations of its commercial nature. They also refine personal processes related to organization skills, and resource, information, and time management skills.

Method(s) of Instruction: One-on-one tutorials, small group sessions, guidance and direction through the assignment work.

Content Outline by Topic: This course is part of a bridging program offered to graduates of specific Music Theatre Advanced Diploma programs bridging into the BAA Music Theatre Performance program. As such, it is considered an independent study course that does not include a weekly topical, but has very specific areas targeted for learning and further development, to be evaluated by an advisor assigned to the student during the bridging semester.

Actual Contact Hours: 42

Method(s) and Frequency of Evaluation of Student Performance: Professional portfolio 40% Strategic project plan 30% Research Project 20% Exam 10%

Resources to be purchased/provided by students: N/A

Textbook Requirements: TBD

Learning Outcomes: 1. Research the landscape of the Music Theatre industry in terms of current trends in the field. 2. Research the types of theatre organizations and their functions, including the identification of their most influential personnel. 3. Research the legal aspects of the Canadian music industry and related functions. 4. Generate a personal career plan that includes general career goals and career path strategies. 5. Generate a comparative analysis of employment and self-employment strengths and challenges (a SWOT

BAA (Music Theatre Performance) 57 Sheridan College Institute of Technology and Advanced Learning

Course Title: Music Theatre: Entrepreneurial Practice and Professional Portfolio – Bridging Course

analysis). 6. Formulate a plan for basic personal financial sustainability, based on business principles and entrepreneurial strategies. 7. Refine individual communication skills. 8. Design a rudimentary budget that involves the management of financial records that reflect the use of spreadsheets and categorization of income and expenditures for bookkeeping purposes. 9. Consolidate oneʼs personal Artistʼs Statement. 10. Develop a major project plan that incorporates document layout and design skills and reflects effective marketing skills. 11. Refine personal processes related to organization skills, and resource, information and time management skills. 12. Research the social, political, economic, and historical factors, trends, and events that affected the development of New York City as a key international centre of commerce and the development of Broadway as its hub of entertainment.

Information about course designer/developer: Course designed by faculty eligible to teach this course: Greg Peterson, Norra Taylor

Faculty qualified to teach the course and/or statement “faculty to be hired”: Greg Peterson, Norra Taylor

If the method of instruction includes on-line delivery (technology based, computer-based, web-based), what percentage of the course content will be offered on-line? N/A

Faculty qualifications required to teach/supervise the course: Minimum 10 years experience as a professional in the music theatre industry; minimum 5 years teaching experience; Masters preferred.

Classroom Requirements: Smart Classroom

Equipment Requirements: Dependent on student selected project

BAA (Music Theatre Performance) 58 Sheridan College Institute of Technology and Advanced Learning

5.3 Promotion and Graduation Requirements

Grade point average is calculated per term (TERM GPA OR TGPA) and over the student’s entire academic history with Sheridan (Cumulative GPA or CGPA). Courses re-taken will have grades from all attempts recorded on the transcript; however, only the highest grade will be used in the GPA calculation. Grade Point Averages are weighted calculations based on the grade received and the credit value of the course. An example of a weighted GPA is:

Course Grade Credit Weighted Grade Points Value Credit Value A 4.0 x 3.0 = 12.0 B+ 3.5 x 3.0 = 10.5 B 3.0 x 3.0 = 9.0 C+ 2.5 x 3.0 = 7.5 C 2.0 x 3.0 = 6.0 D 1.0 x 3.0 = 3.0 Total 18.0 48.0 GPA – total weighted credit value ÷ total credit value Based on example above: 48.0 ÷ 18.0 = 2.6 GPA

Graduation Requirements For students in Sheridan Baccalaureate programs, the following promotion and graduation requirements apply:

Level of achievement Program Requirement Promotion Graduation Courses in disciplines outside the 2.0 2.0 main field(s) of study Courses with disciplines within the 2.5 2.5 main field(s) of study Other, please specify (e.g., work N/A N/A placement/internship) Other, please specify (e.g., research N/A N/A paper) Other, please specify (e.g., N/A N/A laboratories)… etc. Overall achievement 2.4 2.4

Academic Standing, Baccalaureate Degrees Policy approved by Sheridan’s Board of Governors April 20, 2005 Graduation Policy approved by Sheridan’s Board of Governors October 20, 2004 Both approved by Ministry with the BAHSc. (Exercise Science & Health Promotion) December 31, 2007

BAA (Music Theatre Performance) 59 Sheridan College Institute of Technology and Advanced Learning

6.2 Professional/Accreditation or Other Organization Support

6.2.1 Professional/Accreditation or Other Requirements

Not applicable to this submission.

BAA (Music Theatre Performance) 65 Sheridan College Institute of Technology and Advanced Learning

6.2.2 Letters of Support: Professional/Accreditation or Other Requirements

BAA (Music Theatre Performance) 66 Sheridan College Institute of Technology and Advanced Learning

BAA (Music Theatre Performance) 67 Sheridan College Institute of Technology and Advanced Learning

BAA (Music Theatre Performance) 68 Sheridan College Institute of Technology and Advanced Learning

6.3 Program Content Summary Material

6.3.1 Program Level Learning Outcomes

Program Level Learning Outcomes Course, course segments or workplace requirements that contribute to this outcome 1. Research the history of music theatre Fundamentals of Acting, Fundamentals of Vocal in order to develop a personal acting, Technique & Theory, Fundamentals of Dance Technique, vocal and dance repertoire that is Principles of Contemporary Acting, Vocal Technique: informed by, and responds to, trends Physiology and Anatomy, Dance Technique: Physiology in the evolution of the art and its and Anatomy, Principles of Classical Acting, Vocal industry. Performance: Context Analysis, Dance: Artistry, Interpretation & Expression, History of Early Music Theatre, Principles of Modernism in Acting, Styles in Dance Performance, Styles in Vocal Performance, History of Contemporary Music Theatre, Acting Styles & Media, Commercial Vocal Repertoire Development, Dance Repertoire Development, Music Industry: Professional Practice, Post-Modern Theories of Acting, Music Theatre Vocal Project, Dance Project, MTP: Production I, Dramaturgy Master Class, MT Vocal Performance Master Class, Commercial Performance Master Class, Choreography Master Class, Audition Techniques, MTP: Production II, Acting Capstone Project, MT Vocal Performance Capstone Project, Commercial Performance Capstone Project, Dance Performance Capstone Project, Audition Master Class, MTP: Production III 2. Create a professional repertoire that Fundamentals of Vocal Technique & Theory, reflects a comprehensive and detailed Fundamentals of Dance Technique, Vocal Technique: understanding of the nature and Physiology and Anatomy, Dance Technique: Physiology requirements of the North American and Anatomy, Vocal Performance: Context Analysis, music theatre industry. Dance: Artistry, Interpretation & Expression, Styles in Vocal Performance, Styles in Dance Performance, Commercial Vocal Repertoire Development, Dance Repertoire Development, Music Industry: Professional Practice, MT Vocal Project, Dance Project, MTP: Production I, MT Vocal Performance Master Class, Commercial Performance Master Class, Choreography Master Class, Audition Techniques, MTP: Production II, MT Vocal Performance Capstone Project, Commercial Performance Capstone Project, Dance Performance Capstone Project, Audition Master Class, MTP: Production III 3. Perform a wide variety of styles of All courses within the discipline. material required by today’s theatrical and music industries at the entry-level professional standard expected by the industry.

BAA (Music Theatre Performance) 69 Sheridan College Institute of Technology and Advanced Learning

Program Level Learning Outcomes Course, course segments or workplace requirements that contribute to this outcome 4. Generate creative individual and Aural Concepts & Music Theory, Fundamental collective music performances Musicianship, Contemporary Concepts & Applications of informed by inquiry, research and Musicianship, Music Performance: Notation, Transcription scholarly writing, using appropriate and Scoring, Music Industry: Professional Practice, methodology. Audition Techniques, Audition Master Class, Work Term 5. Generate acting, vocal and dance Fundamentals of Acting, Fundamentals of Vocal performances that engage the Technique & Theory, Fundamentals of Dance Technique, audience, reflecting strong narrative, Principles of Contemporary Acting, Vocal Technique characterization and believable Physiology and Anatomy, Dance Technique Physiology relationships among characters. and Anatomy, Principles of Classical Acting, Vocal Performance: Context Analysis, Dance: Artistry, Interpretation & Expression, Principles of Modernism in Acting, Styles in Vocal Performance, Styles in Dance Performance, Acting Styles & Media, Commercial Vocal Repertoire Development, Dance Repertoire Development, Music Industry: Professional Practice, Post-Modern Theories of Acting, Music Theatre Vocal Project, Dance Project, MTP: Production I, Dramaturgy Master Class, MT Vocal Performance Master Class, Commercial Performance Master Class, Choreography Master Class, Audition Techniques, MTP: Production II, Acting Capstone Project, MT Vocal Performance Capstone Project, Commercial Performance Capstone Project, Dance Performance Capstone Project, Audition Master Class, MTP: Production III, Work Term 6. Create believable characters with fully Fundamentals of Acting, Fundamentals of Vocal developed physicality and voice, Technique & Theory, Principles of Contemporary Acting, informed by psychology and based on Vocal Technique: Physiology & Anatomy, Principles of thoughtful research and critical Classical Acting, Vocal Performance: Context Analysis, analysis. Principles of Modernism in Acting, Styles in Vocal Performance, Acting Styles & Media, Commercial Vocal Repertoire Development, Music Industry: Professional Practice, Post-Modern Theories of Acting, Music Theatre Vocal Project, MTP: Production I, Dramaturgy Master Class, MT Vocal Performance Master Class, Commercial Performance Master Class, Audition Techniques, MTP: Production II, Acting Capstone Project, MT Vocal Performance Capstone Project, Commercial Performance Capstone Project, Audition Master Class, MTP: Production III, Work Term 7. Refine musical literacy in order to Aural Concepts and Music Theory, Fundamental interpret, through performance, the Musicianship, Contemporary Concepts & Applications of intent and methodology of the Musicianship, Music Performance: Notation, Transcription composer. & Scoring

BAA (Music Theatre Performance) 70 Sheridan College Institute of Technology and Advanced Learning

Program Level Learning Outcomes Course, course segments or workplace requirements that contribute to this outcome 8. Integrate meta-cognitive practices and Fundamentals of Vocal Technique & Theory, systems of knowledge in order to Fundamentals of Dance Technique, Aural Concepts and enhance one’s personal vision and Music Theory, Vocal Technique: Physiology & Anatomy, one’s relationship with the audience Dance Technique: Physiology & Anatomy, Fundamental during performances. Musicianship, Vocal Performance: Context Analysis, Dance: Artistry, Interpretation & Expression, Contemporary Concepts & Applications of Musicianship, Styles in Vocal Performance, Styles in Dance Performance, Music Performance: Notation, Transcription & Scoring, Commercial Vocal Repertoire Development, Dance Repertoire Development, Music Industry: Professional Practice, Music Theatre Vocal Project, Dance Project, MTP: Production I, MT Vocal Performance Master Class, Commercial Performance Master Class, Choreography Master Class, Audition Techniques, MTP: Production II, MT Vocal Performance Capstone Project, Commercial Performance Capstone Project, Dance Performance Capstone Project, Audition Master Class, MTP: Production III, Work Term 9. Develop aural acuity that reflects the Aural Concepts & Music Theory, Fundamental multidimensional nature of Musicianship, Contemporary Concepts & Applications of musicianship by integrating constructs Musicianship, Music Performance: Notation, Transcription of music knowledge with listening & Scoring skills. 10. Develop original and unique artistic All courses within the discipline plus Composition & performances by engaging in critical Rhetoric, History of Western Theatre, History of Early and creative problem-solving and Music Theatre, History of Contemporary Music Theatre decision-making. 11. Foster personal development and All courses within the discipline plus the Work Term collegial working relationships that conform to established industry hierarchy, professional etiquette, and protocols through self-reflection, effective communications and collaboration strategies.

BAA (Music Theatre Performance) 71 Sheridan College Institute of Technology and Advanced Learning

Program Level Learning Outcomes Course, course segments or workplace requirements that contribute to this outcome 12. Generate a personal physical regimen Fundamentals of Vocal Technique & Theory, required to maintain effective acting, Fundamentals of Dance Technique, Vocal Technique: vocal and dance technique, for Physiology and Anatomy, Dance Technique: Physiology success in music theatre and and Anatomy, Vocal Performance: Context Analysis, commercial performance. Dance: Artistry, Interpretation & Expression, Styles in Vocal Performance, Styles in Dance Performance, Commercial Vocal Repertoire Development, Dance Repertoire Development, Music Industry: Professional Practice, Music Theatre Vocal Project, Dance Project, MTP: Production I, MT Vocal Performance Master Class, Commercial Performance Master Class, Choreography Master Class, Audition Techniques, MTP: Production II, MT Vocal Performance Capstone Project, Commercial Performance Capstone Project, Dance Performance Capstone Project, Audition Master Class, MTP: Production III, Work Term 13. Generate a personal methodology and All courses within the discipline plus Composition & approach to work required of the field Rhetoric, History of Western Theatre, History of Early of study and the Music Theatre Music Theatre, History of Contemporary Music Theatre industry. and the Work Term 14. Design comprehensive, cogent, and Fundamentals of Dance Technique, Aural Concepts and creative entrepreneurial strategies Music Theory, Dance Technique: Physiology & Anatomy, related to self-promotion and Fundamental Musicianship, Dance: Artistry, Interpretation marketing that incorporate effective & Expression, Contemporary Concepts & Applications of presentation, communication and Musicianship, Styles in Dance Performance, Music technological skills, where Performance: Notation, Transcription & Scoring, Dance appropriate. Repertoire Development, Music Industry: Professional Practice, Dance Project, MTP: Production I, Choreography Master Class, Audition Techniques, MTP: Production II, Audition Master Class, MTP: Production III, Work Term 15. Incorporate, where appropriate, All courses within the discipline. current and evolving technologies, into individual performances and collaborative projects.

BAA (Music Theatre Performance) 72 Sheridan College Institute of Technology and Advanced Learning

6.3.2 Course Descriptions

The detailed program map has been used in Appendix 6.4 in lieu of individual course outlines. This format was used to facilitate identification and validation of the complex and extensive integration across disciplines (the view by semester) and intentional sequencing through individual disciplines from Semester 1 through 8. Space requirements for the detailed program map are such that the shorter Calendar Description for each course was used, to accommodate all required components of the course outline expected by PEQAB in the single 6.4 document.

As a result, this Appendix provides the detailed course descriptions, to ensure that the full intent of the learning as outlined in these descriptions is included within the proposal.

Course Title Calendar Course Description Year One, Semester 1 Fundamentals of Acting In this course, students learn fundamental approaches to acting. In a studio setting they examine the basic principles of improvisation, analyze the classic structure of monologues, and investigate the two techniques generally employed by actors. In interactive lectures, they research the history of actors and acting. In a studio setting, in the improvisation component, students explore being ‘in the moment’ by responding to stimuli, inventing active patterns of response, and exploring instinctive, extemporaneous spontaneity as the cornerstone of individual original creativity. Using variations of classroom exercises first developed in the 1940s by Viola Spolin, the American Grandmother of Improv, and others, students assimilate the rules of improvisation as they apply to modern interpretive approaches to acting. In a studio setting, in the monologue fundamentals component, students explore the canon of William Shakespeare and its historical context. They analyze the four genres into which Shakespeare’s plays are divided and the inherent differences between poetry and prose and examine the principles of scansion and the classical structure of Shakespeare’s soliloquies. They discover the correlation between this classical structure and the construct of modern monologues and of contemporary music theatre songs. Students select, prepare, and perform soliloquies drawn from different genres of Shakespeare plays. In a studio setting, in the acting techniques component, students explore the differences between the outside-in and inside-out approaches to acting by participating in related exploratory exercises. In a studio setting, in the impulse and archetypes component, students explore the fundamental dynamics between performer and audience. By participating in group and individual exercises which follow the principles of Peter Brook, Philippe Gaulier, and Jacques LeCoq, students become aware of their ingrained personal habits and explore ways to address them. Using breath, movement, and the archetypes of natural element work, they seek to awaken their perceptions of social interaction and personal reaction, and consequently their ability to control and utilize impulses. In interactive lectures, students research the evolution of the two most

BAA (Music Theatre Performance) 73 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description commonly employed, yet diametrically opposed, acting techniques as characterized by the great actors who personified these general schools of thought, specifically the turn-of-the-20th-Century actresses Sarah Bernhardt and Eleanora Duse. They also explore Michael Shurtleff’s 12 Guideposts. Fundamentals of Vocal In this course, students learn the fundamentals of vocal technique. Technique and Theory They examine the concepts of free, unrestricted vocal production and communication through song. They perform traditional music theatre and commercial vocal repertoire while exploring basic care of the voice and diverse physical and vocal exercises essential for body/voice connection. In interactive lectures, students explore basic vocal hygiene, and prepare and perform Preliminary Division scales and vocal studies (based on the Royal Conservatory of Music Grade 6 requirements in those categories.) They analyze the role and importance of concepts like vocal hygiene and body/breath connection to successful vocal technique. In a studio setting, students perform traditional music theatre repertoire from the Golden Age of Broadway. They analyze song lyrics and musical structure, in order to root their performances in text and to communicate vocal material effectively. They research the composers, lyricists, book writers, and performing artists attached to the pieces they perform. They collaborate effectively with accompanists for rehearsals and presentations. In a studio setting, through performances of traditional commercial vocal repertoire, students explore basic patter skills, develop microphone technique, and explore eye-phrasing. They research the origins of the discipline as well as the composers of the songs they perform. In private one-on-one sessions, students engage in vocal tutorials to ensure formative individual development. They evaluate current performance strengths and challenges and develop a personal work process that includes effective self-management skills (i.e. setting goals, managing workload, meeting deadlines). Fundamentals of Dance In this course, students learn the fundamental dance techniques Technique commonly applied to the genres of ballet, jazz, and tap and research the origins of these genres. While incorporating standard dance class protocols, students practice barre, floor, and centre work. They explore the concepts of space, rhythm, balance, energy, and dynamics. In interactive lectures, students research the origins of the three genres of dance commonly used in Music Theatre: ballet, jazz, and tap. They analyze how ballet’s origins as a dance interpretation of fencing in the late 15th Century Italian Renaissance court was developed in the French court of Louis XIV as a concert dance form. They analyze how jazz dance originated from African American vernacular dance from the late 1800s to the mid-1900s. They analyze how tap dance developed from the African gumboot dance, the traditional clog dance of Ireland and northern England, the Juba dance of the West Indies,

BAA (Music Theatre Performance) 74 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description and the Spanish flamenco. In a studio setting, while assimilating the common French vocabulary associated with specific balletic moves, students develop the foundational principles of ballet including posture, alignment, balance, turnout, flexibility, and pointing the toe. Through a series of repetitive, rigorous, and precise barre, floor, and centre exercises, students develop a strong core and strength in the lower body as well as an awareness of and relationship to space. They cultivate healthy physical habits in order to protect their muscles, limbs, bones, and general well- being. In a studio setting, students develop the foundational principles of jazz, including the use of sharp dynamic and energetic movement, the isolation of various parts of the body, and the personalization of interpretive performance. Students execute variations of battements, jetes, turns, walks, and jazz progressions, emphasizing the rhythms and energy of contemporary jazz and rock music. In a studio setting, students develop the foundational principles of tap. Through a series of repetitive ankle and foot isolation exercises, students explore the basic steps associated with the tap genre including ball tap, heel tap, step, stomp, stamp, touch, heel drop, ball drop, brush, flap, cramp roll, and shuffle. Through an exploration of both simple and complex combinations of these movements, students develop a sense of rhythm and syncopation. In a studio setting, students explore a variety of dance styles including Hip-Hop, Modern, Lyrical, and Musical Theatre. Students assimilate the protocols required for success in each of their four studio dance classes. Aural Concepts and Music In this course, students develop rudimentary skills in music reading, Theory writing and listening, through the study of music theory. With an emphasis on singing, they build a foundation for learning through sight-reading, music notation, and aural listening. They contextualize these music skills by analyzing major periods in music history. In a studio setting, students explore rudimentary aural concepts through a sequentially ordered, multidimensional approach to learning modeled on the Kodály Method. Through this methodology, they correlate the use of solfa and rhythm duration syllables with hand signs. In addition, they engage in hearing, singing, deriving, reading, improvising, conducting, and notating rhythms and melodies based on major and minor pentatonic tonalities in simple and compound meters. They encode and decode the system of musical notation by establishing the mental relationship between sounds heard and the use of written symbols that form musical notation. Through interactive lectures, students investigate rudimentary music theory concepts. Topics include an examination of pitch, clefs, octave, register, visualizing the piano keyboard, accidentals, diatonic major scales, intervals, the organization of key signatures, consonance and dissonance, and transposition. In interactive lectures, they research the work of major composers in

BAA (Music Theatre Performance) 75 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description the historical and cultural context of major music periods and movements. Through the critically reflective and co-dependant actions of performing and listening, improvising and listening, composing and listening, and conducting and listening, students develop rudimentary musicianship. Year One, Semester 2 Principles of In this course, students examine contemporary methodologies of Contemporary Acting acting. In a studio setting, they incorporate the principles of script analysis into contemporary scene study, cultivate a centred core through universal mask exercises, and practice the fundamentals of speech. In interactive lectures, students research the development of the American school of Method acting. Students investigate the principles of script analysis. They consider the underlying idea being expressed by the playwright, analyze the structure of a play, dissect scenes into beats, determine objectives, obstacles, and tactics, and perform scenes from an exemplary contemporary play incorporating these precepts. In a studio setting students explore a variety of plays by prominent contemporary Canadian playwrights. They analyze, rehearse, and perform scenes from these plays incorporating the principles they investigated in script analysis. Also in a studio setting, using variations of universal mask (also known as neutral mask) exercises first developed in the 1950s by renowned French master of physical theatre Jacques LeCoq, students cultivate the fundamentals of improvisation acquired in first semester by integrating mind and body, clarifying impulse, experiencing self- acceptance, and developing a facility to express honest, authentic, and balanced emotions. In a studio setting, building on the work begun in neutral mask, students adapt inhibiting habits through a series of vocal exercises. They relate skeletal anatomy to the performer’s breath and to alignment support for voice (Alexander Technique). They explore fundamental articulation techniques, including focus and breath connection. Students apply these concepts using contemporary text. In interactive lectures, students research the establishment of the Theatre Guild in 1918 as an antidote to the commercialism of Broadway, the offshoot of the Group Theatre in 1931 by its younger rebellious members Harold Clurman, Cheryl Crawford and Lee Strasberg, and the emergence of the Actors’ Studio in 1947 by founders Elia Kazan, Cheryl Crawford and Robert Lewis as the harbinger of the new school of Method acting. They research the many noteworthy actors, directors, and playwrights who emerged from this school. Students prepare diverse and challenging monologue material, which they perform in weekly private tutorials in front of an acting coach. They apply the constructive criticism given them in tutorials to enhance their monologue performances.

BAA (Music Theatre Performance) 76 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description Vocal Technique: In this course, students examine the fundamentals of physiology and Physiology and Anatomy anatomy, specifically as they apply to the voice and vocal technique. They continue to explore the concepts of free, unrestricted vocal production and communication through song by performing contemporary music theatre and commercial repertoire. In interactive lectures, students examine basic human anatomy and the physiology involved in vocal production. They explore physical and vocal exercises essential for vocal skills development and self-care strategies. They then analyze the implications that this knowledge has on healthy physical function, which in turn results in improved vocal technique and strong vocal performance. As an extension to these interactive lectures, students engage in individual rehearsals with an assigned musical coach/accompanist in preparation for the final Division #1 Vocal Jury presentations at the end of the Semester. Through the practice of Division #1 scales and of vocalization studies (which are based on the Royal Conservatory of Music Grades 7 and 8 requirements in those categories) and employing Bel Canto technique, students integrate the skills they have developed, culminating in the performance of a classical Italian Aria. In a studio setting, students perform contemporary music theatre vocal repertoire. They continue to analyze song lyrics and musical structure, in order to further root their performances in text and to communicate vocal material with spontaneity and emotional honesty. They research contemporary composers, lyricists, book writers, and performing artists. In a studio setting, through performances of contemporary commercial vocal repertoire, students explore and apply the concepts of subjectivity and objectivity in order to maximize emotional impact. They further develop their patter skills, microphone technique, and eye-phrasing. They research the composers of the songs they perform. In private one-on-one vocal tutorials, students continue to develop individual vocal skills and repertoire. Dance Technique: In this course, while continuing to build on practical dance techniques, Physiology and Anatomy students examine the fundamentals of human anatomy and physiology specifically as they relate to dance. They investigate the principles of physical health and wellness, and the relationship of dance conditioning to proactive injury prevention. In interactive lectures, students research the basic structure and function of the muscles most commonly employed in dance. They examine the physical mechanics of turnout and rotation of the hip socket while the body maintains proper stance. Through a series of physical workouts, including warm-up, stretching, cool-down, and core strength technique exercises, students learn injury prevention strategies. They recognize common injuries related to dance and research appropriate rehabilitation techniques. They develop a personal wellness plan that includes proper diet and nutrition. They maintain a proper physical and mental regimen that enhances their continued success in the development of healthy dance technique.

BAA (Music Theatre Performance) 77 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description In a studio setting, students further develop the foundational principles of ballet including posture, alignment, balance, turnout, flexibility, and pointing the toe. Through a series of repetitive, rigorous, and precise barre, floor, and centre exercises, students further develop their technique and increase flexibility while maintaining a strong core and strength in the lower body as well as an increased awareness of and relationship to space. They cultivate healthy physical habits in order to protect their muscles, limbs, bones, and general well-being. In a studio setting, students further develop the foundational principles of jazz, including the use of sharp dynamic and energetic movement, the isolation of various parts of the body, and the personalization of interpretive performance. Students execute variations of battements, jetes, turns, walks and jazz progressions, emphasizing the rhythms and energy of contemporary jazz and rock music. In a studio setting, students further develop the foundational principles of tap. Through a series of repetitive ankle and foot isolation exercises, students explore the basic steps associated with the tap genre including ball tap, heel tap, step, stomp, stamp, touch, heel drop, ball drop, brush, flap, cramp roll, and shuffle. Through an exploration of both simple and complex combinations of these movements, students continue to develop a sense of rhythm and syncopation. In a studio setting, students explore a variety of dance styles including Hip-Hop, Modern, Lyrical, Latin and Musical Theatre. Students assimilate the protocols required for success in each of their four studio dance classes. Fundamental Musicianship In this course, students cultivate fundamental musicianship through music reading, writing, and listening. They integrate additional rudimentary concepts of music theory into vocal performance and on the piano keyboard. In addition, they investigate music technology related to music notation, production and sequencing software. In a studio setting, while continuing to employ Kodály methodology, students build on their sight-reading, music notation, and aural listening skills. Through interactive lectures, students examine additional fundamental elements of music theory, including minor key signatures, scales, a study of harmony, triads, harmonic progression, non-harmonic tones, tonic and dominant chords, and 7th chords. In a midi-lab setting, students are introduced to music technology software relating to notation, production and sequencing resulting in professional level music scores and recordings. As a final project, they compose, arrange and edit an original composition that integrates major concepts and principles learned to date. Through individual study, they research the work of major composers in the historical and cultural context of major music periods and movements. Through continued critically reflective and co-dependant actions of performing and listening, improvising and listening, students cultivate fundamental musicianship.

BAA (Music Theatre Performance) 78 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description History of Western In this course, students explore the history and development of Theatre Western Theatre from its origins in classical Greece to contemporary theatre. They explore the various elements that comprise the development of Western Theatre since ancient times, analyzing both the evolution and the continuity of these elements through successive eras. In addition, students broaden their awareness of plays, playwrights, actors and stagecraft throughout the course of history through guided discussion of the required reading list of plays. They research the plays and playwrights who shaped critical trends in theatre, and the influential actors/actor-managers whose contributions marked key turning points in theatre development. In addition, students investigate major socio-political factors of each period under study that affected the way in which theatre was presented and perceived. They attend two professional performances and critique them. Utilizing an approach that combines interactive lecture, discussion, group presentation and individual research, students develop the necessary foundation as well as the critical historical context for subsequent courses and research in theatre. Year Two, Semester 1 Principles of Classical In this course, students investigate classical methodologies of acting. Acting They cultivate the vocal and physical skills needed to support classical text (including alignment, breath, and articulation), perform scenes from Shakespeare's canon, construct and perform clown turns, and experiment character mask. In interactive lectures, they research the great actor/managers of the Classical era. In a studio setting, students construct and perform clown turns. Based on the direct actor/audience relationship of Elizabethan theatre, students explore the power of sharing raw personal emotional responses. Through breaking the ‘fourth wall’, they elicit profound personal audience response. By employing techniques developed by Jacques Le Coq and Richard Pochinko, and by using their own personalities as a base for a character, they experience a strong connection with themselves, their partners, and the world. They apply these techniques to soliloquies (direct address to the audience), and to scene work (vulnerability, spontaneity, and commitment to action). Building on the improvisational and audience relationship skills acquired in clown, students explore the archetypes of character mask, most notably in the tradition of Commedia dell’Arte. They portray character by employing strong physical and vocal expression. They develop the skills required to embody character roles. In interactive lectures, students research the great actor/managers of the Classical Era including Colley Cibber, David Garrick, William Charles Macready, Henry Irving, and Herbert Beerbohm Tree. In a studio setting, students build on their knowledge of anatomy, alignment techniques (Alexander), and breath support and release. They cultivate verbal clarity and energy, expression of open sound, and articulation, as required to support classical text, through use of Shakespeare’s sonnets.

BAA (Music Theatre Performance) 79 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description In a studio setting, students perform scenes from different genres of Shakespeare's plays. They research the technique of personification that emerged in English Renaissance Theatre and place the characters they portray within the concept of the Elizabethan World Picture. They explore the new naturalism, which emerged within the artifice of acting Classical heightened text, and which evoked significant emotional response from its contemporary audiences. Using Shakespearean text, students develop the ability to play larger-than-life characters that experience strong emotions while speaking poetic language. Students prepare diverse and challenging monologue material, which they perform in weekly private tutorials in front of an acting coach. They apply the constructive criticism given them to further enhance their performances. Vocal Performance: In this course, students perform scenes and songs from the musical Context Analysis theatre repertoire that are informed by research and contextual analysis. They continue to explore the concepts of free, unrestricted vocal production and communication through song by performing solo music theatre and group commercial/pop repertoire. In interactive lectures, students explore physical and vocal exercises essential for vocal skills development. They prepare and perform Division #2 scales and vocal studies (based on the Royal Conservatory of Music Grade 8/9 requirements in those categories.) They analyze the significance of technique development for versatility and strength in vocal performance. In a studio setting, students perform scenes and songs from the music theatre repertoire. They analyze text, scene structure, and character as well as song lyrics and musical structure in order to further root their performances in text and to communicate with complexity, spontaneity, and emotional honesty. In a studio setting, through performances of commercial/pop group repertoire, students develop the skills of vocal blending, vocal harmony, and physical staging for effective commercial/pop performance. They research the composers, lyricists and pop group artists of the songs they perform. In private one-on-one vocal tutorials, students continue to analyze personal performance strengths and challenges and develop individual vocal skills and repertoire. Dance: Artistry, In this course students learn how to interpret, express, and develop Interpretation and their artistry through dance. Through the use of movement, they learn Expression how to analyze, differentiate, and interpret different styles of dance while continuing to build on the foundation dance techniques. Through interactive lectures, students explore the fundamentals of character development and storytelling within dance. They analyze how to access their own emotions through expression and learn how to interact appropriately with the audience. Using proper technique, they develop their artistry by incorporating musicality, breath work, nuance and style, to create dramatic effect without the use of spoken word.

BAA (Music Theatre Performance) 80 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description Students explore the structure of exercise development and delivery techniques. In a studio setting, students further develop the foundational principles of ballet including posture, alignment, balance, turnout, flexibility, and pointing the toe. Through a series of repetitive, rigorous, and precise barre, floor, and centre exercises, students further develop their technique and increase flexibility while maintaining a strong core and strength in the lower body, as well as an increased awareness of and relationship to artistry. They cultivate healthy physical habits in order to protect their muscles, limbs, bones, and general well-being. In a studio setting, students further develop the foundational principles of jazz, including the use of sharp dynamic and energetic movement, the isolation of various parts of the body, and the personalization of interpretive performance. Students execute variations of battements, jetes, turns, walks and jazz progressions, emphasizing the rhythms and energy of contemporary jazz and rock music. In a studio setting, students further develop the foundational principles of tap. Through a series of repetitive ankle and foot isolation exercises, students explore the basic steps associated with the tap genre including ball tap, heel tap, step, stomp, stamp, touch, heel drop, ball drop, brush, flap, cramp roll, and shuffle. Through an exploration of both simple and complex combinations of these movements, students continue to develop a sense of rhythm and syncopation. In a studio setting, students explore a variety of dance styles including Hip-Hop, Modern, Lyrical, Latin and Musical Theatre. Students will be introduced to the fundamentals of partnering work. Students assimilate the protocols required for success in each of their four studio dance classes. Contemporary Concepts In this course, students continue to develop musicianship by and Applications of examining various patterns of music reading, writing and listening. Musicianship They explore further elements of music theory and integrate these concepts to the piano keyboard and performing in a vocal ensemble. Additionally, they continue research into a major period in musical history. In a studio setting, students continue to develop musicianship through reading and writing a variety of patterns of music that includes leaps of the tonic and dominant triads. They aurally identify melodic intervals, chords, diatonic chord progressions and scales. They research the cultural origins of Canadian folk music and perform five Canadian folk songs according to cultural traditions and practice. Through interactive lectures, students examine topics in music theory including cadences, voice leading, arranging for Soprano, Alto, Tenor and Bass voices, melodic and harmonic analysis, and a study of the modes with integration of concepts to the piano keyboard. In a studio setting, students explore musical styles, genres, and composers from the Renaissance to the present through the study and performance of choral music for mixed voices – Soprano, Alto, Tenor, and Bass (SATB). They enhance their own knowledge and

BAA (Music Theatre Performance) 81 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description understanding of the contribution of choral music to human historical, cultural, and social development. In addition, they apply newly acquired knowledge and refined skills while continuing to develop their music literacy and musicianship. Through individual study, they research the work of major composers in the historical and cultural context of major music periods and movements. Through interactive lectures, research, student presentations, practical demonstrations and applications, students refine their musicianship through ongoing critically reflective and co-dependent actions of: performing and listening, improvising and listening, composing and listening, and conducting and listening. History of Early Music In this course, students explore early European forms of musical stage Theatre entertainment, analyze how they influenced the evolution of the integrated musical in America, and contextualize that process with socio-economic trends in the United States specifically as they relate to the emergence of New York City as a world centre of commerce and to the development of Broadway as its hub of entertainment. They research notable American composers, as well as lyricists, book writers, producers, directors, choreographers, and performing artists who helped shape the truly integrated form of American Music Theatre. As well, students investigate the social, economic, political and cultural events and climate of the time to determine how they affected the development of the indigenous American form of Music Theatre. In addition, students examine musical repertoire from the pre- Golden Age of Broadway. Topics include a brief history of New York City, an exploration of early forms of European and American musical entertainment, European and American operetta, Tin Pan Alley, Monopolization: the Syndicate and the Shuberts, the emergence of the Revue format, Irving Berlin, Jerome Kern, George Gershwin, Rodgers and Hart, Cole Porter, and Kurt Weill. Year Two, Semester 2 Principles of Modernism In this course, students research the Modern school of acting. In a in Acting studio setting, they correlate emotional vulnerability with breath awareness in the delivery of text, perform scenes from plays by Henrik Ibsen or Anton Chekhov and Tennessee Williams or Arthur Miller, and choreograph stage combat routines. In interactive lectures, they explore the Modern view of the world, as shaped by Darwin and Freud, as well as the changing roles of men and women. They then move on to the 20th Century ‘Fathers of Heightened Realism’ in America: Tennessee Williams and Arthur Miller. In works by Williams, they explore the underlying psychosexual issues of the day, as well as the poetic rhythms and cadences inherent in the southern drawl utilized by many characters. In works by Miller, they explore the sociopolitical underpinnings of America in the post-World War II era that gave birth to the rise of the anti-hero in contemporary dramatic literature, as well as the stylized speech patterns and/or elevated vocabulary utilized by most characters.

BAA (Music Theatre Performance) 82 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description In a studio setting, students rehearse and perform scenes from selected plays by the two 19th Century European pioneers of the Modern school: Henrik Ibsen and Anton Chekhov. Using a series of verbal and vocal exercises, students develop a greater sense of breath awareness, emotional range, self-awareness, and clarification of detail. Through the use of modern text, students diversify rehearsal exploration techniques. In a studio setting, students also develop basic unarmed stage combat skills practicing safe and controlled movement. They generate combat choreography with clear intent and actions, consistent with character physicality, and derived from organic emotional response to critical situations. They acquire a basic knowledge of stage combat notation. In tutorials, students address personal acting challenges and strengths. They work independently, exploring and preparing challenging monologue material from scripts appropriate for audition purposes as well as for personal growth. Styles in Vocal In this course, students examine the wide variety of styles required by Performance today’s theatrical and musical industries. They perform Early Music Theatre and commercial vocal repertoire while exploring diverse physical and vocal exercises essential for vocal freedom and technical development. In interactive lectures, students examine vocal production as it applies to various musical and vocal performance styles. They explore physical and vocal exercises essential for technical development and vocal freedom, resulting in continued healthy physical function and vocal versatility. As an extension to these interactive lectures, students engage in individual rehearsals with an assigned musical coach/accompanist in preparation for the final Division #2 Vocal Jury presentations at the end of the Semester. Through the continued progressive practice of the Division #2 vocal studies (which are based on the Royal Conservatory of Music Grade 9 requirements in those categories), students continue to ground their technical development in Classical vocal technique. In a studio setting, students perform Early Music Theatre (Pre-Golden Age of Broadway) repertoire. They analyze song lyrics and musical structure in order to root their performances in text and to communicate vocal material effectively. They research the composers, lyricists, book writers and performing artists attached to the pieces they perform. They collaborate effectively with accompanists for rehearsals and presentations. In a studio setting, through performances of commercial vocal repertoire, students analyze and further develop personal stylistic strengths. They examine commercial marketing, industry expectations, live club acoustics, and appropriate use of technology. In private one-on-one vocal tutorials, students continue to analyze current performance strengths and develop individual vocal skills and repertoire.

BAA (Music Theatre Performance) 83 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description Styles in Dance In this course, students learn how to perform and apply appropriate Performance techniques in a wide variety of dance styles required by today’s theatrical and musical industries. They develop the ability to pick up and retain choreography in a timely fashion. In addition, they learn to assimilate various dance styles, while incorporating previously acquired skills such as artistry, interpretation and expression. They develop their skills and versatility as a dance artist. Through interactive lectures, students recognize and describe specific characteristics and styles of respected performers and choreographers synonymous with musical theatre: Robert Alton, Georges Balanchine, Agnes De Mille, Gower Champion, Michael Kidd, Jack Cole, Jerome Robbins, Bob Fosse, Michael Bennett, and Susan Stroman. Topics include the use of modern, jazz, (both lyrical and Broadway styles) and tap, within musical theatre, specifically in the context of their historical and cultural origins. In a studio setting, students refine the principles of ballet technique, including posture, alignment, balance, turnout, flexibility, and pointing the toe. Through a series of repetitive, rigorous, and precise barre, floor, and centre exercises, students further develop their technique and increase flexibility while maintaining a strong core and strength in the lower body, as well as an increased awareness of and relationship to artistic expression. They cultivate healthy physical habits in order to protect their muscles, limbs, bones, and general well-being. In a studio setting, students refine the principles of jazz, including the use of sharp dynamic and energetic movement, the isolation of various parts of the body, and the personalization of interpretive performance. Students execute variations of battements, jetes, turns, walks and jazz progressions, emphasizing the rhythms and energy of contemporary jazz and rock music. In a studio setting, students refine the principles of tap. Through a series of repetitive ankle and foot isolation exercises, students explore the basic steps associated with the tap genre including ball tap, heel tap, step, stomp, stamp, touch, heel drop, ball drop, brush, flap, cramp roll, and shuffle. Through an exploration of both simple and complex combinations of these movements, students continue to develop a sense of rhythm and syncopation. In a studio setting, students explore a variety of dance styles including Modern, Lyrical jazz, Broadway Jazz and Broadway tap. Students will further develop partnering techniques. Students assimilate the protocols required for success in each of their four studio dance classes. Music Performance: In this course, students continue to develop musicianship through Notation, Transcription complex-level music reading, writing and listening, and by performing and Scoring in a vocal ensemble. They examine complex elements of music theory emphasizing transcription and scoring of rhythm section instruments and operate professional computer music software to produce recorded and notated music. In a studio setting, students refine their sight-reading, music notation

BAA (Music Theatre Performance) 84 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description and listening skills of complex-level music. They aurally identify melodic intervals beyond an octave, 7th chords, more complex chord progressions, scales and all modes. In addition, they research the culture, origins and traditions of Canadian folk music and perform five Canadian folk songs not previously studied. Through interactive lectures, students explore complex-level theoretical concepts including arranging for rhythm section instruments (bass, drums, guitar and piano). They critically listen for these instruments on a musical track, and transcribe the music heard onto a score using a computer music notation program and further integrate these concepts to the piano keyboard. Music technology introduces the student to music production and sequencing software, and explores the processes involved in creating professional level music recording including effective self-guided problem solving techniques. In a studio setting, students apply musicianship knowledge in an authentic musical situation through participation in a vocal ensemble. They rehearse choral music arrangements of popular music and perform with a live band in April. Through individual study, they research the work of major composers in the historical and cultural context of major music periods and movements. Through interactive lectures, research, student presentations and practical demonstrations and applications, musicianship is developed through the critically reflective and co-dependant actions of: performing and listening, improvising and listening, composing and listening, and conducting and listening. History of Contemporary In this course, students research significant musicals of the Golden Music Theatre Age of Broadway and the evolution of a variety of genres in the years following its demise. They contextualize these developments with major world events and with political and socio-economic trends in the United States specifically as they relate to the establishment of New York City as a world centre of commerce. Students research notable American composers, as well as lyricists, book writers, producers, directors, choreographers, and performing artists who crafted the truly integrated form of American Music Theatre during the Golden Age and who helped develop subsequent genres. In addition, students examine musical repertoire from the Golden Age of Broadway and beyond. Topics include significant Book Musicals of the Golden Age, significant traditional Book Musicals beyond the Golden Age, the popularization of revised Revivals, the re-emergence of the Revue format, Concept Musicals, Mega-Musicals, Juke-Box Musicals, and such concepts as Hit/Flop, Success/Failure, Colour-Blind Casting, and the transformative power of this particular medium. Year Three, Semester 1 Acting Styles and Media In this course, students investigate a variety of different acting styles and media techniques. They enhance their vocal/verbal agility and experiment with on-camera techniques. They research the evolution of

BAA (Music Theatre Performance) 85 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description acting styles from the mid 17th Century to the Victorian Age and perform scenes from plays in restoration, farce, and/or melodrama styles. In a lecture setting, students research the evolution of restoration, farce, and melodrama as vital theatrical forms. Students explore the rebuilding of a theatrical tradition in England after the devastation of the Civil War. They examine the emergence of career dramatic writers including William Congreve, Oliver Goldsmith. Richard Brinsley Sheridan, William Wycherley, and Aphra Behn. Students explore the evolution of farce as a major theatrical form from Moliere in the late 1600s, to Feydeau at the turn of the 20th Century, to contemporary times. Students research how melodrama emerged as an attempt to circumvent the strict patent laws governing permissible forms of legitimate theatre by adding music. They explore how the form has influenced popular contemporary entertainment on stage, in film, and on television. In a studio setting, students develop their vocal dexterity and an independent vocal and physical warm-up. They apply acquired performance skills to various styles of dramatic text. Refining vocal detail, students cultivate vocal resonance and articulation. In addition, they investigate dialects. In a studio setting, students explore three different styles of acting: restoration, farce, and melodrama. They familiarize themselves with these styles in order to cultivate their wit (restoration), physicality (farce), and passion (melodrama). In a television studio setting, students experiment with the most common techniques used in video performance. They become familiar with the workings of a film or television studio or set, and learn the terminology to describe various functions. They develop a performance technique that is suitable for the camera, and perform and analyze scenes. In a public performance, students perform an Acting Critique. They choose, prepare, and perform a 5- to 10-minute play excerpt that addresses their specific personal acting challenges for which they receive a detailed aural and written commentary. In private tutorials, students prepare diverse and challenging monologue material, which they perform and develop in weekly private tutorials in front of an acting coach. They apply the feedback given them to further enhance their performances. Commercial Vocal In this course, students perform solo commercial/pop vocal repertoire Repertoire Development essential for today’s Music Theatre and Commercial Music industries, culminating in the Commercial Performance Critiques at the end of the Semester. They explore personal style and artistry, relationship to the audience, working with a live band, appropriate use of technology, and contemporary/pop vocal technique. In interactive lectures, students explore physical and vocal exercises essential for vocal skills development. They prepare and perform Division #3 scales and vocal studies (based on the Royal Conservatory

BAA (Music Theatre Performance) 86 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description of Music Grade 9/10 requirements in those categories). They analyze and apply the technical and stylistic modifications necessary to master commercial/pop vocal material. In a studio setting, students perform contemporary/pop music theatre repertoire. They research the composers, lyricists and book writers of songs being performed. They analyze song lyrics, musical structure and vocal style in order to root their performances in text and to communicate vocal material effectively. In a studio setting, students perform solo commercial/pop material in preparation for the Commercial Performance Critiques. In consultation with faculty members, they construct a 12- to 15-minute ‘nightclub’ or concert act. They generate their own scripts, technical cue lists, and musical charts for the band. They recruit peer back-up support, rehearse independently, and meet all required deadlines. At the end of the semester, they perform their act with a live band in front of an invited audience and a critique panel consisting of faculty and music industry professionals at a downtown venue. In private one-on-one vocal tutorials, students continue to analyze current performance strengths and challenges while developing individual vocal skills and repertoire. Dance Repertoire In this course, students perform and apply appropriate techniques in a Development wide variety of dance styles not yet covered in previous courses within the discipline, which are required by today’s theatrical and musical industries. They develop the ability to pick up and retain choreography in a timely fashion and develop the skills and versatility required as a dance artist. They learn to assimilate various dance styles, while incorporating previously acquired skills such as artistry, interpretation, and expression. In interactive lectures students analyze the specific characteristics and styles of dance associated with respected choreographers synonymous with musical theatre. Students research and analyze the significant role dance has played within musical theatre, specifically in the context of the progression of dance from an accessory to the plot, to becoming the narrative. In a studio setting, students refine the principles of ballet technique, including posture, alignment, balance, turnout, flexibility, and pointing the toe. Through a series of repetitive, rigorous, and precise barre, floor, and centre exercises, students further develop their technique and increase flexibility while maintaining a strong core and strength in the lower body, as well as an increased awareness of and relationship to artistic expression. They cultivate healthy physical habits in order to protect their muscles, limbs, bones, and general well-being. In a studio setting, students refine the principles of jazz, including the use of sharp dynamic and energetic movement, the isolation of various parts of the body, and the personalization of interpretive performance. Students execute variations of battements, jetes, turns, walks and jazz progressions, emphasizing the rhythms and energy of contemporary jazz and rock music.

BAA (Music Theatre Performance) 87 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description In a studio setting, students refine the principles of tap. Through a series of repetitive ankle and foot isolation exercises, students explore the basic steps associated with the tap genre including ball tap, heel tap, step, stomp, stamp, touch, heel drop, ball drop, brush, flap, cramp roll, and shuffle. Through an exploration of both simple and complex combinations of these movements, students continue to develop a sense of rhythm and syncopation. In a studio setting, students explore a variety of dance styles including Hip Hop, Latin, and Swing Dancing. Students will further develop partnering techniques. Students assimilate the protocols required for success in each of their four studio dance classes. Music Industry: In this course, students begin to strategize career paths by formulating Professional Practice goals, analyzing the industry landscape, managing financial records, generating professional portfolios, creating project proposals, and designing websites. They analyze the development and practice of Music Theatre in Canada and network with key industry professionals. In interactive lectures on business practices, students formulate personal career goals, establish organizational processes, and analyze the administrative structures of key music industries and of various types of theatre organizations in Canada and the functions of their most influential personnel. They categorize incomes and expenditures, design rudimentary budgets, and formulate basic plans for achieving and maintaining financial sustainability. In addition, they outline the inherent financial differences between employment and self- employment. Students also explain the protocols and processes of theatrical stagecraft. As well, they generate self-promotional professional portfolios by constructing properly formatted resumes, choosing appropriate 8 x 10 head-shot photographs, composing effective cover letters, and diversifying their personal audition repertoire. They analyze the processes of project management and create a project proposal. In a studio setting, students analyze the history and cumulative development and practice of the Music Theatre industry in Canada. They network with key industry professionals and explore their bodies of work. In a Mac Computer Lab, students cultivate word processing skills including formatting, labeling, mail merging, and document layout and design. The develop list and data management skills by constructing spreadsheets with numeric formulae for bookkeeping purposes. They design, construct, and maintain rudimentary self-promotional websites. Year Three, Semester 2 Post-Modern Acting In this course, students enhance their knowledge of the principles of Theories acting through an examination of major Post-Modern theories of the practice of theatre. They assimilate the principles of physical theatre, perform scenes from plays in Post-Modern styles, and investigate advanced on-camera and audio recording studio voiceover techniques. In interactive lectures, students examine the work of prominent Post-

BAA (Music Theatre Performance) 88 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description Modern companies (e.g. Mabou Mines, Café de la Mama, Ann Bogart’s SITI, Bread and Puppet, and Canada’s own One Yellow Rabbit, Cirque du Soleil and Robert Lepage’s Ex Machina). Where available, students analyze video recordings of performances by these companies. In a studio setting, students explore some of the major contemporary approaches to physical and vocal actor training, which go beyond the psychological realism of the Stanislavski Method. Using Anne Bogart’s Viewpoints, the Tadashi Suzuki Method, and the Michael Chekhov Technique, students refine their physical discipline and emotional accessibility. Using voice and body, they explore concepts of architecture, kinetic response, time, space, internal focus coupled with energy release, the “psychological gesture”, and the actor’s place in society. In a studio setting, students analyze and perform scenes from plays by European and North American playwrights writing in the Absurdist and Post-Modern styles. They employ approaches to acting demanded by these scripts, which expand their usual boundaries, and focus on images, physicality, and non-linear storytelling. In television and audio recording studio settings, students explore techniques commonly employed in video and audio performance auditions. Using ‘sides’ from contemporary television scripts while communicating with an off-camera reader, students perform in front of a digital camera. Using commercial readings and radio plays, students perform in front of microphones. They analyze their proficiencies through video and audio playback. Students acquire practical experience that approximates the type of processes they will encounter in auditions for professional digital media work. Students refine their acting skills by choosing diverse and challenging monologue material, which they perform and develop in weekly private tutorials in front of an acting coach. They apply the constructive criticism given them to further enhance their performances and focus on material, which may be useful for auditions. At the end of the Semester, students perform a variety of contrasting pieces in an Acting Jury in front of a panel comprised of faculty members. They discuss context, themes, and the body of the playwright's work. Finally, students integrate what they have learned in successive courses in the discipline with their own personal vision in the context of a refined artist’s statement. They use self-reflective and meta- cognitive processes to inform a decision about specialization in Year 4. Music Theatre Vocal In this course, students rehearse and perform music theatre excerpts, Project applying the knowledge and skills acquired in previous courses. Through research, analysis, interpretation, and physical exploration of music and text, with continued emphasis on healthy, stylistically appropriate vocal technique, students create a detailed, cohesive music theatre performance project.

BAA (Music Theatre Performance) 89 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description In interactive lectures, students explore physical and vocal exercises essential for advanced vocal skills development and vocal freedom, resulting in continued healthy physical function and increased vocal versatility. They examine vocal production and the technical refinements necessary for successful, stylistically correct vocal performance. Through the continued progressive practice of the Division #3 vocal studies (which are based on the Royal Conservatory of Music Grade 10 requirements in those categories), students continue to ground their technical development in advanced Classical vocal technique. As an extension to these interactive lectures, students engage in individual rehearsals with an assigned musical coach/accompanist in preparation for the final Division #3 Vocal Jury presentations at the end of the Semester. In a studio setting, students rehearse and perform assigned music theatre excerpts, integrating the direction of the instructors (in the roles of Director and Music Director) with their own personal processes. Through the analysis of script, lyrics, musical structure, and character, combined with physical and vocal exploration, students learn to create a cohesive, vocally effective Music Theatre Project. This process enables the students to further refine a personal artistic vision in the context of future academic program options and possible career paths. In private on-on-one vocal tutorials, students continue to analyze current performance strengths and challenges while developing individual vocal skills and repertoire. Dance Project In this course, students research, choreograph, and perform a dance project at an introductory level, applying the knowledge and skills acquired in previous courses in the discipline. They develop their creative process through music selection, stylistic choices, and storytelling. In addition, they investigate the path of self discovery and creativity, developing a performance using original and personal movement ideas. In interactive lectures, students recognize the process of constructing a dance project, including the basic structure and composition of choreography at a fundamental level. They develop their preparation process including subject matter, dance style, music selection, and casting. Students explore their creative process through the use of movement and improvisation. They develop their communication skills through dance, through the use of storytelling, and through personal voice. Students revisit and refine their original Artist Statement reflecting a synthesis of knowledge acquired as well as their future development and growth. Music Theatre In this first summative course, students engage in authentic audition, Performance: Production I rehearsal, and performance experiences that approximate the dynamic and demanding environment of the professional Music Theatre industry. Through the intensive learning experience of casting, rehearsing, and performing chorus or minor supporting roles in a Theatre Sheridan production, students generate initial performances that are reflective of industry-level expectations.

BAA (Music Theatre Performance) 90 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description Prior to the audition, students research the musical/play being produced in order to converse and communicate proficiently about its author(s), performance history, plot, and score. They select and prepare appropriate audition material, submit a professional portfolio to the audition panel, and engage in the interview and audition process. Once the productions are cast, students participate in a four-week intensive rehearsal process. Collectively, they analyze the script scene by scene, determine its underlying artistic idea, and rehearse its scenes, songs, and choreography under the tutelage of the Artistic Team (usually consisting of the Director, the Music Director, and the Choreographer). Prior to the first public performance, students participate in technical and dress rehearsals under the guidance of the technical team (usually consisting of the Stage Manager, the Production Manager, the Technical Director, the Crew Chief, the Operators, and the Designers). Students perform before a paying public for a run of approximately three weeks during which they demonstrate self-confidence, performance expertise, and a degree of artistry. In order to meet the artistic and technical expectations of the production, students begin to develop and execute an effective technique and process by adhering to professional protocols, and by demonstrating professional deportment through positive co-operation with artistic and technical teams, peers, technical production students, and all faculty and staff involved. Year Four, Semester 1 Dramaturgy Master Class In this course, students explore the principles of Dramaturgy while generating an Acting Capstone Project Proposal. In interactive lectures, they categorize the different functions of production and institutional dramaturges. In a studio setting, they prepare and perform an original or adapted script informed by research and an understanding of composition and the elements of action. In a lecture format, students explore the functions of a production dramaturge. Students examine the principles elucidated by Aristotle, developed by Goethe, and shaped by contemporary theorists and critics. They also explore the functions of the institutional dramaturge, including literary management, play development, and audience identification and outreach. In a studio setting, students choose one of the following projects: prepare a version of a short classical play (or part thereof); generate a translation from another language; adapt non-theatrical text; theatricalize a current event. For the first half of the semester, they compile research, and analyze or create the composition and progression of action. They explore background material on the playwright, the playwright's time and place, the play's time and place, references to events and places in the play, and the issues dealt with in the play. They track the activity of individual characters, list the progression of events, and ensure that, in planning all aspects of production, the idea of the play is adhered to.

BAA (Music Theatre Performance) 91 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description By mid-way through the semester, they generate a complete or edited working script with a clearly defined creative concept, define an artistic team and cast, produce a list of stage and technical requirements, and submit all supportive analysis and research. In the second half of the semester, the students rehearse and perform the piece. By the end of this course, students will have demonstrated the ability to synthesize original thought, analysis, and research into a practical framework for production. Students also generate a Capstone Project Proposal, which includes a project rationale, production timeline, a list of logistical requirements, a negotiation portfolio, an annotated contact list, and a promotion and marketing plan. Music Theatre Vocal In this course, students refine their music theatre vocal performance Performance Master Class skills, applying the knowledge and skills acquired in previous courses. Students choose, prepare and explore personally appropriate music theatre repertoire in order to showcase individual performance strengths. They conceptualize, prepare and organize a project proposal for their final Music Theatre Vocal Performance Capstone Project. In a studio setting, students rehearse and perform music theatre material of their own choice. This material may be chosen from established or original works. Through analysis, research, collaboration with peers, rehearsals, and critiques, students develop their creative processes and refine music theatre performance skills in order to showcase their individual talents. They explore the opportunity for cross discipline collaboration in preparation for their Capstone Project. Continued emphasis is placed on utilizing a functionally healthy, stylistically appropriate vocal technique. This process enables the student to further refine a personal artistic vision in order to conceptualize, prepare and organize a project proposal for their final Music Theatre Vocal Performance Capstone Project. Commercial Performance In interactive lectures, students analyze current trends in the Master Class commercial music industry. In a studio setting, students refine live commercial performance expertise. In lab settings, students explore live and voice-over recording, music production, and songwriting practices. They generate a Project Proposal for a Commercial Performance Capstone Project specializing in one of these four areas. Students analyze current trends in the commercial music industry and correlate their own abilities and strengths. They apply the techniques and protocols required to generate a creative individual or collective commercial performance that is informed by inquiry and research, using appropriate methodology and technology. At the beginning of the Semester, in two initial interactive lectures, students compare and contrast various aspects of industry expectations and practices in the areas of live performance, in-studio recording, music production, and songwriting (composition and arranging). Through more specialized study in lab settings, they develop further knowledge and practical skills in these areas. By mid-Semester students are required to select one of these areas as the focus of their

BAA (Music Theatre Performance) 92 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description Capstone Project. In the second half of the semester students refine their skills in their chosen area of focus. Through thoughtful inquiry and directed research they design and construct their Capstone Project Proposals. Should students choose to focus on live vocal performance, they explore live vocal techniques and performance technologies, arranging for and working with live musicians. They generate a project proposal based on a live performance in a downtown commercial venue. Should students choose to focus on studio vocal performance practices, they explore voiceover techniques, vocal recording, and narration, working with producers and engineers, and studio technology. Students develop a project proposal based on producing a performance-based demo reel. Should students choose to focus on studio music production, they explore in detail multimedia production techniques, recording with live musicians in a studio setting, and working with emerging technologies. They develop a project proposal based on the production and marketing of a professional-quality demo recording. Should students choose to focus on songwriting (composition and arranging), they explore different commercial and non-commercial composition styles. They analyze popular song structure and current songwriting techniques, arranging, recording technologies, and notation. They develop a project proposal based on producing a body of original music. Through self-directed research and practical application, students develop professional standards, technological skills, and an awareness of popular culture that will help them to determine their future career paths. Choreography Master In this course students refine their knowledge and skills in the field of Class choreography. They explore their creative process and use of movement as a communicative mode, using a variety of dance styles, while developing their problem solving skills and flexibility in their approach to creative discovery. In interactive lectures, students refine their development process, including subject matter, dance style, logistics and potential opportunity for a cross-discipline collaboration in preparation for their Capstone Project. They explore their creative process using various medias and authentic movement. Students refine their choreographic skills through improved structure, solving choreographic challenges and use of personal voice. Students conceptualize, prepare and organize their Capstone Project through a proposal, regarding the framework given, including time, technical considerations and resources. In a studio setting, students explore, analyze, and perform through a series of interpretive choreography exercises. They develop, perform and critique short individual or collaborative works. They develop their communication and leadership abilities, as well as their capacity to collaborate with other artists.

BAA (Music Theatre Performance) 93 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description Audition Techniques In this course, students correlate fundamental audition techniques in the disciplines of acting, singing and dance. They analyze legal aspects of the Canadian music industry and network with professionals who share their expertise, insights, and advice. In addition, they choose and prepare appropriate audition material for the annual Theatre Ontario Showcase. In interactive lectures on business practices, students cultivate legal competencies essential for self-employed artists in the Canadian Music Theatre industry. Topics include managing relations with legal advisors, establishing and enforcing contracts, copyright protection, and resolving legal disputes. Students also network with agents, entertainment lawyers, and representatives from professional associations. In studio settings, students cultivate the techniques, etiquette, and protocols most commonly utilized in professional audition calls. In simulated acting and singing auditions, they determine what kind of audition material showcases their performance strengths. In simulated dance auditions, students develop the ability to adapt quickly to whatever style of choreography is required with technical accuracy and artistry. Students are presented with different audition scenarios. They research the musical/play being produced in order to determine the role for which they are best suited and to converse and communicate proficiently about its author(s), performance history, plot, and score. In addition, they research the production company and its key personnel. As well, they select and prepare appropriate audition material, submit a professional portfolio to the audition panel, and engage in the interview and audition process. In the last two weeks, students demonstrate the skills and knowledge they have cultivated by auditioning for guest artists. Students prepare for the annual Theatre Ontario Showcase in January by constructing and preparing a two and one-half minute audition composed of diverse, contrasting material chosen to showcase their performance strengths. They perform their pieces at a downtown Toronto venue in front of agents, casting agents, directors, artistic directors, and producers. Students prepare diverse and challenging audition material, which they perform in weekly private tutorials in acting and singing. They then apply the constructive criticism coaches give them to enhance their performances. Music Theatre In this second summative course, students engage in further authentic Performance: Production audition, rehearsal, and performance experiences that approximate the II dynamic and demanding environment of the professional Music Theatre industry. Through the intensive learning experience of casting, rehearsing, and performing chorus, supporting, or minor leading roles in a Theatre Sheridan production, students generate solid performances with a degree of artistry and personal creativity that are reflective of industry-level expectations. Prior to the audition, students research the musicals/plays being

BAA (Music Theatre Performance) 94 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description produced, in order to converse and communicate proficiently about its author(s), performance history, plot, score, and underlying artistic idea. They select and prepare appropriate audition material, submit an expanded professional portfolio to the audition panel, and engage in the interview and audition process. Once the productions are cast, students participate in a four-week intensive rehearsal process. Collectively and individually, they analyze the script scene by scene, determine its underlying artistic idea, devise suitable character objectives, obstacles, and tactics, and then rehearse its scenes, songs, and choreography integrating the directions of the Artistic Team with their own personal interpretive choices. They begin to bring a personal style and perspective to the rehearsal and performance process, demonstrating a degree of originality in their interpretive choices. Students perform before a paying public for a run of approximately three weeks during which they demonstrate growing self-confidence, increased performance expertise, and an effective individual sense of artistry through a marked emotional engagement in the roles they play. In order to meet the artistic and technical expectations of the production, students refine their technique and process by fully engaging in professional protocols, and by actively maintaining professional deportment through positive co-operation with artistic and technical teams, peers, technical production students, and all faculty and staff involved. Year Four, Semester 2 Acting Capstone Project In this course, students manage a major acting project from concept to completion, including the final production performance that assimilates all the learning that students have acquired during the previous acting courses. Students focus on the concepts and work covered in previous semesters, including the principles of script analysis, improvisation and spontaneity, character development, physicality, vocal clarity and range, connection to the audience, truthfulness and bravura. They use their Project Proposals, finalized the previous semester, to organize the work, resources and timelines associated with their project. While much of the course requirements are completed through independent study, development, pre- production and production, students meet with faculty advisors for collective lectures and individual mentoring sessions on a weekly basis to ensure the successful and timely achievement of required benchmarks. Students choose from a number of possible projects including: performing in a short play or play excerpt on stage; performing on screen; directing; assistant directing a Theatre Sheridan production; writing a script; performing in an original script written by a fellow student Students must negotiate all logistical arrangement related to space, personnel, equipment, contracts, and promotion and marketing. In addition, they observe all the procedures, protocols and etiquette

BAA (Music Theatre Performance) 95 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description required for success in the industry. Through these components of the project process, they integrate the business skills and entrepreneurial strategies addressed in the professional practices course, demonstrating their ability to manage this particular area of their future careers. Students generate a post-production Reflective Summary Report in which they analyze and evaluate the level of their success in terms of projected budget and timelines, and actual results. They engage in critical and creative thinking, troubleshooting and problem-solving, decision-making and meta-cognitive activities. Through these processes, students deliver a quality dance performance production that reflects the entry-level standard required of the industry. Music Theatre Vocal In this course, students manage a major Music Theatre Vocal project Performance Capstone from concept to completion, including the final production Project performance that assimilates all the learning that students have acquired during the previous vocal courses. They use their Project Proposals finalized the previous semester to organize the work, resources and timelines associated with their project. While much of the course requirements are completed through independent study, development, pre-production and production, students meet with faculty advisors for collective lectures and individual mentoring sessions on a weekly basis to ensure the successful and timely achievement of required benchmarks. Students must negotiate all logistical arrangement related to space, personnel, equipment, contracts, and promotion and marketing. In addition, they observe all the procedures, protocols and etiquette required for success in the industry. Through these components of the project process, they integrate the business skills and entrepreneurial strategies addressed in the professional practices course, demonstrating their ability to manage this particular area of their future careers. Students generate a post-production Reflective Summary Report in which they analyze and evaluate the level of their success in terms of projected budget and timelines, and actual results. They engage in critical and creative thinking, troubleshooting and problem-solving, decision-making and meta-cognitive activities. Through these processes, students deliver a quality Music Theatre Vocal Performance production that reflects the entry-level standard required of the industry. In this cumulative course, students integrate and demonstrate the learning they have acquired in all the previous vocal courses. Students analyze the artistic and technical requirements of their Capstone Project and rehearse independently with their creative team. They focus on physical staging, utilizing appropriate vocal technique and making performance choices based on analysis of character, text and music in order to create a performance which will fully engage the audience and realize a personal artistic vision.

BAA (Music Theatre Performance) 96 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description Commercial Performance In this course, students manage a Commercial Performance Project Capstone Project from concept to completion. While much of the course requirements are completed through independent study, development, pre- production, and production, students meet with faculty advisors for collective lectures and individual mentoring sessions on a weekly basis to ensure the successful and timely achievement of required benchmarks. Students assimilate the learning they acquired from all previous courses in the vocal discipline (especially the commercial performance components) and in the music discipline. They use the Project Proposals finalized in the previous semester to organize work, resources and timelines associated with their project. Students must negotiate all logistical arrangement related to space, personnel, equipment, contracts, and promotion and marketing. In addition, they observe all the procedures, protocols and etiquette required for success in the industry. Through these components of the project process, they integrate the business skills and entrepreneurial strategies addressed in the professional practices course, demonstrating their ability to manage this particular area of their future careers. They engage in critical and creative thinking, troubleshooting and problem solving, decision-making and meta-cognitive activities. They generate an independent work process that includes effective self- management skills required of the field of study and the related industry in order to meet production timelines. They incorporate, where appropriate, current and evolving technologies into the project. Through these processes, students deliver a quality, creative individual or collective Commercial Performance Project informed by inquiry, research and using appropriate methodology and technology that reflects the entry-level standard required of the industry. Students generate a post-production Reflective Summary Report in which they analyze and evaluate the level of their success in terms of projected budget and timelines, and actual results. Dance Performance In this course, students manage a major dance project from concept to Capstone Project completion, including the final production performance that assimilates all the learning that students have acquired during the previous dance courses. They use their Project Proposals finalized the previous semester to organize the work, resources and timelines associated with their project. While much of the course requirements are completed through independent study, development, pre- production and production, students meet with faculty advisors for collective lectures and individual mentoring sessions on a weekly basis to ensure the successful and timely achievement of required benchmarks. Students must negotiate all logistical arrangement related to space, personnel, equipment, contracts, and promotion and marketing. In addition, they observe all the procedures, protocols and etiquette required for success in the industry. Through these components of the

BAA (Music Theatre Performance) 97 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description project process, they integrate the business skills and entrepreneurial strategies addressed in the professional practices course, demonstrating their ability to manage this particular area of their future careers. Students generate a post-production Reflective Summary Report in which they analyze and evaluate the level of their success in terms of projected budget and timelines, and actual results. They engage in critical and creative thinking, troubleshooting and problem-solving, decision-making and meta-cognitive activities. Through these processes, students deliver a quality dance performance production that reflects the entry-level standard required of the industry. Students integrate concepts covered in previous semesters, into their Dance Performance Capstone Project. This includes artistry, expression, use of storytelling, emotional connection, musicality, breathe, nuance, the use of specific dance styles, and structure and delivery of authentic and personal choreography. Students continue to develop communication and collaborative skills through ensemble work. Audition Master Class In this course, students synthesize the knowledge and skills they acquired throughout their course of study in the program by auditioning in the disciplines of acting, singing, and dance at an industry entry level for highly respected guest artists. In an acting studio setting, students present prepared professional portfolios to, engage in an interview process with, and perform acting and singing pieces for guest directors, music directors, and casting agents drawn from the industry. In a dance studio setting, students perform demonstrated dance routines for guest choreographers drawn from the industry, thereby refining their ability to adapt quickly to whatever style of choreography is required with technical accuracy and artistry. They consolidate the techniques, etiquette, and protocols most commonly utilized in professional audition calls. Students prepare dynamic audition material showcasing their personal performance strengths, which they perform in weekly private tutorials in acting and singing. They then apply the constructive criticism coaches give them to generate performances at an industry-entry level. Music Theatre In this cumulative course, students engage in a final series of authentic Performance: Production production experiences that approximate the dynamic and demanding III environment of the professional Music Theatre industry. After being cast in chorus, supporting, or major leading roles in a Theatre Sheridan production, students generate final performances that are reflective of industry-level expectations, integrating and demonstrating the full range of learning they have acquired through the entire program of study. Prior to the audition, students research the musicals/plays being produced, determine the roles for which they may be suitable, and select and prepare appropriate audition material. They familiarize themselves with the career credits of the members of the audition panel. They submit expanded and refined professional portfolios to the

BAA (Music Theatre Performance) 98 Sheridan College Institute of Technology and Advanced Learning

Course Title Calendar Course Description audition panel and engage in the interview and audition process, demonstrating knowledge of the playwrights, the musicals/plays, and the panel. Once the productions are cast, students participate in a four-week intensive rehearsal process. Collectively and individually, they analyze the script scene by scene, determine its underlying artistic idea, devise suitable character objectives, obstacles, and tactics, and then rehearse its scenes, songs, and choreography integrating the directions of the artistic team with their own personal interpretive choices. Having developed a personal narrative style and voice, they integrate their own perspective into the rehearsal and performance processes, demonstrating a secure sense of originality. Students perform before a paying public for a run of approximately three weeks during which they demonstrate secure self-confidence, proficient performance expertise, and a solid display of artistry by emotionally relating to their roles, fully engaging the audience, and eliciting emotional response. In order to meet the artistic and technical expectations of the production while maintaining their own personal artistic integrity, students fully engage in professional protocols, and actively maintain professional deportment through positive co-operation and effective collaboration with the artistic and technical teams, their peers, the technical production students, and all faculty and staff involved.

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6.3.3 Academic Course Schedule Information

6.3.3.1 Program Hour/Credit Conversion Justification There are two considerations related to program credits and hours that are identified in this appendix. The first is the justification for course offerings that do not have a 1:1 ratio for credits and hours in this proposed Music Theatre Performance program. The second is the justification for determining the breadth courses percentage on the basis of credits rather than hours.

Part A: Justification for course offerings that do not have a 1:1 ratio The first consideration is related to the ratio between credits and hours for the course offerings. The following courses in the program reflect a 1:1 ratio in terms of credits and contact hours:

Dramaturgy Master Class – Semester 7 Music Theatre Vocal Performance Master Class – Semester 7 Commercial Performance Master Class – Semester 7 Choreography Master Class – Semester 7 All eight (8) breadth courses – Semesters 1 through 8

The remaining courses have been designed using different ratios that are indicative of the nature of the learning, the intent for learning, and the structure of the learning in the program. The majority of these courses reflect a ratio in which the number of credits is less than the number of hours. The exception includes the Capstone courses (highlighted) in Semester 8, in which the credit value is four (4) and the contact hours are one (1). The information on the courses without a 1:1 ratio is reflected in the following table.

Semester Course Contact Credit Hours Equivalency Sem 1 Fundamentals of Acting 6hrs 3cr Fundamentals of Vocal Technique and Theory 6hrs 3cr Fundamentals of Dance Technique 6hrs 3cr Aural Concepts and Music Theory 6hrs 3cr Sem 2 Principles of Contemporary Acting 6hrs 3cr Vocal Technique: Physiology and Anatomy 6hrs 3cr Dance Technique: Physiology and Anatomy 6hrs 3cr Fundamental Musicianship 6hrs 3cr Sem 3 Principles of Classical Acting 6hrs 3cr Vocal Performance: Context Analysis 6hrs 3cr Dance Artistry, Interpretation and Expression 6hrs 3cr Contemporary Concepts and Applications of Musicianship 6hrs 3cr Sem 4 Principles of Modernism in Acting 6hrs 3cr Styles in Vocal Performance 6hrs 3cr Styles in Dance Performance 6hrs 3cr Music Performance: Notation, Transcription and Scoring 6hrs 3cr Sem 5 Acting Styles and Media 6hrs 3cr

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Semester Course Contact Credit Hours Equivalency Commercial Vocal Repertoire Development 6hrs 3cr Dance Repertoire Development 6hrs 3cr Music Theatre Industry: Professional Practice 5hrs 3cr Sem 6 Post-Modern Theories of Acting 6hrs 3cr Music Theatre Vocal Project 6hrs 3cr Dance Project 6hrs 3cr Music Theatre Performance: Production I 12hrs 4cr Sem 7 Music Theatre Performance: Production II 14hrs 5cr Audition Techniques 7hrs 3cr Sem 8 Acting Capstone 1hr 4cr One or Music Theatre Vocal Performance Capstone 1hr 4cr more of the four Commercial Performance Capstone 1hr 4cr Dance Performance Capstone 1hr 4cr Music Theatre Performance: Production III 14hrs 5cr Audition Master Class 6hrs 3cr

The proposed Music Theatre Performance Baccalaureate program has been carefully designed to reflect the unique nature of learning in the program. Because it is the first of its kind in Canada, considerable effort and time was allocated to address how the program should be structured in terms of the hours/credits ratio, and what the implications were for achieving the required learning reflected in the program outcomes and program critical performance. In addition, some of the most highly respected programs in Music Theatre in the US were reviewed as part of the process.

The program map, with its various credit/hours ratios for different courses, reflects the academic rigour required of a baccalaureate program while ensuring the integrity and quality of the performance element that is expected of graduates of such a program. There was a special commitment to experimenting with different designs and approaches grounded in important dialogue with experts in the industry and significant research that resulted in informed, critical discourse and reflection by the development team.

There are different types and approaches to learning required in a performance program such as this one. In terms of the cognitive domain, this includes: a. factual knowledge (facts, terminology, and knowledge of specific details and elements) b. conceptual knowledge (knowledge of categories and classifications, principles and generalizations, and knowledge of theories and models) c. procedural knowledge (knowledge of discipline-specific skills and algorithms, and knowledge for determining when to use appropriate procedures) d. meta-cognitive knowledge (including strategic knowledge, cognitive tasks, and self-knowledge)

In addition, the proposed program addresses significant areas in the psychomotor domain, resulting in gradually increasing skill development through hands-on practice and application, in order to perform basic operations, complex operations and integrated operations. The performance aspect of the program is extensive and complex, and requires significant hours of practice and rehearsal informed by theory, meta-

BAA (Music Theatre Performance) 101 Sheridan College Institute of Technology and Advanced Learning cognition and procedures. This praxis of theory and application results in creative, unique and artistic performances. The following types of learning in this domain include: a. perception: use sensory perception to guide physical activity b. set: a learner’s readiness to act c. guided response: early stage of learning a complex skill which includes imitation d. mechanism: the ability to perform a complex motor skill e. complex overt response: an advanced stage of learning a complex skill f. adaptation: ability to modify skills to fit a new situation g. origination: ability to create new movement patterns

Of equal importance to success in the music theatre performance discipline and its industry is the development of qualities and characteristics (identified in the Affective domain) that can be refined to the point at which they become part of an individual’s persona. As with the cognitive and psychomotor learning, the affective component has been embedded in the program outcomes, and includes the development and growth that students experience with respect to the professional and ethical behaviour required for developmental success in the music theatre industry. The learning includes the following: a. receive (attend to stimuli) b. respond (respond to stimuli) c. value (attach value or worth to something) d. organize (conceptualize the value, resolve conflict between it and other values) e. internalize (integrate the value into a personal value system that guides behaviour)

To address the scope of learning and the different types of learning required in this discipline, the result was the Program Map in Appendix 16.1.1 that reflects 120 credits and 206 hours. This scope of learning and differentiation of learning is reflected in individual courses as well. Generally, they have been designed in such a way that the credits and hours are distributed over theory, praxis and studio application and practice. This model recognizes the holistic and symbiotic relationship of all the learning in all domains, and the unique and integrated nature of the learning in music theatre performance. Most of these courses reflect a 3 credit:6 hour or 3 credit:5 hour ratio.

Exceptions to this 3 credit:6 hour ratio can be found in the professional courses. The audition and production courses in particular require extensive skills development and rehearsal, independently and collectively; hence the extended hours in relation to the nature of the learning in the studio component of these courses. The Music Theatre Industry: Professional Practice course has been designed around 3 credits and 5 hours of learning, as the nature and scope of that learning include a variety of different areas for which additional faculty contact hours are necessary, but the learning achieved is equivalent to three (3) credits.

In contrast, the Capstone courses reflect a ratio of 4:1 in terms of credits and contact hours. This configuration affirms the independent nature of the capstone project that students are required to do independently, with minimum faculty direction and input.

In terms of the credit/hours ratios that were developed, similar programs elsewhere were investigated. As there are no comparable programs in Canada, the comparison was limited to recognized programs in the United States, and a few similar or related programs in Canada. Some of the results, shown in the table below, confirm that the design for the proposed Music Theatre Performance baccalaureate program adopted in terms of credits/hours ratio is reflective of those programs. In all cases, there was a significant difference between total credits and total hours required, and most reflected a framework similar to the Sheridan proposed model.

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Comparable or related programs in terms of credit/hours ratio (samples only)

Institution Name of the Program Program Samples of Course Credits: Credits: Hours Hours Sheridan College of Applied BAA in Music Theatre 120 cr:206 hrs 3 cr:6 hr, 3 cr:5 hr, 3 cr:3 hr, Learning and Technology Performance (proposed) 4 cr:12 hr, 4 cr:1 hr

Boston Conservatory of BFA in Music 132 cr:196 hrs 5 cr: 8 hr, 12 cr:20 hr, 3 cr: 6 hr, Music 6 cr:6 hr, 8:4cr

University of Michigan BFA in Music Theatre 126 cr:144 to 200 2 cr:3.5 hr, 3 cr:4 hr, 3 cr:4.5 hr hrs 22 cr:6 hr 1:3

University of Cincinatti BFA in Musical Theatre 194 cr:276 hrs 16 cr:3 2hr, 1 cr:3 hr, 8 cr:10 hr, 3 cr: 3hr 3 cr:2 hr

York University BFA in Acting 141 cr:186 hrs 27 cr:18 hrs, 54 cr:108 hrs

Joint University of Toronto BA (Honours) in Theatre Total hours 196 .5 cr:3 hr; .5 cr:6 hr, .5 cr:2 hr and Sheridan College and Drama Studies 20 credits

In assigning the various ratios of credits to hours throughout the proposed program, different types of learning at the baccalaureate level have been addressed in a manner that is reflected in comparable programs, and contributes to a design that achieves the program learning outcomes and program critical performance by students.

BAA (Music Theatre Performance) 103 Sheridan College Institute of Technology and Advanced Learning

Part B: Justification for determining the breadth courses percentage on the basis of credits The decision to determine the required percentage of breadth courses and credits by working with the proposed program credits rather than hours was connected to the unusual credit:hour ratios in the program design. It reflects the scope (depth and breadth) of the discipline, respect for and the necessity of synthesis across the domains of learning, the levels of learning, and the nature of the learning inherent in music theatre performance.

According to the PEQAB Handbook for Ontario Colleges (rev 2006): “Program hours” refers to all contact hours between instructor and student, excluding work term components of the program…For only those programs which incorporate a laboratory component, the Board may consider a calculation of the program breadth requirements based on program credits as opposed to program hours. For a conversion of program hours to credits to be considered by the Board, see Submission Guidelines for Ontario Colleges.

The performance nature and the structure and scope of the program are such that the studio time required in the three main disciplines of Acting, Vocal and Commercial Performance, and Dance, as well as Music and the Professional courses, is critical to student success. The ongoing skills development informed by theory, research and discourse through the semesters as students refine their performances from those that are purely technical to performances filled with creative, personal artistry involves the type of studio learning that is comparable to the laboratory component for a different discipline. Repeated and continual practice and application are required. The type of learning through studio studies in music theatre performance is comparable to the type of learning addressed in certain laboratory components for a different discipline. The Music Theatre Performance program also includes a lab component in some of the courses.

For all of the courses in the three major disciplines (Acting, Vocal, Dance) as well as the Music courses, the general formula of 3 hours of lab to 1 credit of learning was applied. This is reflective of the theory presented in a discipline, the opportunity for students to engage in a faculty-led discussion and demonstration related to technique or skill, and the need for repetitive cultivation, reinforcement, and practice of those techniques and skills monitored by faculty and/or technical staff, in order to position students well on graduation in terms of the international market. The credit/hour ratio of these different types of learning conforms to the conversion of studio hours to program credits and is consistent with Ontario postsecondary educational standards for training in the subject field. The following conversion for courses in the Acting discipline (see below) is the same for the Vocal and Commercial Performance stream in Semesters 1 through 6. The ratio applied to these streams is 3 credits:5 hours.

Course Theoretical Praxis (Theory Studio/Lab &Practice) Fundamentals of Acting 1 hour for 1 credit 1 hour for 1 credit 3 hours for 1 credit Principles of Contemporary Acting 1 hour for 1 credit 1 hour for 1 credit 3 hours for 1 credit Principles of Classical Acting 1 hour for 1 credit 1 hour for 1 credit 3 hours for 1 credit Principles of Modernism in Acting 1 hour for 1 credit 1 hour for 1 credit 3 hours for 1 credit Acting Styles and Media 1 hour for 1 credit 1 hour for 1 credit 3 hours for 1 credit Post-Modern Theories of Acting 1 hour for 1 credit 1 hour for 1 credit 3 hours for 1 credit

BAA (Music Theatre Performance) 104 Sheridan College Institute of Technology and Advanced Learning

For the Dance and Music disciplines, the general ratio of 3 credits:6 hours applies:

Course Theoretical Praxis (Theory and Studio/Lab Practice) Fundamentals of Dance Technique 1 hour for 1 credit 2 hours for 1 credit 3 hours for 1 credit Dance Technique: Physiology and Anatomy 1 hour for 1 credit 2 hours for 1 credit 3 hours for 1 credit Dance: Artistry, Interpretation, and 1 hour for 1 credit 2 hours for 1 credit 3 hours for 1 credit Expression Styles in Dance Performance 1 hour for 1 credit 2 hours for 1 credit 3 hours for 1 credit Dance Repertoire Development 1 hour for 1 credit 2 hours for 1 credit 3 hours for 1 credit Dance Project 1 hour for 1 credit 2 hours for 1 credit 3 hours for 1 credit Aural Concepts and Music Theory 1 hour for 1 credit 2 hours for 1 credit 3 hours for 1 credit Fundamental Musicianship 1 hour for 1 credit 2 hours for 1 credit 3 hours for 1 credit Contemporary Concepts and Applications of 1 hour for 1 credit 2 hours for 1 credit 3 hours for 1 credit Musicianship Music Performance: Notation, Transcription 1 hour for 1 credit 2 hours for 1 credit 3 hours for 1 credit and Scoring

The major disciplines have a 1 hour to 1 credit ratio in Semester 7 because the nature and scope of the learning is comparable to what would be found in the breadth courses. They involve intensive research and preparation for the development of the projects in the Capstone courses.

In Semester 8, these major disciplines have a 1 hour to 4 credit ratio which reflects the intensive and extensive nature of the learning in a course(s) that requires independent, individual and collaborative learning by students for successful completion of the Capstone courses.

For the Professional courses, the various ratios are indicated below.

COURSE Theoretical Praxis (Theory and Studio/Lab Practice) Music Industry: Professional Practice 1 hour for 1 credit 1 hour for 1 credit 3 hours for 1 credit MTP: Production I 1 hour for 1 credit 11 hours for 3 credits MTP: Production II 1 hour for 1 credit 2 hours for 1 credit 12 hours for 3 credits MTP: Production III 2 hours for 2 credits 12 hours for 3 credits Audition Techniques 1 hour for 1 credit 6 hours for 2 credits Audition Master Class 1 hour for 1 credit 2 hours for 1 credit 3 hours for 1 credit

The intentional use of various ratios used for hours of contact and credits of learning and the calculation of the breadth percentage using these credits of learning was a thoughtful, informed, and critical design. It reflects understanding of, and respect for, the research and scholarship of teaching and learning (SoTL) and the scholarship of curriculum development (SoCD). It realistically reflects the situational learning context that realistically mirrors the performance level required in the work environment of the music theatre industry while maintaining the academic integrity and requirements for a baccalaureate program in Ontario. Furthermore, it affirms Sheridan’s commitment to learning-centred, performance-based education in which student achievement is reflected in credits of learning, not hours, and in which student success is measured through the achievement of the program learning outcomes and program critical performance.

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One of the most difficult structural issues for education policy-makers in Canada has been institutional differentiation…Specifically, is conflict inevitable between preparing applied graduates for employment and fitting them for further education? Are there other curriculum models for applied baccalaureate programs that would reduce or alleviate this conflict? …The college baccalaureate particularly the applied…seems in large part a response to the challenges of globalization and the knowledge society. (Floyd, Deborah, Skolnik, Michael, and Walker, Kenneth. [2005]. The Community College Baccalaureate: Emerging Trends and Policy Issues, pp. 66, 69, 77)

The proposed Music Theatre Performance program is an opportunity to provide a slightly different curriculum model grounded in learning-centred, performance-based principles and design in order to serve these purposes.

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6.3.3.2 Academic Course Schedule

Total Total Total Highest Qual. DW DO DL Proposed Earned & Discipline Pre-requisites & Course Title Crs. Crs. Crs. Instructor (or of study (or req. of Co-requisites Sem. Sem. Sem. TBH) FTBH) Hours Hours Hours Year One Semester 1 Fundamentals of 3 Greg Peterson* BA* English, Drama Acting Kevin Bowers MA Theatre Fundamentals of 3 Gail Hakala MMus Voice Perf. Vocal Technique and Marie Baron** Theory Fundamentals of 3 Gillian Saunders MA Dance Dance Technique Sara Jane Burton MA Liberal Studies Aural Concepts and 3 Greg Andrews MMus (Education) Music Theory Composition and 3 Has Malik PhD English Rhetoric Literature Year One Semester 2 Principles of 3 Fundamentals of Mimi Mekler MFA Theatre Contemporary Acting Acting Greg Peterson* BA* English, Drama Vocal Technique: 3 Fundamentals of Gail Hakala MMus Voice Perf. Physiology and Vocal Technique Marie Baron** Anatomy and Theory Dance Technique: 3 Fundamentals of Gillian Saunders MA Dance Physiology and Dance Technique Sara Jane Burton MA Liberal Studies Anatomy Fundamental 3 Aural Concepts & Greg Andrews MMus (Education) Musicianship Music Theory History of Early Music 3 David Copelin PhD Criticism & Theatre Dramatic Literature Year Two Semester 3 Principles of Classical 3 Principles of Denise Norman MFA Acting Acting Contemporary Leslie O’Dell PhD Drama Acting Vocal Performance: 3 Vocal Technique: Gail Hakala MMus Voice Perf. Context Analysis Physiology and Marie Baron** Anatomy Dance: Artistry, 3 Dance Technique: Gillian Saunders MA Dance Interpretation and Physiology and Sara Jane Burton MA Liberal Studies Expression Anatomy Contemporary 3 Fundamental Greg Andrews MMus (Education) Concepts and Musicianship Applications of Musicianship History of 3 History of Early David Copelin PhD Criticism & Contemporary Music Music Theatre Dramatic Literature Theatre Year Two Semester 4 Principles of 3 Principles of Mimi Mekler MFA Theatre Modernism in Acting Classical Acting Kevin Bowers MA Theatre Styles in Vocal 3 Vocal Performance: Gail Hakala MMus Voice Perf. Performance Context Analysis Marie Baron** Styles in Dance 3 Dance: Artistry, Gillian Saunders MA Dance Performance Interpretation & Sarah Jane Burton MA Liberal Studies Expression Music Performance: 3 Contemporary Greg Andrews MMus (Education) Notation, Concepts and Transcription and Applications of

BAA (Music Theatre Performance) 107 Sheridan College Institute of Technology and Advanced Learning

Total Total Total Highest Qual. DW DO DL Proposed Earned & Discipline Pre-requisites & Course Title Crs. Crs. Crs. Instructor (or of study (or req. of Co-requisites Sem. Sem. Sem. TBH) FTBH) Hours Hours Hours Scoring Musicianship History of Western 3 History of David Copelin PhD Criticism & Theatre Contemporary MT Dramatic Literature Year Three Semester 5 Acting Styles & Media 3 Principles of Mimi Mekler MFA Theatre Modernism in Acting Kevin Bowers MA Theatre Commercial Vocal 3 Styles in Vocal Gail Hakala MMus Voice Perf. Repertoire Performance Marie Baron** Development Dance Repertoire 3 Styles in Dance Gillian Saunders MA Dance Development Performance Sarah Jane Burton MA Liberal Studies Music Industry: 3 Greg Peterson* BA* English, Drama Professional Practice Jim Betts MA English Breadth Elective 3 Year Three Semester 6 Post-Modern 3 Acting Styles & Mimi Mekler MFA Theatre Theories of Acting Media Kevin Bowers MA Theatre Music Theatre Vocal 3 Styles in Vocal Gail Hakala MMus Voice Perf. Project Performance Marie Baron** Dance Project 3 Dance Repertoire Gillian Saunders MA Dance Development Marc Richard MA Dance MTP: Production I 4 Audition required Greg Peterson* BA* English, Drama

Breadth Elective 3 Year Four Semester 7 Dramaturgy Master 3 Post-Modern Mimi Mekler MFA Theatre Class Theories of Acting Denise Norman MFA Acting Music Theatre Vocal Music Theatre Vocal Gail Hakala MMus Voice Perf. Performance Master Project Marie Baron** Class Commercial Commercial Vocal Magi Oman MFA Performance Master Repertoire Class Development Choreography Master Dance Project Gillian Saunders MA Dance Class Marc Richard MA Dance Audition Techniques 3 Music Industry: Marie Baron** Professional Gail Hakala MMus Voice Perf. Practice Greg Peterson* BA* English, Drama MTP: Production II 5 MTP: Production I Mimi Mekler MFA Theatre Audition required Magi Oman MFA Breadth Elective 3 Year Four Semester 8 Acting Capstone 4 Dramaturgy Master Mimi Mekler MFA Theatre Project Class Leslie O’Dell PhD Drama Music Theatre Vocal MT Vocal Marie Baron** Performance Performance Master Gail Hakala MMus Voice Perf. Capstone Project Class Greg Peterson* BA* English, Drama Commercial Commercial Magi Oman MFA Performance Performance Master Capstone Project Class Dance Performance Choreography Gillian Saunders MA Dance Capstone Project Master Class Marc Richard MA Dance Audition Master Class 3 Audition Techniques Marie Baron** Gail Hakala MMus Voice Perf. Greg Peterson* BA* English, Drama MTP: Production III 5 MTP: Production II Greg Peterson* BA* English, Drama

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Total Total Total Highest Qual. DW DO DL Proposed Earned & Discipline Pre-requisites & Course Title Crs. Crs. Crs. Instructor (or of study (or req. of Co-requisites Sem. Sem. Sem. TBH) FTBH) Hours Hours Hours Audition required Marie Baron** Breadth Elective 3 Subtotal Course A=96 B=24 C=0 Hours (credits) credits credits credits Total Program Hours A + B + C = 120 credits Calculate the [(B + C) ÷ (A + B + C)] Must be at least 20% of total program. percentage of the X 100 = 20% Due to the nature of this program and the extensive applied program offered in Do performance hours required, the percentage calculation have been and DL courses completed on the credit values of the learning within the program as a true reflection of the core and breadth weightings. (See 6.3.3.1) Calculate the [B ÷ (B + C)] X 100 = 100% Must be at least 75% of total DO and DL courses. percentage of the breadth courses offered in DO courses Calculate the [C ÷ (B + C)] X 100 = 0% Must not be greater than 25% of the total DO and DL course. percentage of the breadth courses offered in DL courses

*See Exception Letter for Greg Peterson 8.6.2A **See Exception Letter for Marie Baron 8.6.2 A

BAA (Music Theatre Performance) 109 Sheridan College Institute of Technology and Advanced Learning

6.3.3.3 Identification of Previously Assessed Subjects

Subject Title Type Previously Assessed Consent Program Fundamentals of Acting DW No Fundamentals of Vocal Technique & DW No Theory Fundamentals of Dance Technique DW No Aural Concepts and Music Theory DW No Composition and Rhetoric DO Yes BAA(Animation) BAA(Illustration) BAIS(Information Systems Security) BAHSc(Athletic Therapy) BAHSc(Exercise Science and Health Promotion) BAB(Global Business Management) Principles of Contemporary Acting DW No Vocal Technique: Physiology and DW No Anatomy Dance Technique: Physiology and DW No Anatomy Fundamental Musicianship DW No Principles of Classical Acting DW No Vocal Performance: Context Analysis DW No Dance: Artistry, Interpretation & DW No Expression Contemporary Concepts & Applications DW No of Musicianship History of Early Music Theatre DO No Principles of Modernism in Acting DW No Styles in Vocal Performance DW No Styles in Dance Performance DW No Music Performance: Notation, DW No Transcription and Scoring History of Contemporary Music Theatre DO No Acting Styles and Media DW No Commercial Vocal Repertoire DW No Development Dance Repertoire Development DW No Music Industry: Professional Practice DW No History of Western Theatre DO No Post-Modern Theories of Acting DW No Music Theatre Vocal Project DW No Dance Project DW No MTP: Production I DW No Dramaturgy Master Class DW No Music Theatre Vocal Performance Master DW No Class Commercial Performance Master Class DW No Choreography Master Class DW No Audition Techniques DW No MTP: Production II DW No Acting Capstone Project DW No Music Theatre Vocal Performance DW No Capstone Project Commercial Performance Capstone DW No Project Dance Performance Capstone Project DW No

BAA (Music Theatre Performance) 110 Sheridan College Institute of Technology and Advanced Learning

Subject Title Type Previously Assessed Consent Program Audition Master Class DW No MTP: Production III DW No

The following Breadth electives have been previously assessed with BAA(Animation), BAA(Illustration) BAIS(Information Systems Security), BAHSc(Athletic Therapy), BAHSc(Exercise Science and Health Promotion), BAB(Global Business Management) consent programs.

Course Code Course Title 1. BIOL15586GD Introduction to Biology 2. CULT14717GD Music: Structure and Culture 3. CULT18263GD Japanese Language and Culture 4. ENGL17889GD Composition and Rhetoric 5. HIST10101GD History of Film 6. HIST18653GD Art In a Social and Cultural Context 7. HUMA10025GD Canadian Studies: Critical Approaches to the Canadian “North” 8. HUMA10123GD Illustrations of the Romantic Period: 1798-1832 9. HUMN10199GD Archetypes in Science, Nature, Design 10. HUMN21518GD Mythology in Literature Art and Film 11. HUMN14681GD Canadian Politics 12. HUMN15817GD International Politics Introduction 13. HUMN27198GD Studies of Character and Culture 14. LITT10123GD Censorship and Literature: Critical Approaches 15. LITT16206GD Women’s Writing: 1900-1965 16. LITT19599GD World Literature 17. LITT25993GD Introduction to the Short Story 18. LITT20065GD Troy in Literature and Film 19. PHIL16121GD Introduction to Philosophy 20. PHIL14444GD Practical Ethics 21. PHIL16367GD Philosophies of World Religion 22. PHIL10082GD Asian Spiritual Traditions 23. PHIL23130GD Moral Philosophy 24. PHIL26544GD New Age Philosophy 25. POLI14049GD Social Movements and Protest 26. PSYC16571GD Principles of Psychology 27. PSYC20210GD Psychology: Abnormal 28. PSYC20261GD Gender Psychology 29. PSYC20410GD Psychology: Selected Topics 30. PSYC22766GD Psychology: Personality 31. PSYC23019GD Introduction to Addictions 32. PSYC23491GD Social Psychology 33. PSYC24178GD Developmental Psychology: Growth and Human Development 34. PSYC24328GD Psychology of Emotion 35. PSYC25026GD Psychology of Motivation 36. PSYC25028GD Health Psychology

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Course Code Course Title 37. PSYC26859GD Psychology of Sport 38. PSYC27721GD Psychology of Aggression and Violence 37. PSYC28614GD Cognitive Psychology 40. SOCI17221GD Principles of Sociology 41. SOCI20839GD Diversity in Canadian Society 42. SOCI23821GD Issues in Sociology 43. SOCI26693GD Sociology of Deviance 44. SOCI28448GD Sociology of Sport 45. SOCS14201GD Introduction to Physical Anthropology 46. SOCS16500GD Social and Cultural Anthropology 47. SOCS17370GD Applied Research Methods

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6.4 Course Outlines and Other Graduation Requirements

There are no Ministry Standards for the baccalaureate credential in this discipline; however, the Curriculum Framework as reflected in the program critical performance and related program learning outcomes has been designed in accordance with the PEQAB Degree Standard while addressing the critical requirements identified by industry experts and through research. Further, it has been mapped to exceed the current Ministry Standard that exist for an Advanced Diploma Program in the discipline. This juxtaposition highlights the degree-level focus of the proposed program.

In addition, the curriculum reflects Sheridan’s commitment to learning-centred, performance-based achievement, with the inherent quality control processes and tools to address development, implementation, validation, assessment and design. Specifically, the curriculum approach is reflective of the emergent research in learning as it relates to the design and development of curricula in the post- modern era in which we are currently operating. This includes the specific design of learning opportunities and experiences that address such elements as creativity, collaboration, innovation, strategic thinking, sustainability, social justice and change. To this end, the curriculum is intentionally aesthetic, engaging, energetic and evocative.

All learning outcomes for courses will comply with Sheridan’s standards for Health and Safety practices. All Health and Safety practices for Theatre Sheridan operations are set out in the School’s annual manual.

To ensure this design was entrenched in the proposed program, it was necessary to design a curriculum that was eclectic in nature, one that draws from a variety of models and theories and that encourages a sense of disequilibrium in faculty and students alike in order to maximize the potential for personal and professional growth. This was accomplished through extremely comprehensive integration that takes many forms. These include: a) Connected curriculum, in which, within each discipline and subject area, integrated course content, skill and affective components are connected topic to topic, concept to concept, year to year in the discipline. b) Nested curriculum, in which, within each discipline, multiple skills are targeted – for example, a social skill, critical thinking, a discipline specific-skill. c) Spiralled (sequenced) curriculum, in which, within each discipline and across disciplines, units of study are rearranged to coincide with one another. Similar concepts are taught in concert in separate disciplines, but because of the sequencing, students more easily make the connections to similarities across disciplines. An example of this is the physiology and kinesiology addressed in acting, voice and dance in Semester 2. d) Shared curriculum, in which the development, design, implementation, and evaluation occurs in two or more disciplines where overlapping concepts, principles and theories emerge as organizing elements. e) Webbed curriculum, in which a thematic approach to integrating concepts is used. f) Threaded curriculum, in which best practices and good pedagogy, the scholarship of teaching and learning, and performance-based models thread research, scholarly writing, communication, problem- solving, critical and creative thinking, artistic vision, and meta-cognition through the three major disciplines and the other core studies (Music, Business, Entrepreneurship, Professional Practice, and Technology). g) Immersed curriculum, in which students integrate all the data and learning from within the discipline and outside it, and funnel this significant learning into a Capstone Project. h) Networked curriculum, in which industry practice and requirements in the program and the contributions of guest speakers and panelists from the field, serve as an external source of input for students to acquire, extend, extrapolate, refine and master new concepts and ideas.

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The curriculum is provided in the format of the detailed program map rather than the traditional course outlines in order to facilitate the review of the full curriculum. Two views are provided: the first presents the proposed program by Semester, across the various disciplines. This provides the reader with a full overview of the connected nature of the program through the use of various curriculum models (spiralled, nested, shared, webbed, threaded, immersed and networked) identified above. The second view is by discipline, which highlights additional reinforcing models within each discipline (connected, nested spiralled, webbed and so on).

This plan for intentional learning meets the PEQAB degree standard and accommodates a variety of learning experiences for students.

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6.5.2 Support for Work Experience

The college will assist students to find internship placements in a twofold way:

1. Through the assistance of the college’s Co-op Office. 2. Through the assistance of faculty within the program specifically assigned to this task. Faculty will have the resources to develop a network of contacts to assist in placements.

Types of internship placements:

• roles in community or festival theatres • assisting in community efforts to develop theatrical productions • working in high schools to assist in their productions • working with community youth outreach programs

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6.5.3 Work Experience Outcomes and Evaluation

This component of the proposed program reflects Sheridan’s commitment to performance-based, learning-centred education. The articulation of the outcomes has been written to ensure that the intentional learning is both measurable and observable in order to facilitate valid and comprehensive assessment. This means that each outcome for the work experience, as with all other components of the program, is expressed as a performance (cognitive, psychomotor or affective) to be demonstrated.

In terms of this work experience, course outcomes from courses in Semesters 1 through 6, and certain program outcomes that have been addressed, wholly or in part by the end of Semester 6, were reviewed to determine what students should demonstrate the ability to do by the end of Semester 6, that could be assessed in a Music Theatre-related work environment rather than in an academic setting. Consideration was also given to ensuring that those outcomes used in the Work Term Assessment would be reasonable for a wide range of related work environments.

It was also important to create an assessment instrument that was not time-intensive for employers to use but that also definitively identified the level of learning and related performance expected of students preparing to enter the final year of their baccalaureate program. Initial intake meetings with employers will be scheduled and a faculty member will be assigned to oversee and guide the process, with the employers and students.

The result was a comprehensive checklist clearly related to both the academic program and to the industry, which could be used by employers to monitor and validate a student’s successful completion of the work experience.

Program of Study

Semester 1 Semester 2 Semester 3 Semester 4 Fundamentals of Acting Principles of Contemporary Principles of Classical Principles of Modernism in Fundamentals of Vocal Acting Acting Acting Technique and Theory Vocal Technique: Vocal Performance: Styles in Vocal Fundamentals of Dance Physiology and Anatomy Context Analysis Performance Technique Dance Technique: Dance: Artistry, Styles in Dance Aural Concepts and Music Physiology and Anatomy Interpretation and Performance Theory Fundamental Musicianship Expression Music Performance: Composition and Rhetoric History of Western Theatre Contemporary Concepts Notation, Transcription and and Applications of Scoring Musicianship History of Contemporary History of Early Music Music Theatre Theatre Semester 5 Semester 6 Semester 7 Semester 8 Acting Styles & Media Post-Modern Theories of Dramaturgy Master Class Acting Capstone Project Commercial Vocal Acting OR OR Repertoire Development Music Theatre Vocal Music Theatre Vocal Music Theatre Vocal Dance Repertoire Project Performance Master Class Performance Capstone Development Dance Project OR Project Music Industry: MTP: Production I Commercial Performance OR Professional Practice Breadth Elective Master Class Commercial Performance Breadth Elective OR Capstone Project Choreography Master OR Class Dance Performance Audition Techniques Capstone Project MTP: Production II Audition Master Class Breadth Elective MTP: Production III Breadth Elective

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For more information, contact the School of Animation, Arts and Deign (SAAD): Dr. Ronni Rosenberg, Associate Dean, (905) 845-9430 ext. 2621, [email protected] Professor Greg Peterson, (905) 845-9430 ext. 2716, [email protected]

BAA Music Theatre Performance Work Experience Assessment (Week 7 & Week 14) (Note: Any score of 1, 2 or 5 requires a substantiating narrative explanation)

1 = Does not meet the standard 2 = Approaches the standard 3 = Meets the standard 4 = Exceeds the standard 5 = Excels

Student demonstration of achievement Discipline-related and Performance Standards 1 2 3 4 5 N/A General knowledge and understanding of the field Generate acting, vocal and dance performances that engage the audience, reflecting strong narrative, characterization and believable relationships among characters. Create believable characters with fully developed physicality and voice, informed by psychology and based on thoughtful research and critical analysis. Foster personal development and collegial working relationships that conform to established industry hierarchy, professional etiquette, and protocols, through self-reflection, effective communications and collaborative strategies. Generate a personal regimen required to maintain effective acting, vocal and dance technique, for success in music theatre and commercial performance. Generate a personal methodology and approach to work required of the music theatre industry. Audition, using appropriate material and exhibiting industry-level entry requirements. (PP) Integrate acting/staging, vocal, choreographic and music directions by the artistic team into rehearsals and performance. (PP) Integrate historical, cultural and stylistic contexts into personal performance. (M) Develop personal stress management strategies to maintain vocal and physical health through demanding performance schedules. (V) Personal and professional growth and development Generate acting, vocal and dance performances that engage the audience, reflecting strong narrative, characterization and believable relationships among characters. Engage in self-reflective and meta-cognitive practices and critical analysis that address oneʼs personal artistic vision and professional growth as an actor. (A) Modify personal behaviour to successfully contextualize performances. (A) Communicate effectively in verbal, visual and kinesthetic forms. (D) Evaluate current personal performance strengths and challenges. (D) Refine personal artistic vision in the context of future academic program options and possible career paths. (V)

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1 = Does not meet the standard 2 = Approaches the standard 3 = Meets the standard 4 = Exceeds the standard 5 = Excels

Student demonstration of achievement Discipline-related and Performance Standards 1 2 3 4 5 N/A ACTING Generate performances that reflect a critical and creative analysis of the actorʼs place in society. Cultivate vocal dexterity, resonance and articulation, as well as dialects appropriate for various styles of acting. Refine verbal clarity and energy, expression of open sound and articulation. Perform scenes from different genres.

Represent “larger-than-life” characters that experience strong emotion. VOCAL Integrate the required vocal technique into music theatre and commercial vocal repertoire. Collaborate effectively with accompanists for rehearsals and performances. Analyze scenes, songs and character, in order to root performance in text and effectively communicate with complexity, spontaneity and emotional honesty. Perform music theatre and commercial repertoire effectively and with appropriate musical style and connection to the text. Create a believable, physically and vocally expressive character through research, analysis and physical and vocal expression. DANCE Develop believable characters and storytelling through dance.

Interact appropriately with the audience.

Access emotions through dance movement.

Collaborate effectively with peers in partnering.

Develop the ability to pick up and retain choreography.

Incorporate artistry, interpretation and expression into dance routines and performances. Analyze the role and importance of dance as accessory and narrative in music theatre.

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1 = Does not meet the standard 2 = Approaches the standard 3 = Meets the standard 4 = Exceeds the standard 5 = Excels

Student demonstration of achievement Discipline-related and Performance Standards 1 2 3 4 5 N/A MUSICIANSHIP Sing musically and in tune while reading prepared melodies within specific parameters. Solve complex musical challenges by reading, writing and listening to music. Engage in self-reflective and meta-cognitive practices that address the growth of oneʼs personal music literacy, self- confidence and levels of enjoyment in meeting musical challenges. Integrate performance principles and knowledge of complex concepts of musicianship as a member of a vocal ensemble. Evaluate the musicality of oneʼs performance using critical analysis. Integrate the use of specific music terminology into performances.

General comments and suggestions for improvement and continued development:

______Supervisor Date

______College Liaison Date

______Student Date

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7. Program Delivery Standard

7.1 Quality Assurance for Program Delivery

7.1.1 Quality Assurance Policies In 2003, Sheridan created a department of curriculum and faculty specialists, The Center for Curriculum and Faculty Development (CCFD), renamed in 2009 as the Network for Innovation and Leadership in Education at Sheridan (NILES) to promote academic rigour in all facets of learning and teaching. This unit resides inside a larger Academic Planning and Development Department (APD), which adds institutional research and learning technologies, reporting directly to the Vice-President Academic. Included are curriculum and learning design experts, some with technology and on-line expertise, who work with all schools and faculty to improve and enhance current offerings, create new programming, and facilitate the teaching process. They work as project leaders, teacher instruction facilitators, design and curriculum assurance processors, with theory documentation and review facilitation.

The importance of curriculum design, whether face to face or on-line delivery, is a major focus of this group who work continuously to improve the interconnectivity of the variables of the learner’s style, the delivery mode and the course outline integrity with observable and measurable performance outcomes and appropriate evaluation strategies. College policies, procedures and processes relating to the teaching and learning in higher education are often initiated within this Center and include such items as on-line learning objects to create meaningful, performance based course outlines.

Teaching and Learning Academy (TLA) All new full-time faculty at Sheridan must attend three, two-week structured and facilitated teaching and learning training sessions within their employment probationary period. These sessions take a new faculty member through the fundamentals of the process of learning and effective teaching styles through the self-awareness of their own teaching methods and appropriate modification strategies. Throughout, supportive exercises and in-class application strategies build a community of practice excellence.

Fundamentals of Teaching and Learning (FTL) All part-time teaching faculty at Sheridan are required to attend the three day Fundamentals of Teaching and Learning (FTL) workshop within their first semester of teaching at Sheridan. Workshops are structured to demonstrate the creation of a viable and interesting learning environment where critical thinking and active learning take place. Seminars are intensive, active and participative, integrating complex theory and practice with emphasis on experiencing various types of learners and what those students experience in the classroom. The culminating activity is a demonstration by the participants encompassing their new and growing knowledge within a 10 minute participative class lesson, critiqued by peers and captured on DVD for their personal viewing and later reflection. In FTL, the teachers become the thoughtful designers of an effective learning environment.

Peer Coaching Teachers Helping Teachers The Peer Coaching Program is a collaborative, constructive program designed to link college faculty interested in developing aspects of their teaching with a peer who supports them. The mutual goal is to enhance the quality of student learning.

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Features The Peer Coaching process is: Confidential: only the professor and the peer coach will share information. Voluntary: participation is through the individual's own volition. Collaborative and non-judgemental: the role of the peer coach is to assist professors in achieving individual pedagogical goals and not to critique their teaching approach or philosophy. Timely: the professor decides when to engage in a coaching session and how frequently.

Coaching Participants The Peer Coaching Program is designed to assist professors in furthering their success in teaching. Participants may be established faculty members who wish to re-energize their approach to teaching, explore new techniques or gain feedback on mobile computing implementation; new faculty members who seek guidance on how to make their classroom experience more rewarding for themselves and their students; sessional and part-time instructors who may benefit from the advice and experience of an established faculty member.

New Program Development Process The following process for new program development and approval has been designed to respond to changes to provincial regulations as well as to internal issues identified by faculty who have been involved in program development at Sheridan: Stage 1 – Declaration of Interest Stage 2 – Concept of Curriculum Stage 3 – Concept Viability Stage 4 – Full Program Proposal

The process rests on a set of principles that provide the rationale and criteria for program development and approval. It consists of a series of stages of development, each of which has an identified approval body and process.

Stage 1: Declaration of Interest in Developing a Program

New Program Title:

New Program Credential: (check one) Sheridan Certificate Ontario College Ontario College Graduate Diploma Certificate Ontario College Ontario College Applied Degree Certificate Advanced Diploma Proposing School(s):

Summary of proposed program (100 words maximum):

Proposal Endorsements

Faculty Support:

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Certification that relevant faculty in the School of ______have endorsed this program proposal and have agreed, in principle, to participate actively in the development and delivery of the program.

Program Coordinator: ______Date:______

Department Support:

Certification that the department of ______will provide resources and support as described in this document toward the development of the proposed program.

Associate Dean: ______Date: ______

School Support:

Certification that the proposed program is consistent with the School program development plan and that the School supports the proposal described in this proposal and will provide School resources as described in this document.

Dean: ______Date: ______

Add endorsements for each School & Department involved in the development of this program as required. Submit to the Vice President, Academic for approval to proceed to Stage 2: Concept Paper.

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Guide to Stage 2: Concept Paper

Item Description/Purpose Guidelines/Considerations Proposed The title has some bearing, in part, • What type of program is this: degree, graduate Program Title on the category (MCU code) and certificate, advanced diploma, local certificate? funding assigned to a program by • Is it reflective of the nature of the program? the Ministry. • Is it clear and easy for potential students to It is also useful in attracting students understand? if it is transparent and representative • Is it a title that exists elsewhere in the college of the nature of the program. system? School The school proposing the program

Proposed This is where the proposed program Location will be housed Anticipated A program implementation date is • Is it realistic in terms of OCAS requirements? Implementation dependent, in part, on the ability to • Is the school prepared to provide the school Date complete the internal development resources needed (e.g. faculty) to complete the process (Stages 3 and 4) and the development and approval processes in time for the external approval processes that anticipated launch date? impact on OCAS deadlines and • Has the involvement of school faculty in the OSAP application. development team been factored into their SWF? • Does the anticipated launch date make sense with respect to the target audience? • Does the anticipated launch date factor in the need to advertise for, and hire, additional required faculty? Anticipated Anticipated enrolment impacts on • Is there a possibility that additional sections will be Enrolment physical resources (space, facilities, added to the original estimated enrolment once the equipment) and on the number of program is approved? faculty required to deliver the • Is there a way to determine this, and therefore program – the capacity to deliver. confirm or modify the anticipated enrolment within a Anticipated enrolment may also legitimate range? impact on other programs in the school and/or college. Overview of This is a paragraph that identifies • Briefly, what is the core content and major the Proposed the concept underlying the proposed curriculum themes? Program program, and provides a general • Is the description of the proposed program reflective description of the program. of the nature of the program? • Does the description identify any unique features or characteristics of the proposed program? • Is co-op or work placement a potential consideration? General Goals This section identifies the general • What is the intent of the proposed program? of the goals of the program based on its • What is the graduate expected to be able to do at Proposed rationale and description. The goals the end of the program? Program are not performance-based and do • Why is it being proposed? (150 words) not need to be written as outcomes in this stage. Strategic Fit This section identifies the • How will the proposed program impact on existing (School) relationship, and impact, that the programs? proposed program will have on • How does the proposed program fit into the school’s existing programs and on the school strategic plan? in general (e.g. enrolment) Strategic Fit This section addresses the . How is the proposed program consistent with (College) proposed program in the context of Sheridan’s strategic goals? the strategic goals of the college. . How does the proposed program affect other programs in the college outside the school cluster?

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Item Description/Purpose Guidelines/Considerations Labour Market This section identifies potential labour • What sources have been consulted to date in bringing Needs market needs based on limited forward this proposed program (e.g. ad hoc PAC, key preliminary discussions and exports, professional association)? (to 500 words) secondary research. • What secondary sources have been reviewed and/or referenced (e.g. reports from HRSDC)? Employment This section identifies preliminary • What preliminary research and use of secondary Opportunities viability in terms of potential sources has been used to identify potential for Graduates employment for students on employment (e.g. Workopolis)? graduation. • What types of positions/jobs would be available to a graduate of this proposed program? Potential This section identifies the potential • Given the nature of the proposed program and its Applicants student market for the proposed intended launch date, what is the likely target market program. for the proposed program? • Is the target market specific or general in nature? • Can this potential market be sustained over an extended period of time? • What secondary research has been done that supports this? • How will the intended audience be informed of this new program? Funding This section identifies comparable • What education in this field is currently available? Potential - existing programs for the anticipated • What other colleges offer comparable programs? Existing funding that the college may expect • What funding weight has already been assigned to Programs to receive. Information is based, in comparable programs? part, on OCAS search. • Will the proposed program saturate the catchment area? • Are there Ministry Standards available for this program? Institutional This section identifies institutional • Is any significant capital investment required to launch Investment requirements to launch the program and sustain the proposed program? (capacity to deliver). • What are the space requirements? • Is special classroom space (e.g. computer labs) needed? • Is there any specialized equipment needed to launch and operate the program? • Are additional part time and/or full time faculty needed? • Will faculty from other programs be employed in the proposed program? • What might be the expected minimum qualification for faculty to teach in the proposed program? Draft Budget This section identifies some general • What is the anticipated enrolment in Years 1, 2, 3, thinking around what the proposed and 4? program might cost to launch/run. • What is the expected tuition? This uses the sections above. • What is the Ministry funding available with respect to comparable existing programs in the system? • What is the required college investment (e.g. capital, space, faculty)

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Stage 2: Concept Paper

Item Description/Purpose Sign Off

Proposed Program Title

School Proposed Location Anticipated Implementation Date Anticipated Enrolment Overview of the Proposed Program General Goals of the Proposed Program (150 words) Strategic Fit (School) Strategic Fit (College) Labour Market Needs (to 500 words) Employment Opportunities for Graduates Potential Applicants Funding Potential: Existing Programs Institutional Investment Draft Budget

DISCUSSION NOTES:

Comments by Deans/VPA o Approved Date:______o Approved with modification Date:______o Not approved Date:______

SCHOOL PRIORITY (circle one): 1 2 3 4 COLLEGE PRIORITY (circle one): 1 2 3 4

School Contact: ______

School Development Team: ______

Sent to CCFD in Academic Planning and Development (Stage Three) on: ______

CCFD Program Developer assigned: ______

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Stages 3 and 4 – Academic Planning and Development

Stage 3: Concept Viability Steps Action Addressee Action/Process

Approved Stage 2 Sent by: Electronic and paper copy of the Stage 2 document are sent to Document sent to CCFD CCFD Received by: Support person responsible for receiving the documents informs the Dean, CCFD

Identification of Dean, CCFD Once approval is secured to move to Stage 3, and CCFD receives CCFD Program the required copies of the Stage 2 document, the project is added Project to the agenda of a Program Development Meeting

Review of Stage 2 CCFD Development Review of Stage 2 document to determine context and to develop Document Team (Program series of questions in preparation for the Intake Meeting with the Developers with Dean, school Researcher) Review of individual and collective development portfolios to determine who will be assigned to the project

Assignment of Program Developer to project

Stage 3 Meeting Dean or designate Support Person to develop and distribute record of notes from #1: from CCFD; Dean or meeting A/Dean from school; Program researcher; Program Identification of development team (school, CCFD, other) Development Developer from CCFD; Project Intake support person Confirmation of intent of approved Stage 2 document

Overview of development process for school reps

Establishment of Parameters for Research – scope, direction, confirmation of school’s use of resource materials in Stage 2

Identification of recommended timeline

Identification of school funding requirements and process for request

Funding Sent by: School sends the Request for Funding Form to CCFD Requirements Received by: Request is logged, reviewed and approved/not approved, with the decision communicated to: Approved by: a) the School b) the Program Developer

Stage 3 Meeting Development Team Confirm team members #2: (school A/Dean with faculty/contract Set schedule of meetings Introduction and persons, researcher, Orientation to the program developer) Identify additional sources for research and design of research Development (tools) Process Orientation for school to the development process and the creation of the Stage 3 document

Assignment of tasks related to process and product

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Stage 3 Meeting Development Team Initial Research Report - findings related to demand, industry #3: trends, industry needs, salaries, student interest, target population, Registrar’s office (if comparable programs, Ministry category, tuition fee information. Introduction to required) (Do an OCAS search for type of funding) Curriculum Design and Initial Identification of entry requirements with registrar’s office Development ASK Analysis and Profile of the Graduate

Program Description (including potential uniqueness of the program), Critical Performance Statement, Learning Outcomes (in context of Standards document or Ministry description if former not available) ad hoc PAC Arranged by school; Introduce the program project (School) Meeting #1 attended by development team Complete ASK Analysis (Program Developer) Data Collection Determine trends in the industry (Researcher)

Determine employment opportunities (Researcher)

Additional suggestions (PAC)

Summary (School)

PAC follow-up School and Program School to send out record of notes from meeting Developer Data Analysis and School to compile list of PAC members and contact information for Integration Stage 3 document

Support person to collate information from ASK Analysis

Program Developer to integrate information from faculty and PAC Analyses

Researcher integrates information from PAC into research component

Stage 3 Meeting Development Team Ongoing research summary #4: Discussion and demonstration of the way in which PAC data is Consolidation integrated Session Consolidating curriculum piece for document – potential program a) Research map draft through identification of streams through Learning b) Curriculum Outcomes and clustering data from ASK Analysis in potential c) Document course offerings

Discussion with CVS about language and intent of Program Learning Outcomes

Capacity to deliver and draft budget from school

Review of Stage 3 document to determine what is outstanding

Intent and delivery planning for next PAC meeting

Request for Program proposal to be placed on the agenda for Academic Council

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Ad hoc PAC Meeting #2 Development Team Research presentation – findings And Support Personnel Information Session Presentation of the program outline with integration of previous PAC data May include some discussion of delivery options depending on the nature of the program

Request for motion to support moving the program through to the next stage of development

PAC follow-up School and Program School to send out notes from meeting Developer Program Developer to integrate any agreed upon changed to the document and add the PAC motion into the document

Stage 3 Meeting Development Team Finalizing development requirements for Stage 3 document #5: Researcher Final research components (set template) Finalizing the Document School: Background information, school cluster, impact on other programs in the school, college, contribution to Sheridan strategic plan, draft budget with details around capacity to deliver

Program Developer Curriculum pieces including the appropriateness of the credential and learning strategies and delivery options, Executive Summary

Stage 3 Meeting Development Team Prepares preparation of the presentation to Academic Council #6: Approval CCFD support Makes the necessary copies of the document and distributes as Preparation required

Stage 3 A/Dean and Presentation to Academic Council Approval Development Team

Stage 3 Approval Notification to registrar, marketing, OCAS to indicate that the Follow up program is moving forward to Stage 4 (curriculum development) Stage 4: Full Program Proposal

Stage 4 Meeting Development Team, Identification/confirmation of school participants; addition of #1: including the A/Dean or curriculum writing team members as required; review school Dean funding requirements and any potential modifications Program Development Overview of development process for school reps Project Intake Confirmation of recommended timeline

Set schedule of curriculum meetings

Assign tasks (e.g. pieces for writers; budget for A/Dean; detailed program map for CCFD)

Stage 4 Meeting Program Developer Orientation for school to the curriculum development process and #2: the creation of a course outline(emphasis on components that are Orientation to identified in the detailed program map included in the Stage 4 Curriculum document) Development & Course Design Provide resource materials to facilitate drafting of curriculum documents

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Stage4 Meetings Program Developer Revisit draft program map to confirm/make modifications #3, #4, #5: Curriculum Program Developer Discuss components of detailed program map and relate it to Development components in the course outline from orientation in the previous meeting (Note: Number of meetings here will Development Team Complete Detailed Program Map vary depending on type of program, Development Team Complete Program Learning Outcomes/Course Offerings Matrix number and experience of team Development Team Complete (if time allows) the course outlines for the program (this members, etc) involves only the addition of a potential topical outline to the work done for the detailed program map)

Stage 4 Meeting School Revisit capacity to deliver #6: Complete detailed budget for initial discussion with VPA, and future inclusion to ASA Finalizing the Document and School and Program Complete Ministry document relating to delivery of program in Process Developer terms of hours and settings

Program Developer Follow up discussion with CVS on program level material

Program Developer Request placement on AQA schedule ad hoc PAC Development Team Presentation of detailed curriculum for review and comment Meeting #3 Request for motion to support moving the program through to the next stage of development

Stage 4 Meeting Development Team Prepares the presentation to AQA #7: Approval Prep CCFD support Makes the necessary copies of the document and distributes as required

Stage 4: A/Dean and Presentation to AQA to confirm integrity of curriculum and Approval Development Team appropriateness of the credential

External CVS Program Developer Documentation to CVS for approval; Credential Validation Service Approval Follow confirms credential match and title (allow a week or so) up

ASA School or developer Send document to VPA, including budget, before its distribution to Approval Prep Board Request placement on agenda for ASA Make necessary copies of the required documents for ASA and for BOG Add Executive Summary for BOG

ASA Approval Presentation to ASA (Academic and Student Affairs ) Board Subcommittee by team Review and recommendations; changes to be integrated into documents before BOG

Board of Full Document, Exec Summary and Budget to Board for approval Governors (presented by ASA Chair; Dean may be expected to be available Approval for questions)

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Follow Up

Ministry Approval Program Developer Ministry Funding Documents completed by CCFD, signed by President and sent to Ministry

Approval for - Submitted when Ministry funding letter received OSAP - Takes average 4-6 weeks

Marketing - OCAS, calendar, - On line advertisement, open house, press

Academic School in consultation Assign course codes to new courses in program Services with Program Developer Complete new course special forms for Academic Services by fall and spring deadlines

Full curriculum to School and Program - Completion of Course outlines (in stages as required) AQA Developer

Program Launch

Program quality assessment

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Academic Governance

Board of Governors - Approval of all academic policies - Approval of all academic programs - Approval of all new academic initiatives of significance (e.g. Davis Academic Plan) - Setting strategic direction in relation to programs - Review recommendations of Program Advisory Committees (PACs) - Review results of program reviews

Academic and Students Affairs Sub-committee of the Board (ASA) Recommends: - Approval of all academic policies - Approval of all academic programs - Approval of all new academic initiatives of significance (e.g. Davis Academic Plan) - Strategic direction in relation to programs Reviews recommendations of PACs Reviews results of program reviews

Roles Academic Council: provides decisions, recommendations and advice to the Vice President, Academic on issues affecting teaching and learning at Sheridan. • Recommends academic policies to ASA. • Recommends new academic programs to ASA. • Advises VPA on new academic initiatives of significance (e.g. Davis Plan). • Advises VPA and Dean, Academic Planning and Development on potential new professional development initiatives for faculty. • Advises VPA and VPSS&IT on procedures related to academic policies. • Approves local policies/procedures related to academic matters e.g. exceptions to College policies such as Promotion Policy, individual program policies and processes.

Academic Quality Assurance Committee • Makes recommendations to ASA with regard to the consistency of learning outcomes of proposed new programs within provincial credentials framework and the consistency of the program maps with those learning outcomes. • Approves new courses offered for credit. • Approves alternative delivery of current courses. • Approves program changes involving new courses.

Local Academic Council • Reviews new program ideas and recommends for approval processes at Stages 1 and 2. • Approves course changes within existing program maps. • Reviews program maps to ensure compliance with credential framework including provincial Essential Employability Skills and General Education policies. • Recommends new courses to AQA. • Approves changes to existing course involving 1/3 or more of course content, evaluation strategies or other changes of academic significance. • Recommends local academic policies and processes to Academic Council. • Provides input to Academic Council on college academic policies and procedures.

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SHERIDAN COLLEGE INSTITUTE OF TECHNOLOGY AND ADVANCED LEARNING ACADEMIC AND STUDENT AFFAIRS COMMITTEE – BOARD OF GOVERNORS Terms of Reference (Approved by the Board of Governors on May 19, 2004) ______

The Academic and Student Affairs Standing Committee of the Board of Governors is responsible for reviewing proposals related to policies, programs and strategic initiatives that impact on the student experience and for referring these items to the Board of Governors for approval. It provides general oversight for the Board to Institute academic direction, quality of the curriculum and student services, and related policies impacting on academic programs, staff and students.

In its capacity, the Academic and Student Affairs Standing Committee will:

1. Ensure that there are appropriate, effective and efficient program development and continuous improvement processes in place. 2. Ensure that proposals for new academic programs are consistent with the mission, vision and values of the institution; are consistent with the provincial program framework and standards; and meet institutional and provincial criteria. 3. Ensure that a full range of programs and credentials are available to the diverse communities served by the Institute. 4. Receive and review information on Program Advisory Committee membership and review annual reports from PACs. 5. Review and recommend enrolment plans as required. 6. Review and recommend proposed policies related to faculty, academic programs, student status and services, and related matters. 7. Review and recommend strategic initiatives related to academic programs and student services.

The Committee shall have access to such personnel and consultants, as it considers appropriate.

COMPOSITION:

Membership of the Academic and Student Affairs Committee includes:

• Chair of the Board (ex-officio) • President (ex-officio) • such other members of the Board as the Board considers appropriate, one of whom will chair the committee • such other non-voting members as the Board considers appropriate who are not members of the Board, except that members of the Board will form a majority of members of the Committee

The Vice-President, Academic and the Vice-President, Student Services and Information Technology will be resource members of the Committee.

MEETINGS: Number per year to be determined.

BAA (Music Theatre Performance) 156 Sheridan College Institute of Technology and Advanced Learning

7.1.2 Policy on Student Feedback

Student Feedback Policy approved by Sheridan’s Board of governors on February 27, 2002 Approved by Ministry with the BAHSc. (Exercise Science & Health Promotion) December 31, 2007

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7.1.3 Student Feedback Instruments

BAA (Music Theatre Performance) 158 Sheridan College Institute of Technology and Advanced Learning

BAA (Music Theatre Performance) 159 Sheridan College Institute of Technology and Advanced Learning

7.2 On-line Delivery

7.2.1 On-line Learning Policies and Practices

Not applicable to this submission.

BAA (Music Theatre Performance) 160 Sheridan College Institute of Technology and Advanced Learning

7.2.2 Academic Community Policies

Not applicable to this submission.

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8. Capacity to Deliver Standard

8.1 Demonstrated Strength

The proposed Bachelor of Applied Arts in Music Theatre program is uniquely positioned to offer an exceptional learning experience for students in an important area of the cultural sector, and for which there are no comparable programs in the Ontario or Canadian post-secondary system.

The program: • offers an exceptional learning experience for students that cannot be replicated anywhere else in Canada • provides the College with an additional 45 students per year • contributes to the operational effectiveness of the college by making efficient use of existing facilities • enhances current community relations and fosters new partnerships through ongoing dialogue and cooperation with industry through field placement and committee participation

Sheridan is ideally situated to take on the proposed baccalaureate program because of its current stellar reputation in the industry for preparing students in the existing Advanced Diploma program who can “hit the ground running” upon graduation. This is evidenced by KPI data (85% to 96% of graduates over the last five years have obtained employment in their field on graduation). Several Sheridan graduates to date have acquired major roles on Broadway. Some have formed their own production companies (locally or in their home provinces) and have produced original works. Still others have performed in a variety of music-theatre venues. Regional theatres (Vancouver Playhouse, Arts Club, Theatre Calgary, The Citadel, Manitoba Theatre Centre, CanStage, Neptune Theatre, The Stephenville Festival) have all hired Sheridan graduates.

Related KPI Data In the mid 1990s, the Ontario Government decided to enhance the accountability of Colleges of Applied Arts and Technology by measuring and rewarding their performance in meeting specific goals and outcomes. The Ministry of Training, Colleges and Universities (MTCU) identified these goals and outcomes and incorporated them into a KPI Satisfaction Survey. This is a tool developed by MTCU in conjunction with the colleges to measure general performance. Indicators of success are identified as follows: a) Graduate employment b) Graduate satisfaction c) Employer satisfaction d) Student satisfaction e) Graduation rate

The information collected from students, graduates and employers is used by the colleges to identify their strengths, demonstrate their achievements, and improve their programs and services. Tables 8.1.1 and 8.1.2 summarize Sheridan’s overall scores as a college and the cores of the Advanced Diploma program related to the proposed BAA in Music Theatre Performance.

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Table 8.1.1: Music Theatre–Performance Advanced Diploma Results Aligned with General Sheridan, GTA and Provincial Results

Category Target Area 2005 2006 2007 2008 Four-Year Average Music Theatre Student Advanced 85% 83% 87% 82% 84% Satisfaction Diploma Program College 73% 74% 74% 74% 74% Metro 74% 74% 74% 75% 74% Province 76% 78% 77% 76% 77% Music Theatre Graduate Advanced 58% 62% 71% 77% 67% Rate Diploma Program College 71% 71% 70% 69% 70% Metro 57% 59% 63% ------60% Province 59% 60% 63% 65% 62% Music Theatre Graduate Advanced 96% 85% 87% 100% 92% Satisfaction Diploma Program College 79% 80% 80% 82% 80% Metro 79% 80% 80% 82% 80% Province 81% 82% 82% 83% 82% Music Theatre Graduate Advanced 87% 94% 100% 88% 92% Employment Diploma Program Rate College 88% 89% 90% 91% 90% Metro 86% 87% 88% 89% 87% Province 88% 89% 90% 91% 89% Music Theatre Employer Advanced 100% 100% 100% 100% 100% Satisfaction Diploma Program College 94% 92% 92% 94% 93% Metro 94% 92% 93% 93% 93% Province 93% 92% 93% 93% 93%

Capstone Question 14: Overall your program is giving you knowledge and skills that will be useful in your future career. Capstone Question 26: The overall quality of the learning experiences in this program. Capstone Question 44: The overall quality of the facilities/resources in the college.

Table 8.1.2 Music Theatre College Metro College System Advanced (MTCU) Diploma Province Program

KPI 82% 74% 82% 76%

Capstone Question 14 100% 85% 100% 98%

Capstone Question 26 93% 80% 93% 93%

Capstone Question 44 74% 66% 74% 58%

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8.2 Learning and Information Resources

8.2.1 Library Resources

Identified Additional Library Resources (to be added)

Recommended Book Acquisitions

New York City Burrows, Edwin G., & Wallace, Mike. Gotham: A History of New York City to 1898. Oxford University Press, New York, N.Y., 1999. ISBN: 0-19-511634-8 Burns, Ric & Sanders, James (with Ades, Lisa). New York: An Illustrated History (Expanded). Alfred A. Knoff, New York, N.Y., 2003. ISBN: 1-4000-4146-5 Kroessler, Jeffrey A.. New York Year by Year: A Chronology of the Great Metropolis. New York University Press, New York, N.Y., 2002. ISBN: 0-8147-4750-7 Lankevitch, George J.. New York City: A Short History. New York University Press, New York, N.Y., 1998. ISBN: 0-8147-5185-7 Homberger, Eric. The Historical Atlas of New york City: A Visual Celebration of 400 Years of New York City’s History (Revised and Updated). Henry Holt and Company, New York, N.Y., 2005. ISBN-13: 978-0-8050-7842-8 Henderson, Mary C. The City and the Theatre: The History of New York Playhouses, A 250-Year Journey from Bowling Green to Times Square. Back Stage Books, New York, N.Y., 2004. ISBN: 0-8230- 0637-9 Bell, Clare. Hirschfeld's New York. Harry N. Abrams, New York, N.Y., 2002. ISBN-13: 978- 0810929746

Broadway Boardman, Gerald. Americal Musical Theatre: A Chronicle (Third Edition). Oxford University Press, New York, N.Y., 2001. ISBN-13: 978-0195130744 Green, Stanley (Revised & Updated by Green, Kay). Broadway Musicals Show by Show (Sixth Edition) Applause Books, 2008. ISBN: 1557837368 Hischak, Thomas. The Oxford Companion to the American Musical: Theatre, Film, and Television. Oxford University Press, New York, N.Y., 2008. ISBN-13: 978-0-19-533533-0 Everett, William A. & Laird, Paul R. (Editors). The Cambridge Companion to the Musical (Second Edition). Cambridge University Press, New York, N.Y., 2008. ISBN: 978-0-521-86238-7 Larkin, Colin. The Virgin Encyclopedia of Stage and Film Musicals. Virgin Books, London, England, 1999. ISBN: 0-7535-0375-1 Gänzl, Kurt & Lamb, Andrew. Gänzl’s Book of the Musical Theatre. Schirmer Books, New York, N.Y., 1989. ISBN: 00-18588 Kantor, Michael & Maslon, Laurence. Broadway: The American Musical. Bulfinch Press, New York, N.Y., 2004. ISBN: 0-8212-2905-2 Alpert, Hollis. Broadway!: 125 Years of Musical Theatre. Arcade Publishing, New York, N.Y., 1991. ISBN: 1-55970-092-0 Bloom, Ken. Broadway: An Encyclopedic Guide to the History, People, and Places of Times Square. Facts on File, Inc., New York, N.Y., 1991. ISBN: 0-8160-1249-0

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Atkinson, Books. Broadway (Revised Edition). Macmillan Publishing Co., Inc. New York, N.Y. 1974. ISBN: 0-02-504180-0 Lerner, Alan Jay. The Musical Theatre: A Celebration. Collins, London, England, 1986. ISBN: 0-00- 217249-6 Brown, Gene. Show Time: A Chronology of Broadway and the Theatre from Its Beginnings to the Present. Macmillan, New York, N.Y., 1997. ISBN: 0-02-860830-5 Botto, Louis. At This Theatre: 100 Years of Broadway Shows, Stories, and Stars. Hal Leonard Corp., New York, N.Y., 2002. ISBN: 1-55783-566-7 Brantley, Ben (Editor). The New York Times Book of Broadway: On the Aisle for the Unforgettable Plays of the Last Century. St. Martin’s Press, New York, N.Y., 2001 ISBN: 0-312-28411-X Mordden, Ethan. Make Believe: The Broadway Musical in the 1920s. Oxford University Press, New York, N.Y., 1997. ISBN: 019510594X Mordden, Ethan. Sing for Your Supper: The Broadway Musical in the 1930s. Palgrave Macmillan, New York, N.Y., 2005. ISBN: 0312239513 Mordden, Ethan. Beautiful Mornin’: The Broadway Musical in the 1940s. Oxford University Press, New York, N.Y., 1999. ISBN: 0195128516 Mordden, Ethan. Coming Up Roses: The Broadway Musical in the 1950s. Oxford University Press, New York, N.Y., 2000. ISBN: 0195140583 Mordden, Ethan. Open a New Window: The Broadway Musical in the 1960s. Palgrave for St. Martin’s Press, New York, N.Y., 2001. ISBN: 0312239521 Mordden, Ethan. One More Kiss: The Broadway Musical in the 1970s. Palgrave Macmillan, New York, N.Y., 2004. ISBN: 1403965390 Mordden, Ethan. The Happiest Corpse I’ve Ever Seen: The Last 25 Years of the Broadway Musical. Palgrave, New York, N.Y., 2004. ISBN: 0312239548 Suskin, Steven. Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre, Oklahoma! (1943) to Fiddler on the Roof (1964). Schirmer Books, New York, N.Y., 1990. ISBN: 0-02-872625-1 Suskin, Steven. More Opening Nights on Broadway: A Critical Quotebook of the Musical Theatre, 1965 to 1981. Schirmer Books, New York, N.Y., 1990. ISBN: 0-02-864571-5 Guernsey Jr., Otis L. Curtain Times: New York Theatre 1965-1987. Applause Theatre Book Publishers, New York, N.Y., 1987. ISBN: 0-936839-24-4 Block, Geoffrey. Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim. Oxford University Press, New York, N.Y., 1997. ISBN-13: 978-0195107913 Long, Robert Emmet. Broadway, the Golden Years: Jerome Robbins and the Great Choreographer- Directors 1940 to the Present. Continuum International Publishing Group, Inc., New York, N.Y., 2001. ISBN-13: 978-0826413475 Willis, John & Hodges, Ben. Theatre World: The Most Complete Record of the American Theatre - Volume 64 2007-2008. Applause, 2008. ISBN-13: 978-1557837424 Willis, John & Hodges, Ben. Theatre World: The Most Complete Record of the American Theatre - Volume 60 2003-2004. Hal Leonard Music Books, 2008. ISBN-13: 978-1557836502 Jenkins, Jeffrey Eric. The Best Plays Theatre Yearbook 2006-2007. Limelight Editions, 2008. ISBN-13: 978-0879103521 Jenkins, Jeffrey Eric. The Best Plays Theatre Yearbook 2005-2006. Limelight, 2007. ISBN-13: 978- 0879103460 Jenkins, Jeffrey Eric. The Best Plays Theatre Yearbook 2003-2004. Limelight, 2006. ISBN-13: 978- 0879103156

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Guernsey, Jr., Otis L. (Editor) The Best Plays of 1999-2000: The Otis Guernsey/Burns Mantle Theatre Yearbook (81st Edition). Scholarly Book Services Inc., 2002. ISBN-13: 978-0879109554 Guernsey, Jr., Otis L. & Sweet, Jeffrey (Editors) The Burns Mantle Theatre Yearbook: The Best Plays of 1989-1990. Hal Leonard Books, 1997. ISBN-13: 978-1557830913 Viagas, Robert. The Playbill Broadway Yearbook: June 2007-May 2008 (Fourth Annual Edition). Applause Theatre and Cinema Book Publishers, 2008. ISBN-13: 978-1557837462 Viagas, Robert. The Playbill Broadway Yearbook: June 2006-May 2007 (Third Annual Edition). Applause Theatre and Cinema Book Publishers, 2007. ISBN-13: 978-1557837325 Viagas, Robert. The Playbill Broadway Yearbook: June 2005-May 2006. Applause Theatre and Cinema Book Publishers, 2007. ISBN-13: 978-1557837189 Viagas, Robert. The Playbill Broadway Yearbook: June 1, 2004-May 31, 2005. Hal Leonard Music Books, 2006. ISBN-13: 978-1557836825 Ganzl, Kurt. Ganzl's Book of the Broadway Musical: 75 Favorite Shows, from H.M.S. Pinafore to Sunset Boulevard. Schirmer Books, 1995. ISBN-13: 978-0028708324 Bloom, Ken. Broadway: An Encyclopedia: History, People, Places. Routledge, 2003. ISBN-13: 978- 0415937047 Norton, Richard C. A Chronology of American Musical Theater (3 Volume Set). Oxford University Press, 2002. ISBN-13: 978-0195088885 Prince, Hal. Broadway Musicals, 1943-2004. McFarland & Company, 2005. ISBN-13: 978-0786422449 Willis, John & Hodges, Ben. Theatre World: The Most Complete Record of the American Theatre - Volume 63 2006-2007. Applause Theatre and Cinema Book Publishers, 2008. ISBN-13: 978-1557837080 Benjamin, Ruth & Rosenblatt, Arthur. Who Sang What on Broadway, 1866-1996: Two Volume Set. McFarland & Company, 2005. ISBN-13: 978-0786415069 Grant, Mark. The Rise and Fall of the Broadway Musical. Northeastern, 2005. ISBN-13: 978-155536239 Darby, Eileen, Henderson, Mary C. Stars on Stage: Eileen Darby & Broadway's Golden Age. Bulfinch Press, UK, 2005. ISBN-13: 978-0821228975 Hischak, Thomas S. Broadway Plays and Musicals: Descriptions and Essential Facts of More that 14,000 Shows through 2007. McFarland & Company, 2008. ISBN-13: 978-0786434480 Dietz, Dan. The Off-Broadway Musical, 1910 to 2007: Cast, Credits, Songs, Critical Reception and Performance Data of 1,800 Shows. McFarland & Company, 2008. ISBN-13: 978-0786433995 Mitchell, Jerry. Backstage Pass: Broadway Bares. Universe, 2008. ISBN-13: 978-0789315663 Jacobs, Leonard. Historic Photos of Broadway: New York Theater 1850-1970. Turner Publishing Company, KY., 2008. ISBN-13: 978-1596523623 Bloom, Ken. Broadway Musicals: The 101 Greatest Shows of All Time (Revised and Updated, Including New Shows). Black Dog & Leventhal Publishers, 2008. ISBN-13: 978-1579123130 Everett, William A., & Laird, Paul R. Historical Dictionary of the Broadway Musical. Scarecrow Press, 2007. ISBN-13: 978-0810860544 Hadleigh, Boze. Broadway Babylon. Watson-Guptill, 2007. ISBN-13: 978-0823088300 Mordden, Ethan. All That Glittered: The Golden Age of Drama on Broadway, 1919-1959. St. Martin's Press; 2007. ISBN-13: 978-0312338985 Knapp, Raymond. The American Musical and the Formation of National Identity. Princeton Universwity Press, 2006. ISBN-13: 978-0691126135 Goldman, William. The Season: A Candid Look at Broadway. Limelight Editions, 2006. ISBN-13: 978- 0878100230

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Bloom, Ken. Broadway Musicals: The 101 Greatest Shows of All Time. Black Dog & Leventhal Publishers, 2004. ISBN-13: 978-1579123901 Suskin, Steven. A Must See!: Brilliant Broadway Artwork. Chronicle Books LLC, San Francisco, CA, 2004. ISBN-13: 978-0811842174 Tumbusch, Tom. Broadway Musicals: A History in Posters. Tomart Publications, 2004. ISBN-13: 978- 0914293576 Frommer, Myrna Katz & Frommer, Harvey. It Happened on Broadway: An Oral History of the Great White Way. University of Wisconsin Press, 2004. ISBN-13: 978-0299197049 Frommer, Myrna Katz & Frommer, Harvey. It Happened on Broadway: An Oral History of the Great White Way (Hardcover). Harcourt Trade Publishers, 2001. ISBN-13: 978-0151002801 Block, Geoffrey. Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim. Oxford University Press, 2004. ISBN-13: 978-0195167306 (Hardcover: 978-0195107913) Lewis, David H. Broadway Musicals: A Hundred Year History. McFarland & Company, 2002. ISBN-13: 978-0786412693 van Hoogstraten, Nicholas. Lost Broadway Theatres. Princeton Architectural Press, 1997. ISBN-13: 978- 1568981161 Henderson, Mary C. The New Amsterdam: The Biography of a Broadway Theatre. Disney Editions, 1997. ISBN-13: 978-0786862702 Hay, Peter. Broadway Anecdotes. Oxford University Press, 1989. ISBN-13: 0195046212

Genres Traubner, Richard. Operetta: A Theatrical History (Revised Edition). Routledge, New York, N.Y. 2003. ISBN:0-415-96641-8 Bordman, Gerald. American Operetta from H.M.S. Pinafore to Sweeney Todd. Oxford University Press, New York, N.Y. 1981. ISBN:0-19-502869-4 Kilgarrif, Michael. Grace, Beauty and Banjos: Peculiar Lives and Strange Times of Music Hall and Variety Artistes. Oberon Books, 2000. ISBN-13: 978-1840021165 Fields, Armond. Tony Pastor: Father of Vaudeville. McFarland & Company, 2007. ISBN-13: 978- 0786430543 Fields, Armond & Fields, L. Marc. From the Bowery to Broadway: Lew Fields and the Roots of American Popular Theatre. Oxford University Press, New York, N.Y., 1993. ISBN: 0-19-505381-8 Fields, Armond. Lillian Russell: A Biography of "America's Beauty". MacFarland & Company, X, 1998. ISBN-13: 978-0786405091 Bowbeer, Ane Aull. Lillian Russell: A Bio-Bibliography. Greenwood Press, 1997. ISBN-13: 978- 0313277641 Ganzl, Kurt. Lydia Thompson: Queen of Burlesque. Routledge, New York, N.Y., 2002. ISBN-13: 978- 0415937665 Mahar, William J. Behind the Bunt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture. Scholarly Book Services, Inc., 2002. ISBN-13: 978-0252066962 Nathan, Hans. Dan Emmett and the Rise of Early Negro Minstrelsy. University of Oklahoma Press, 1977. ISBN-13: 978-0806105406 Slide, Anthony. The Encyclopedia of Vaudeville. Greenwood Publishing Group, 1994. ISBN-13: 978- 0313280274 Cullen, Frank; Hackman, Florence; McNeilly, Donald. Vaudeville, Old and New: An Encyclopedia of Variety Performaers in America (2 Volume Set). Routledge, X, 2006. ISBN-13: 978-0415938532

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Fields, Armond. Women Vaudeville Stars: Eighty Biographical Profiles. McFarland & Company, X, 2006. ISBN-13: 978-0786425830 Jasen, David A. Tin Pan Alley: The Composers, the Songs, the Performers, and their Times. Donald I. Fine, Inc., New York, N.Y., 1988. ISBN: 1-55611-168-1 Ziegfeld, Richard & Ziegfeld, Paulette. The Ziegfeld Touch: The Life and Times of Florenz Ziegfeld, Jr.. Harry N. Abrahms, Inc., New York, N.Y., 1993. ISBN: 0-8109-3966-5 Higham, Charles. Ziegfeld. Henry Regnery Company, Chicago, Illinois, 1972. ISBN: 72-80928 Carter, Randolph. Ziegfeld: The Time of His Life (New and Revised Edition). Bernard Press, London, England, 1988. ISBN: 0-9513557-0-8 Green, Stanley. The Great Clowns of Broadway. Oxford University Press, New York, N.Y., 1984. ISBN: 0-19-503471-6 Davis, Lee. Scandals and Follies: The Rise and Fall of the Great Broadway Revue. Limelight Editions, New York, N.Y., 2000. ISBN: 0-87910-274-8 Minsky, Morton. Minsky's Burlesque. Arbor House Publishing Company, 1986. ISBN-13: 978- 0877957430 Woll, Allen. Black Musical Theatre from Coontown to Dreamgirls. Louisiana State University Press, Baton Rouge, Louisiana, 1989. ISBN: 0-306-80454-9 Lundskaer-neilsen, Mirand. Directors and the New Musical Drama. Palgrave, 2008. ISBN-13: 978- 0230601291 Engel, Lehman. Words and Music: Creating the Broadway Musical Libretto. Applause Theatre and Cinema Books, 2006. ISBN-13: 978-1557835543 Atkey, Mel. Broadway North: The Dream of a Canadian Musical Theatre. Natural Heritage Books, 2006. ISBN-13: 978-1897045084 Reid, John Howard. Hollywood Movie Musicals. Lulu Press, 2006. ISBN-13: 978-1411697621 Hischak, Thomas S. Through the Screen Door: What Happened to the Broadway Musical When It Went to Hollywood. Scarecrow Press, 2004. ISBN-13: 978-0810850187 Most, Andrea. Making Americans: Jews and the Broadway Musical. Harvard University Press, 2004. ISBN-13: 978-0674011656 Miller, D.A. Place for Us: Essay on the Broadway Musical. Harvard University Press, 1998. ISBN-13: 978-0674669901 Mandelbaum, Ken. Not Since Carrie: 40 Years of Broadway Musical Flops. St. Martin's Press, New York, N.Y., 1991. ISBN-13: 978-0312064280

Shows Kreuger, Miles. Show Boat: The Story of a Classic American Musical. (Revised & Expanded Edition). Applause Theatre & Cinema Books, New York, N.Y. 1995. ISBN-13: 978-1557832108 Wilk, Max. OK! The Story of Oklahoma! Grove Press, New York, N.Y., 1993. ISBN: 0-8021-1432-6 Garebian, Keith. The Making of My Fair Lady. ECW Press, Toronto, Ontario, 1993. ISBN-13: 978- 1550221619 Garebian, Keith. The Making of Gypsy. ECW Press, Toronto, Ontario, 1994. ISBN-13: 978-1550221923 Wolf, Matt. The Guys and Dolls Book. Hushion House, New York, N.Y., 1997. ISBN-13: 978- 1854593818 Johnston, Jonathan. Good Hair Days: A Personal Journey with the American Tribal Love-Rock Musical Hair. iUniverse, 2004. ISBN-13: 978-0595312977 Wasserman, Dale. The Impossible Musical: The Man of La Mancha Story. Hal Leonard Music Books, New York, N.Y. 2003. ISBN-13: 978-1557835154

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Chapin, Ted. Everything Was Possible: The Birth of the Musical Follies. Arthur Knopf, New York, N.Y. 2003. ISBN-13: 978-0375413285 Stevens, Gary & George, Alan. The Longest Line: Broadway's Most Singular Sensation: A Chorus Line. Hall Leonard Books, New York, N.Y., 1997. ISBN-13: 978-1557832214 Viagas, Robert; Lee, Baayork; Walsh, Thommie. On the Line: The Creation of A Chorus Line. William Morrow and Co., New York, N.Y., 1990. ISBN-13: 978-0688084295 Rapp, Anthony. Without You: A Memoir of Love, Loss, and the Musical Rent. Simon & Schuster, New York, N.Y. 2006. ISBN-13: 978-0743269766 Cote, David. Spring Awakening: In the Flesh. Simon Spotlight Entertainment, 2008. ISBN-13: 978- 1416587828 Maslon, Laurence. The South Pacific Companion. Fireside, 2008. ISBN-13: 978-1416573135 Farber, Donald & Viagas, Robert. The Amazing Story of The Fantasticks: America's Longest-Running Play. Amadeus Press, 2005. ISBN-13: 978-0879103132 Frantz, Donald. Beauty and the Beast: A Celebration of the Broadway Musical. Disney Editions, 1995. ISBN-13: 978-0786861798 Larson, Jonathan. Rent: The Complete Book and Lyrics of the Broadway Musical. Applause Theatre and Cinema Book Publishers, 2008. ISBN-13: 978-1557837370 Disney. The Little Mermaid: A Broadway Musical. Hal Leonard, 2008. ISBN-13: 978-1423437949 Wright, Doug. Grey Gardens: The Complete Book and Lyrics of the Broadway Musical. Applause Theatre & Cinema Books, 2007. ISBN-13: 978-1557837349 Carter, Tim. Oklahoma!: The Making of an American Musical. Yale University Press, 2007. ISBN-13: 978-0300106190 Lassell, Michael. Tarzan: The Broadway Adventure. Disney Editions, 2007. ISBN-13: 978-1423100850 Kreiger, Henry. Dreamgirls. Hall Leonard Music Books, 2006. ISBN-13: 978-1423416166 Funderberg, Lise. The Color Purple: A Memory Book of the Broadway Musical. Carroll & Graf, 2006. ISBN-13: 978-0786718443 Hyperion. Avenue Q. Hyperion, 2006. ISBN-13: 978-1401302986 Isenberg, Barbara. Making It Big: The Diary of a Broadway Musical. Limelight Editions, 2006. ISBN-13: 978-0879100889 Cote, David. Wicked: A Behind-the-Scenes Look at the Hit Broadway Musical. Hyperion, 2005. ISBN- 13: 978-1401308209 Leonard, Hall. Avenue Q - The Musical, Hal Leonard Musica Books, ISBN-13: 978-0634079191 Comden, Betty & Green, Adolph. The New York Musicals of Comden and Green: On the Town, Wonderful Town, Bell Are Ringing. Applause Theatre & Cinema Books, 1997. ISBN-13: 978- 1557832429 Garebian, Keith. The Making of West Side Story. ECW Press, Toronto, Ontario, 1995. ISBN-13: 978- 1550222111

Biographies – Composers, Lyricists & Book Writers: Wren, Gayden. A Most Ingenious Paradox: The Art of Gilbert and Sullivan. Oxford University Press, 2006. ISBN-13: 978-0195301724 Glinert, Ed (Editor). The Complete Gilbert and Sullivan. Penguin Books, London, England, 2006. ISBN- 13: 978-0713998603 Gilbert, W.S. & Sullivan, Arthur. The Complete Gilbert and Sullivan: Librettos from All Fourteen Operettas - Complete and Unabridged. Black Dog & Leventhal Publishers, 2002. ISBN-13: 978- 1579120375

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Ainger, Michael. Gilbert and Sullivan: A Dual Biography. Oxford University Press, New York, N.Y., 2002. ISBN-13: 978-0195147698 Gould, Neil. Victor Herbert: A Theatrical Life. Fordham University Press, 2008. ISBN-13: 978- 0823228713 Howard, John Tasker. Stephen Foster: America's Troubadour. Arden Library, 1982. ISBN-13: 978- 0849524363 Milligan, Harold Vincent. Stephen Collins Foster: A Biography of America's Folk-Song Composer. University Press of the Pacific, 2004. ISBN-13: 978-1410214713 Suskin, Steven. Show Tunes: The Songs, Shows, and Careers of Broadway's Major Composers (Revised and Expanded Edition). Oxford University Press, 1999. ISBN-13: 978-0195125993 McCabe, John. George M. Cohan: The Man Who Owned Broadway. Doubleday, 1973. ISBN-13: 978- 0385015783 Cohan, George M. Twenty Years on Broadway, and the Years It Took To Get There: The True Story of a Trouper's Life from the Cradle to the "Closed Shop". Greenwood Publishing Group, 1971. ISBN-13: 978- 0837156828 Hischak, Thomas S. Broadway Lyricists from Cohan to Sondheim. Praeger Publishers, New York, N.Y., 1991. ISBN-13: 978-0275938499 Hischak, Thomas S. Boy Loses Girl: Broadway's Librettists. Scarecrow Press, 2002. ISBN-13: 978- 0810844407 Lees, Gene. The Musical Worlds of Lerner and Loewe. University of Nebraska Press, 2005. ISBN-13: 978-0803280403 Vermette, Margaret. The Musical World of Boublil and Schonberg: The Creators of Les Miserables, Miss Saigon, Martin Guerre, and The Pirate Queen. Applause Theatre & Cinema Books, 2007. ISBN-13: 978- 1557837158 Bierley, Paul E. The Incredible Band of John Philip Sousa. University of Illinois Press, 2006. ISBN-13: 978-0252031474 Gould, Neil. Victor Herbert: A Theatrical Life. Forham University Press, 2008. ISBN-13: 978- 0823228713 Morehouse, Ward. George M. Cohan: Prince of the American Theater. Greenwood Press, X, CT, 1972. ISBN-13: 978-0837162256 Bergreen, Laurence. As Thousands Cheer: The Life of Irving Berlin. Penguin Books, New York, N.Y., 1990. ISBN: 0-670-81874-7 Leopold, David. Irving Berlin’s Show Business: Broadway, Hollywood, America. Harry N. Abrams, Inc, New York, N.Y., 2005. ISBN: 0-8109-5891-0 Bordman, Gerald. Jerome Kern: His Life and Times. Oxford University Press, New York, N.Y., 1980. ISBN: 0-19-502649-7 Wodehouse, P.G. & Bolton, Guy. Bring on the Girls: The Improbable Story of Our Life in Musical Comedy, with Pictures To Prove It. Limelight Editions, New York, N.Y., 1953. ISBN: 0-87910-011-7 Stagg, Jerry. The Brothers Shubert. Random House, 1968. ISBN-13: 978-0394417929 Hirsch, Foster. The Boys from Syracuse: The Shuberts' Theatrical Empire. Southern Illinois University Press, 1998. ISBN-13: 978-0809321568 McNamara, Brooks. The Shuberts of Broadway: A History Drawn from the Collections of the Shubert Archive. Oxford University Press, New Yor, N.Y., Bordman, Geraldc. Days To Be Happy, Years To Be Sad: The Life and Music of Vincent Youmans. Oxford University Press, 1982. ISBN-13: 978-0195030266

BAA (Music Theatre Performance) 170 Sheridan College Institute of Technology and Advanced Learning

Rosenberg, Deena. Fascinating Rhythm: The Collaboration of George and Ira Gershwin. Penguin Books, New York, N.Y., 1991. ISBN: 0-525-93356-5 Peyser, Joan. The Memory of All That: The Life of George Gershwin. Billboard Books, New York, N.Y., 1998. ISBN: 0-8230-8332-2 Kendall, Alan. George Gershwin: A Biography. Harrap, Ltd., London, England, 1987. ISBN: 0-245- 54332-5 Nolan, Frederick. Lorenz Hart: A Poet on Broadway. Oxford University Press, New York, N.Y., 1994. ISBN: 0-19-506837-8 Hart, Dorothy. Thou Swell, Thou Witty: The Life and Lyrics of Lorenz Hart. Harper & Row, New York, N.Y., 1976. ISBN: 0-06-011776-1 William McBrien. Cole Porter: A Biography. Alfred A. Knopf, Inc., New York, N.Y., 1998. ISBN: 0- 394-58235-7 Gill, Brendan. Cole: A Biographical Essay. Dell Publishing, New York, N.Y., 1971. ISBN: 0-385-30815- 9 Schwarz, Charles. Cole Porter: A Biography. Da Capo Press, Inc., New York, N.Y., 1977. ISBN: 0-306- 80097-7 Morella, Joseph & Mazzei, George. Genius and Lust: The Creativity and Sexuality of Cole Porter and Noel Coward. Carroll & Graf Publishers, Inc., New York, N.Y., 1995. ISBN: 0-7867-0237-0 Sanders, Ronald. The Days Grow Short: The Life and Music of Kurt Weill. Silman-James Press, Los Angeles, California. 1980. ISBN: 1-879505-06-1 Hirsch, Foster. Kurt Weill on Stage from Berlin to Broadway. Proscenium Publishers, New York, N.Y., 2002. ISBN: 0-87910-990-4 Farneth, David (with Juchem, Elmar & Stein, David). Kurt Weill: A Life in Pictures and Documents. The Overlook Press, New York, N.Y., 2000. ISBN: 0-87951-721-2 Rodgers, Richard. Musical Stages: An Autobiography. Da Capo Press, New York, N.Y., 1975. ISBN-13: 978-0306811340 Block, Geoffrey. Richard Rodgers. Yale University Press, New York, N.Y.2003. ISBN-13: 978- 0300097474 Secrest, Meryle. Somewhere for Me: A Biography of Richard Rodgers. Hal Leonard Music Books, New York, N.Y., 1003. ISBN-13: 978-1557835819 Fordin, Hugh. Getting To Know Him: A Biography of Oscar Hammerstein II. Da Capo Press, Inc., New York, N.Y., 1977. ISBN: 0-306-80668-1 Morden, Ethan. Rodgers and Hammerstein. Harry N. Abrams, Inc., 1992. ISBN: 0-8109-8144-0 Burton, Humphrey. Leonard Bernstein. Anchor Books, New York, N.Y., 1994. ISBN: 0-385-42352-7 Myers, Paul. Leonard Bernstein. Phaidon, New York, N.Y., 1998. ISBN-13: 978-0714837017 Comden, Betty. Off Stage. Simon & Schuster, Inc., 1995. ISBN-13: 978-067170579 Lees, Gene. Inventing Champagne: The Worlds of Lerner and Loewe. St. Martin’s Press, New York, N.Y., 1990. ISBN: 0-312-05136-0 Lerner, Alan Jay. The Street Where I Live. W. W. Norton & Co., New York, N.Y., 1978. ISBN: 0-393- 07532-X Loewe, Frederick. Almost Like Being in Love. Alfred Publishing Co., New York, N.Y., 1994. ISBN-13: 978-0757934681 Jablonski, Edward. Harold Arlen: Happy with the Blues. Da Capo Press, New York, N.Y., 1961. ISBN: 0-306-80274-0

BAA (Music Theatre Performance) 171 Sheridan College Institute of Technology and Advanced Learning

Jablonski, Edward. Harold Arlen: Rhythm, Rainbows, and Blues. Northeastern University Press, Boston, Massachusetts, 1996. Loesser, Susan. A Most Remarkable Fella: Frank Loesser and the Guys and Dolls in His Life: a Portrait by His Daughter. Hal Leonard Corporation, Milwaukee, Wisconsin, 1993. ISBN: 0-634-00927-3 Burrows, Abe. Honest Abe: Is There Really No Business Like Show Business!. Little, Brown, and Company, Boston, Massachusetts, 1980. ISBN: 0-316-11771-4 Winer, Deborah Grace. On the Sunny Side of the Street: The Life and Lyrics of Dorothy Fields. Schirmer Trade Books, XNew York, N.Y., 1997. ISBN-13: 978-0825672040 Taylor, Theodore. Jule: The Story of Composer Jule Styne: A Revue in Many Acts and Scenes. Random House, New York, N.Y., 1979. ISBN-13: 978-0394412962 Oates, Bill. Meredith Willson: America's Music Man: The Whole Broadway-Symphonic-Radio-Motion Picture Story . Authorhouse, Bloomington, Indiana, 2005. ISBN-13: 978-1420835236 Strouse, Charles. Put on a Happy Face: A Broadway Memoir. Union Square Press, New York, N.Y., 2008. ISBN-13: 978-1402758898 Herman, Jerry. Showtune: A Memoir. Donald I. Fine Books, New York, N.Y., 1996. ISBN: 1-55611-502- 4 Simon, Neil. Re-Writes: A Memoir. Touchstone New York, N.Y., 1998. ISBN-13: 978-0684835624 Simon, Neil. The Play Goes On: A Memoir. Simon & Schuster, New York, N.Y., 1999. ISBN-13: 978- 0684846918 Kander, John & Ebb, Fred (as told to Laurence, Greg). Colored Lights: Forty Years of Words, Music, Show Biz, Collaboration, and All That Jazz. Faber and Faber, New York, N.Y., 2003. ISBN-13: 978- 0571211333. Laurents, Arthur. Original Story By: A Memoir of Broadway and Hollywood. Alfred A. Knopf, New York, N.Y., 2000. ISBN:0-375-40055-9 Secrest, Meryle. Stephen Sondheim: A Life. Alfred A. Knopf, New York, N.Y., 1998. ISBN: 0-679- 44817-9 Horowitz, Mark Eden. Sondheim on Music: Minor Details and Major Decisions. Scarecrow Press, Lanham, MD, 2003. ISBN-13: 978-0810844377 Gordon, Joanne. Art Isn't Easy: The Achievement of Stephen Sondheim. Southern Illinois University Press, Carbondale, IL, 1990. ISBN-13: 978-0809314072 Swayne, Steve. How Sondheim Found His Sound. University of Michigan Press, Ann Arbor, MI, 2005. ISBN-13: 978-0472114979 Gottfried, Martin. Sondheim (Revised and Updated Edition). Harry N. Abrams, New York, N.Y., 2002. ISBN-13: 978-0810941793 Gordon, Joanne (Editor). Stephen Sondheim: A Casebook. Garland Publishing, Inc., New York, N.Y., 1999. ISBN-13: 978-0815335863 de Giere, Carol. Defying Gravity: The Creative Career of Stephen Schwartz, From Godspell to Wicked. Applause Books, New York, N.Y., 2008. ISBN-13: 978-1557837455 Hamlisch, Marvin (with Gardner, Gerald C.). The Way I Was. Scribner, New York, N.Y., 1992. ISBN- 13: 978-0684193274 Snelson, John. Andrew Lloyd Webber. Yale University Press, New Haven CT, 2004. ISBN-13: 978- 0300104592 Walsh, Michael. Andrew Lloyd Webber: His Life and Works (Expanded and Updated Edition). Harry N. Abrams, New York, N.Y., 1997. ISBN-13: 978-0810912755 Coveney, Michael. The Andrew Lloyd Webber Story. Random House UK, London, England, 2000. ISBN-13: 978-0099257196

BAA (Music Theatre Performance) 172 Sheridan College Institute of Technology and Advanced Learning

Biographies – Directors & Choreographers Hischak, Thomas S. Enter the Playmakers: Directors and Choreographers on the New York Stage. Scarecrow Press, 2006. ISBN-13: 078-0810857476 Maslon, Laurence. Kaufman and Co. Library of America, 2004. ISBN-13: 978-1931082679 Spergel, Mark J. Reinventing Reality: The Art and Life of Rouben Mamoulian. Scarecrow Press, New York, N.Y., 1993. ISBN-13: 978-0810827219 Hart, Moss. Act One: An Autobiography. Random House, New York, N.Y., 2002. ISBN-13: 978- 0375508608 Brown, Jared. Moss Hart: A Prince of the Theatre. Back Stage Books, New York, N.Y., 2006. ISBN: 0- 8230-7890-6 Logan, Joshua. Josh: My Up and Down, In and Out Life. Delacorte Press, New York, N.Y., 1976. ISBN- 13: 978-0440042358 Hirsch, Foster. Harold Prince and the American Musical Theater (Expanded Edition). Hal Leonard Books, New York, N.Y., 2005. ISBN-13: 978-1557836175 Ilson, Carol. Harold Prince: A Director's Journey from Pajama Game to Phantom of the Opera. UMI Research Press, Ann Arbor, MI, 1989. ISBN-13: 978-0835719353. Teachout, Terry. All in the Dances: A Brief Life of George Balanchine. Harcourt, Inc., Orlando, FL, 2004. ISBN-13: 978-0151010882 Taper, Bernard. Balanchine (New Edition). Crown Publishing Group, 1984. ISBN-13: 978-0812911369 Loney, Glenn. Unsung Genius: The Passion of Dancer-Choreographer Jack Cole. Olympic Marketing Corp., 1984. ISBN-13: 978-0531097656 Easton, Carol. No Intermissions: The Life of Agnes de Mille. Little Brown, USA, 1997. ISBN-13: 978- 0316199704 Gilvey, John Anthony. Before the Parade Passes By: Gower Champion and the Glorious American Musical. St. Martin's Press, New York, N.Y., 2005. ISBN-13: 978-0312337766 Lawrence, Greg. Dance with Demons: The Life of Jerome Robbins. G.P. Putnam’s Sons, New York, N.Y., 2001. ISBN: 0-399-14652-0 Vaill, Amanda. Somewhere: The Life of Jerome Robbins. Broadway Books, New York, N.Y., 2006. ISBN-13: 978-0-7679-0420-9 Jowitt, Deborah. Jerome Robbins: His Life, His Theater, His Dance. Simon & Schuster, New York, N.Y., 2004. ISBN-13: 978-0684869858 Conrad, Christine. Jerome Robbins: That Broadway Man. Harry N. Abrams, New York, N.Y.., 2002. ISBN-13: 978-1861541734 Grubb, Kevin Boyd. Razzle Dazzle: The Life and Works of Bob Fosse. St. Martin's Press, New York, N.Y., 1991. ISBN-13: 978-0312055028 Gottfried, Martin. All His Jazz: The Life and Death of Bob Fosse. Bantam, New York, N.Y., 1990. ISBN- 13: 978-0553070385 Kelly, Kevin. One Singular Sensation: The Michael Bennett Story. Doubleday, New York, N.Y., 1990. ISBN: 0-385-26125-X

Biographies – Producers & Designers: Moore, James Ross. Andre Charlot: The Genius of Intimate Musical Revue. MacFarland & Co., 2004. ISBN-13: 978=0786417742 Greene, Alexis. Lucille Lortel: The Queen of Off Broadway. Limelight Editions, 2006. ISBN-13: 978- 0879103026

BAA (Music Theatre Performance) 173 Sheridan College Institute of Technology and Advanced Learning

Kissel, Howard. David Merrick: The Abominable Showman, The Unauthorized Biography. Applause Books, New York, N.Y., 1993. ISBN: 1-55783-172-6 Feuer, Cy (with Gross, Ken). I Got the Show Right Here: The Amazing, True Story of How an Obscure Brooklyn Horn Player Became the Last Great Broadway Showman. Simon & Schuster, New York, N.Y., 2003. ISBN-13: 978-0743236119 Ostrow, Stuart. A Producer's Broadway Journey. Praeger Publishers, Westport, CT, 1999. ISBN-13: 978- 0275958664 Epstein, Helen. Joe Papp: An American Life. Little, Brown, and Company, New York, N.Y. 1994. ISBN: 0-316-24604-2 Adler, Steven. On Broadway: Art and Commerce on the Great White Way. Southern Illinois University Press, 2004. ISBN-13: 978-0809325924 Henderson, Mary C. Mielziner: Master of Modern Stage Design. Back Stage Books, New York, N.Y., 2001. ISBN: 0-8230-8823-5 Mikotowicz, Tom. Oliver Smith: A Bio-Bibliography. Greenwood Press, Westport, CT, 1993. ISBN-13: 978-0313287091 Morley, Sheridan & Leon, Ruth. Hey Mr. Producer! The Musical World of Cameron Mackintosh. Weidenfeld & Nicolson, London, England, 1998. ISBN: 0297823469 Harris, Andrew B. The Performing Set: The Broadway Designs of William and Jean Eckart. University of North Texas Press, 2006. ISBN-13: 978-1574412123 Owen, Bobbi. Scenic Design on Broadway: Designers and Their Credits, 1915-1990. Greenwood Press, 1991. ISBN-13: 978-0313265341 Owen, Bobbi. Lighting Design on Broadway: Designers and Their Credits, 1915-1990. Greenwood Press, 1991. ISBN-13: 978-0313265334

Biographies – Broadway Stars & Personalities Forbes, Camille. Introducing Bert Williams: Burnt Cork, Broadway, and the Story of America's First Black Star. Basic Civitas, 2008. ISBN-13: 978-0465024797 Chude-Sokei, Louis. The Last "Darky": Bert Williams, Black-on-Black Minstrelsy, and the African Diaspora. Duke University Press, TX, 2006. ISBN-13: 978-0822336051 Goldman, Herbert G. Jolson: The Legend Comes To Life. Oxford University Press, New York, N.Y., 1988. ISBN: 0-19-505505-5 Golden, Eve. Anna Held and the Birth of Ziegfeld's Broadway. University Press of Kentucky, 2000. ISBN-13: 978-08131211536 Viagas, Robert. I'm the Greatest Star: Broadway's Top Musical Legends from 1900 to Today. Applause Books, 2008. ISBN-13: 978-1557837271 Schwartz, Daniel R. Broadway Boogie Woogie: Damon Runyon and the Making of New York City Culture. Palgrave MacMillan, New York, N.Y., 2003. ISBN-13: 978-1403967312 Flinn, Caryl. Brass Diva: The Life and Legends of Ethel Merman. University of California Press, Berkeley, CA, 2007. ISBN-13: 978-0520229426 Kellow, Brian. Ethel Merman: A Life (Large Edition). Thorndike Press, Waterville, ME, 2008. ISBN-13: 978-0410405087 Mark, Geoffrey. Ethel Merman: The Biggest Star on Broadway. Barricade Books, Inc., Fort Lee, NJ, 2005. ISBN-13: 978-1569802939 Davis, Ronald L. Mary Martin: Broadway Legend. University of Oklahoma Press, Norman, OK, 2008. ISBN-13: 978-0806139050

BAA (Music Theatre Performance) 174 Sheridan College Institute of Technology and Advanced Learning

Sagolla, Lisa Jo. The Girl Who Fell Down: A Biography of Joan McCracken. Northeastern University Press, 2003. ISBN-13: 978-1555535735 Channing, Carol. Just Lucky I Guess: A Memoir of Sorts. Simon & Schuster, New York, N.Y., 2002. ISBN-13: 978-0743216067 Andrews, Julie. Home: A Memoir of My Early Years. Hyperion Books, New York, N.Y., 2008. ISBN-13: 978-0786865659

Recommended Drama Studies Book Acquisitions

Shakespeare Shakespeare, William. The Arden Shakespeare: Complete Works (Revised Edition). Cenage Learning, 2002. ISBN-13: 978-1904271031 Shakespeare, William. The Riverside Shakespeare (Second Edition). Houghton Miffen Co., 1997. ISBN- 13: 978-0395754900 Ackroyd, Peter. Shakespeare: The Biography. Chatto & Windus, 2005. ISBN-13: 978-1856197263 Holden, Anthony. William Shakespeare: An Illustrated Biography. Little Brown, 2004. ISBN-13: 978- 0316851590 Wells, Stanley. For All Time: The Story of Shakespeare. Macmillan, 2002. ISBN-13: 978-0333904992 Duncan-Jones, Katherine. Ungentle Shakespeare: Scenes from his Life. Arden, 2001. ISBN-13: 978- 1903436264 Bloom, Harold. Shakespeare: The Invention of the Human. Riverhead Trade, 1999. Tillyard, E.M. W. (1959). The Elizabethan World Picture. Vintage.

Tennessee Williams Williams, Tennessee. (Gussow, Mel. Editor). 01 Tennessee Williams: Plays 1957 to 1980. Library of America, 2000. ISBN-13: 978-1883011864 Williams, Tennessee. (Gussow, Mel. Editor). 02 Tennessee Williams: Plays 1957 to 1980. Library of America, 2000. ISBN-13: 978-1883011876 Williams, Tennessee. Memoirs. Doubleday, 1975. ISBN-13: 978-0385005739 Kolin, Philip C. The Tennessee Williams Encyclopedia. Greenwood Publishing Group, 2005. ISBN-13: 978-0313321016 Bloom, Harold. Tennessee Williams (Updated Edition). Bloom's Literary Criticism, 2007. ISBN-13: 978- 0791094303 Leverich, Lyle. Tom: The Unknown Tennessee Williams. Crown, 1995. ISBN-13: 978-0517702253 Hayman, Ronald. Tennessee Williams: Everyone Else Is an Audience. Yale University Press, 1994. ISBN-13: 0300054149 Williams, Tennessee (Devlin, Albert J. & Tischler, Nancy M. Editors). The Selected Letters of Tennessee Williams: Volume I 1920-1945. New Directions Publishing, 2000. ISBN-13: 978-0811214452 Williams, Tennessee (Devlin, Albert J. & Tischler, Nancy M. Editors). The Selected Letters of Tennessee Williams: Volume II 1945-1957. New Directions Publishing, 2004. ISBN-13: 978-0811216005 Williams, Tennessee (Thornton, Margaret Bradham. Editor). Notebooks. Yale University Press, 2007. ISBN-13: 978-0300116823

Arthur Miller Miller, Arthur. (Kushner, Tony. Editor). Arthur Miller: Collected Plays 1944 to 1961. Library of America, 2006. ISBN-13: 978-1931082914

BAA (Music Theatre Performance) 175 Sheridan College Institute of Technology and Advanced Learning

Miller, Arthur. (Martin, Robert A. Editor). The Theatre Essays of Arthur Miller. Methuen, 1994. ISBN- 13: 978-0413669209 Bigsby, Christopher. Arthur Miller: A Critical Study. Cambridge University Press, 2005. ISBN-13: 978- 0521844161 Bigsby, Christopher. The Cambridge Companion to Arthur Miller. Cambridge University Press, 2000. ISBN-13: 978-0521559928 Gottfried, Martin. Arthur Miller: A Life. Faber and Faber, 2003. ISBN-13: 0571219469

Anton Chekhov Gottleib, Vera. (Editor) Anton Chekhov at the Moscow Art Theatre: Archive Illustrations of the Original Productions. Routledge, 2005. ISBN-13: 978-0415344401 Chekhov, Anton. (A New Translation by Pevear, Richard & Volokhonsky, Larissa.) The Complete Short Novels. Everyman's Library, 2004. ISBN-13: 978-1400040490 Chekhov, Anton. (Senelick, Laurenc. Translator) The Complete Plays. W.W. Norton, 2007. ISBN-13: 978-0393330694 Chekhov, Anton. (Wilks, Ronald. Translator) The Steppe and Other Stories: 1887-1891. Penguin Classics, London, England, 2005. ISBN-13: 978-0140447859 Chekhov, Anton. (Wilks, Ronald. Translator) Ward No. 6 and Other Stories: 1892-1895. Penguin Classics, London, England, 2004. ISBN-13: 978-0140447866 Chekhov, Anton. (Wilks, Ronald. Translator) The Lady with the Little Dog and Other Stories: 1896-1904. Penguin Classics, London, England, 2004. ISBN-13: 978-0140447873 Chekhov, Anton. (Carson, Peter. Translator) Plays. Penguin Classics, London, England, 2004. ISBN-13: 978-0140447330 Chekhov, Anton. (Phillips, Anthony. Translator) Chekhov: A Life in Letters. Penguin Classics, London, England, 2004. ISBN-13: 978-0140449228

Henrik Ibsen McFarlane, James. (Editor) The Cambridge Companion to Ibsen. Cambridge University Press, 1994. ISBN-13: 978-0521411661 Ibsen, Henrick. Complete Major Prose Plays. Faber and Faber, Ltd. ISBN-13: 978-0571120079

George Bernard Shaw Holroyd, Michael. Bernard Shaw: Volume 1: The Search for Love 1856-1898. Random House, UK, 1988. ISBN-13: 978-0701133320 Holroyd, Michael. Bernard Shaw: Volume 2: The Pursuit of Power 1898-1918. Random House, UK, 1989. ISBN-13: 978-0701133504

Eugene O'neill Manheim, Michael. (Editor) The Cambridge Companion to Eugene O'Neill. Cambridge University Press, 1998. ISBN-13: 978-0521553896 O'Neill, Eugene. Collected Plays of Eugene O'Neill. Trafalgar Square Publishing. ISBN-13: 978- 0224025355

Acting Theories Shurtleff, Michael. Audition (Revised Edition). Bantam Books, 1979. ISBN-13: 978-0553272956 Hagen, Uta. Respect for Acting. Wiley Publishing, 1973. ISBN-13: 978-0025473904 Spolin, Viola. Improvisation for the Theatre. Northwestern University Press, 1983. ISBN-13: 978- 0810110007

BAA (Music Theatre Performance) 176 Sheridan College Institute of Technology and Advanced Learning

Johnstone, Keith. Impro: Improvisation and the Theatre. Methuen Drama, 2008. ISBN-13: 978- 0713687019 Brook, Peter. The Empty Space. Penguin Classics, 2008. ISBN-13: 978-0141189222 Hagen, Uta. A Challenge for the Actor. Scribner, 1991. ISBN-13: 978-0684190402 Rolfe, Bari. Behind the Mask. Personabooks, 1977. ISBN-13: 978-0932456014 LeCoq, Jacques. The Moving Body: Le Corps Poetique. Methuen Drama, 2002. Linklater, Kristin. Freeing the Natural Voice (Revised 2nd Edition). Nick Hern Books, 2006. Berry, Cicely. Voice and the Actor - New Edition. John Wiley & Sons, 1991. ISBN-13: 978-0020415558 Atkinson, Rita L.; Atkinson, Richard C.; Smith, Edward E.; Bem, Daryl J.; Nolen-Hoeksema, Susan. Hilgard's Introduction to Psychology - Thirteenth Edition. Harcourt, 1999. ISBN-13: 978-0155080447 Callow, Simon. Acting in Restoration Comedy. Hal Leonard Music Books, 1997. ISBN-13: 978- 1557831194 Campbell, Joseph. The Hero with a Thousand Faces. Princeton University Press, 1972. ISBN-13: 978- 0691017846 Rudlin, John. Commedia dell’Arte: An Actor’s Handbook. Routledge, London, 1994. ISBN-13: 978- 0415047708 Artaud, Antonin. (Translated by Corti, Victor) Theatre and Its Double. Oneworld Classics, 2009. ISBN- 13: 978-1847490780 Plunka, Gene A,, Editor. Antonin Artaud and the Modern Theater. Fairleigh Dickinson University Press, 1994. ISBN-13: 978-0838635505 Bogart, Ann and Landau, Tina. The Viewpoints Book: A Practical Guide to Viewpoints and Composition. Theatre Communications Group, 2005. ISBN-13: 978-1559362412 Caux, Patrick and Gilbert, Bernard. Ex Machina: Chantiers D’Ecriture Scenique. Septentrion, 2007. ISBN-13: 978-289445286 Chekhov, Michael. To the Actor On the Technique of Acting. Routledge, 2002. ISBN-13: 978- 0415258760 Leeper, Janet. Edward Gordon Craig: Designs for the Theatre. Ams Press, Inc., 1983. ISBN-13: 978- 0404201555 Grotowski, Jerzy Towards a Poor Theatre. Heinemann, 1976. ISBN-13: 978-0413349101 LeCoq, Jacques. The Moving Body: Le Corps Poetique. Methuen Drama, 2002. ISBN-13: 978- 0413752607 Esslin, Martin. Theatre of the Absurd. Vintage, 2004.ISBN-13: 978-0140552286 Cameron, Julia. (2002) The Artist's Way: A Spiritual Path to Higher Creativity. Jeremy P. Tarcher/Putnam Edwards, Betty (1999) Drawing on the right Side of the Brain. Tarcher; Rev Exp edition.

Styles Congreve, William. The Way Of The World Goldsmith, Oliver. She Stoops To Conquer Sheridan, Richard Brinsley. School For Scandal Wycherley, William. The Country Wife Molière. Tartuffe Feydeau, Georges. The Lady From Maxim's Orton, Joe. What The Butler Saw Frayn, Michael. Noises Off Wood, Mrs. Henry. East Lynne

BAA (Music Theatre Performance) 177 Sheridan College Institute of Technology and Advanced Learning

W.W. Pratt. Ten Nights In A Barroom Pitt, George Dibdin. Sweeney Todd, The Demon Barber Of Fleet Street Aiken, George. Uncle Tom's Cabin (The dramatization of Harriet Beecher Stowe's novel.)

Recommended Musical Soundtracks (CDs)

Ain’t Misbehavin’ (1978 Original Broadway Cast) CD. RCA Victor Broadway, 1978. ASIN: B000002W45 Allegro (First Complete Recording) CD. Sony Classics, 2009. ASIN: B001L5DSP2 Annie (1977 Original Broadway Cast) CD. Sony, 1977. ASIN: B00000AG6Z Annie Get Your Gun (1946 Original Broadway Cast) CD. Decca U.S., 1946. ASIN: B00004VVZX Annie Get Your Gun (1999 Broadway Revival Cast) CD. Angel Records, 1999. ASIN: B00000ID42 Anyone Can Whistle (1964 Original Broadway Cast) CD. Sony, 2003. ASIN: B0000996G0 Anything Goes – The New Broadway Cast Recording CD. RCA Victor Broadway, 1999. ASIN: B000002WBK Applause CD. Decca U.S., 1970. ASIN: B00004ZDV0 The Apple Tree CD. Sony, 1966. ASIN: B0000027WD As Thousands Cheer: The Hit Musical Comedy Revue! CD. Varese Sarabande, 1998. ASIN: B00000IKV0 Aspects of Love CD. Decca Broadway, 1989. ASIN: B000BT7I78 Avenue Q CD. RCA Victor Broadway, 2003. ASIN: B0000BZK1R Babes in Arms CD. DRG, 1999. ASIN: B00002EQ6J The Baker’s Wife CD. Take Home Tunes!, 1976. ASIN: B00006AWJM Barnum CD. Sony, 1980. ASIN: B000067AS2 Bells Are Ringing (1956 Original Broadway Cast) CD. Sony, 1957. ASIN: B00005ARE0 Bells Are Ringing (2001 Revival Broadway Cast) CD. Varese Sarabande, 2001. ASIN: B00005LNGT Bernarda Alba (2006 Original Off-Broadway Cast) CD. Ghostlight, 2006. ASIN: B000FJA9Y8 The Best Little Whorehouse in Texas CD. Varese Sarabande, 2001. ASIN: B00005LZSJ Big River: The Adventures of Huckleberry Finn (1985 Original Broadway Cast) CD. Decca U.S., 1985. ASIN: B000002O4T Bloomer Girl (1944 Original Broadway Cast) CD. Decca U.S., 1944. ASIN: B00005A8KD The Boy Friend (1954 Original Broadway Cast) CD. RCA Victor Broadway, 1954. ASIN: B000003EV4 The Boys From Syracuse (1997 Studio Cast) CD. Drg, 1997. ASIN: B000000PL8 Brigadoon (1991 London Studio Cast) CD. Angel Records, 1992. ASIN: B000002SK0 Brigadoon (1947 Original Broadway Cast) CD. RCA Victor Broadway, 1947. ASIN: B000002W1D By Jupiter (1967 Off-Broadway Cast) CD. Drg, 2007. ASIN: B000U1ZIQU Bye Bye Birdie (1960 Original Broadway Cast) CD. Sony, 1960. ASIN: B00004THM0 Cabaret (Original Broadway Cast) CD. Sony, 1998. ASIN: B000007OHR Cabaret: The New Broadway Cast Recording (1998 Broadway Revival) CD. RCA Victor Broadway, 1998. ASIN: B000007QGL Call Me Madam (1995 Broadway Concert Cast) CD. Drg, 1995. ASIN: B000000PKX Camelot (Original Broadway Cast) CD. Sony, 1960. ASIN: B000007OHW Candide (1974 Broadway Revival Cast) CD. Sony, 2006. ASIN: B000GRTQR0

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Carnival (1961 Original Broadway Cast) CD. Decca Broadway, 1989. ASIN: B000001FPZ Carousel (Original Cast Album) CD. MCA Classics, 1945. ASIN: B00000DWC3 Carousel (1994 Broadway Revival Cast) CD. Angel Records, 1994. ASIN: B000002SL0 Carousel (1993 London Cast Recording) CD. RCA Victor Broadway, 1994. ASIN: B000003FO6 A Catered Affair (Original Broadway Cast Recording) CD. P.S. Classics, 2008. ASIN: B00170LCOA Cats: Complete Original Broadway Cast Recording (1982 Original Broadway Cast) CD. Decca Broadway, 2006. ASIN: B000BSM28E Chess CD. Decca Broadway, 1996. ASIN: B000002GLR Chicago – A Musical Vaudeville (1975 Original Broadway Cast) CD. Arista, 1996. ASIN: B000002VSP Chicago – The Musical (1996 Broadway Revival Cast) CD. RCA Victor Broadway, 1996. ASIN: B000003G7W A Chorus Line (1975 Original Broadway Cast) CD. Sony, 1998. ASIN: B000007OHY A Chorus Line – The New Broadway Cast Recording (2006 Broadway Cast Revival) CD. Sony, 2006. ASIN: B000HEZF8Q City of Angels CD. Sbme Special Mkts., 2008. ASIN: B0012GMZ5Y The Color Purple (2005 Original Broadway Cast) CD. Angel Records, 2006. ASIN: B000C1ZFA2 Company (1970 Original Broadway Cast) CD. Sony, 1998. ASIN: B00000DHSN Company (2006 Broadway Revival Cast) CD. Nonesuch, 2007. ASIN: B000LV6R4G A Connecticut Yankee CD. Decca, 2001. ASIN: B00005A8KC The Cradle Will Rock: Original 1985 Cast Recording CD. Jay Records, 1999. ASIN: B00000IXJH Crazy For You – Original London Cast Recording CD. RCA Victor Broadway, 1993. ASIN: B000003FNY Curtains (2007 Original Broadway Cast) CD. Manhattan Records, 2007. ASIN: B000PC1QKQ Dames at Sea (1968 Original Off-Broadway Cast) CD. Sony, 1992. ASIN: B0000027WI Damn Yankees (1955 Original Broadway Cast) CD. RCA Victor Broadway, 1990. ASIN: B000002W65 Damn Yankees: 1994 Original Broadway Cast Recording CD. Decca Broadway, 1994. ASIN: B000001E4U Debbie Does Dallas (2002 Off-Broadway Cast) CD. Ghostlight, 2003. ASIN: B00007MB7Y Disney’s Beauty and the Beast CD. Walt Disney Records, 1994. ASIN: B00000DT8E Disney’s The Little Mermaid CD. Disney, 2008. ASIN: B000Y0CYBE Do I Hear a Waltz? (1965 Original Broadway Cast) CD. Sony, 1992. ASIN: B0000027WA Do Re Mi (1999 Broadway Revival Cast) CD. Drg, 1999. ASIN: B00000K2CW Dreamgirls CD. Decca Broadway, 2006. ASIN: B000JJRWQC Dreamgirls in Concert (2001 Concert Cast) CD. Nonesuch, 2002. ASIN: B00005Y4P4 The Drowsy Chaperone (2006 Original Broadway Cast) CD. Ghostlight, 2006. ASIN: B000FJA9YI Evita: An Opera Based On The Life Story Of Eva Peron 1919-1952 (1976 Studio Cast) CD. Decca U.S., 1976. ASIN: B000002P4G Fanny: A New Musical (1954 Original Broadway Cast) CD. RCA, 1996. ASIN: B000003FUB The Fantasticks (Original 1960 Off-Off-Broadway Cast) CD. Decca Broadway, 1960. ASIN: B00004STPR Fiddler on the Roof (1964 Original Broadway Cast) CD. RCA Victor Broadway, 1964. ASIN: B000002WB3 Fiddler on the Roof (2004 Broadway Revival Cast) CD. P.S. Classics, 2004. ASIN: B00023GFYK

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Fifty Million Frenchmen (1991 Studio Cast) CD. New World Records, 1992. ASIN: B0000030H8 Finian’s Rainbow (2004 Off-Broadway Concert Cast) CD. Ghostlight, 2004. ASIN: B000641A7C Fiorello! (1959 Original Broadway Cast) CD. Angel Records, 1993. ASIN: B000002SOJ First Lady Suite – A Musical (Premiere Recording) CD. P.S. Classics, 2003. ASIN: B00008BL61 Five Guys Named Moe: 1992 Original Broadway Cast Recording CD. Sony, 1992. ASIN: B0000028SQ Florodora (1899 Original London Cast) CD. Pearl, 1993. ASIN: B000000WYT Flower Drum Song CD. Drg, 2003. ASIN: B00007G77A Floyd Collins (1996 Original Off-Broadway Cast) CD. Nonesuch, 1997. ASIN: B000005J4F Follies in Concert (1985 Live Performance) CD. RCA Victor Broadway, 1990. ASIN: B000002WB6 42nd Street (1980 Original Broadway Cast) CD. RCA Victor Broadway, 1980. ASIN: B000002W5Y 42nd Street (2001 Broadway Revival Cast) CD. Atlantic / Wea, 2001. ASIN: B00005K9KC Funny Face CD. Phantom Sound & Vision, 2008. ASIN: B0019H9WCK Funny Girl (1964 Original Broadway Cast) CD. Angel Records, 1992. ASIN: B000002SNJ A Funny Thing Happened on the Way to the Forum (1962 Original Broadway Cast) CD. Angel Records, 1993. ASIN: B000002SOA A Funny Thing Happened on the Way to the Forum (1996 Broadway Revival Cast) CD. Angel Records, 1996. ASIN: B000002SJO Gentlemen Prefer Blondes (1949 Original Broadway Cast) CD. Sony, 1991. ASIN: B0000027TD Godspell CD. Arista, 1971. ASIN: B000002VDC Grand Hotel: The Musical – Broadway Cast Recording CD. RCA Victor Broadway, 1992. ASIN: B000003FBP Grease: A New 50's Rock 'N Roll Musical - The Original Broadway Cast Album CD. Polydor / Umgd, 1972. ASIN: B000001FG6 Grease - The New Broadway Cast Recording (1994 Revival) CD. RCA Victor Broadway, 1994. ASIN: B000003FRJ Greenwillow (1960 Original Broadway Cast) CD. Drg, 1960. ASIN: B000000PIL Grey Gardens – The Musical CD. P.S. Classics, 2006. ASIN: B000G75A9I Guys & Dolls: A Decca Broadway Original Cast Recording (1950 Original Broadway Cast) CD. Decca Broadway, 2000. ASIN: B00004U0QI Gypsy - A Musical Fable (1959 Original Broadway Cast) CD. Sony, 1999. ASIN: B00000J28I Gypsy (1962 Film Soundtrack) CD. Rhino / Wea, 2003. ASIN: B0000DZ3CN Gypsy (1989 New York Revival) CD. Nonesuch, 1990. ASIN: B000005J09 Gypsy (1993 TV Soundtrack) CD. Atlantic / Wea, 1993. ASIN: B000002IXD Gypsy (1973 Original London Cast) CD. RCA Victor Broadway, 1974. ASIN: B000003F2A Gypsy (2003 Broadway Revival Cast) CD. Angel Records, 2003. ASIN: B0000AKY5G Gypsy (2008 Original Broadway Cast) CD. Time Life Entertainment, 2008. ASIN: B001CHFM12 Hair (Deluxe Edition) (1968 Original Broadway Cast and 1967 off Broadway Cast) CD. RCA Victor Broadway, 2003. ASIN: B0000DZ3IC Hairspray (2002 Original Broadway Cast) CD. Sony, 2002. ASIN: B00006AALQ Hello Again (1994 Original Broadway Cast) CD. RCA Victor Broadway, 1994. ASIN: B000003FQP Hello, Dolly! (1964 Original Broadway Cast) (Deluxe Edition) CD. RCA Victor Broadway, 2003. ASIN: B000099SZ0 High Button Shoes (1947 Original Broadway Cast) CD. RCA, 1996. ASIN: B0000038OX

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High School Musical CD. Walt Disney Records, 2006. ASIN: B000F8DT5A How to Succeed in Business Without Really Trying: New Broadway Cast Recording CD. RCA, 1995. ASIN: B000003FXB I Do! I Do! (1966 Original Broadway Cast) CD. RCA Victor Broadway, 1966. I Love You, You’re Perfect, Now Change! (1996 Original Off-Broadway Cast Recording) CD. Varese Sarabande, 1996. ASIN: B000001508 I’m Getting My Act Together and Taking It on the Road (1978 Original off-Broadway Cast) CD. Fynsworth Alley, 1979. ASIN: B000ERJEJ2 In the Heights (Original Broadway Cast) CD. Ghostlight, 2008. ASIN: B0016CGNZM Into the Woods (1987 Original Broadway Cast) CD. RCA, 2007. ASIN: B0009A40MA Into the Woods (2002 Broadway Revival Cast) CD. Nonesuch, 2002. ASIN: B000067G5Z Irene (1973 Broadway Revival Cast) CD. Sony, 1992. ASIN: B00000250Q Jelly’s Last Jam (1992 Original Broadway Cast) CD. Decca Broadway, 1992. ASIN: B000001DU2 Jerome Robbins’ Broadway: Original Broadway Cast Recording CD. RCA, 1989. ASIN: B000003EVP Jersey Boys (2005 Original Broadway Cast Recording) CD. Rhino / Wea, 2005. ASIN: B000BFH2QY Jesus Christ Superstar CD. MCA Records, 1970. ASIN: B000002OCS Jumbo (1962 Film Soundtrack) CD. Collectables, 1962. ASIN: B00005KHFI The King and I (1996 Broadway Revival Cast) CD. Varese Sarabande, 1996. ASIN: B0000014ZZ Kismet (1953 Original Broadway Cast) CD. Sony, 1953. ASIN: B00004THLY Kiss Me, Kate (1948 Original Broadway Cast) CD. Sony, 1998. ASIN: B000007OHT Kiss Me, Kate (1999 Broadway Revival Cast) CD. Drg, 2000. ASIN: B00003OP0U Kiss of the Spider Woman: The Musical - Original Cast Recording (Original London Cast) CD. RCA Victor Broadway, 1993. ASIN: B000003FFR Knickerbocker Holiday CD. Aei, 1995. ASIN: B000000N5I La Cage aux Folles: The Broadway Musical (1983 Original Broadway Cast) CD. RCA Victor Broadway, 1983. ASIN: B000002W77 Lady in the Dark (1997 Original London Cast) CD. Jay Records, 1998. ASIN: B000006PVR The Last 5 Years (2002 Off-Broadway Cast) CD. Ghostlight, 2002. ASIN: B000065CXP Leave It to Jane (1958 Off-Broadway Revival) CD. Aei, 1997. ASIN: B000000N66 Legally Blonde (2007 Original Broadway Cast) CD. Ghostlight, 2007. ASIN: B000R7I3NW Les Miserables Original London Cast CD. Red Ink, 1985. ASIN: B0002E5L5S Les Miserables Complete Symphonic Recording CD. Red Ink, 2004. ASIN: B0002E5L62 Les Miserables (1987 Original Broadway Cast) CD. Decca U.S., 1990. ASIN: B000000OQI Les Miserables 10th Anniversary Concert at Royal Albert Hall CD. Red Ink, 1996. ASIN: B0002E5O9G The Light in the Piazza (2005 Original Broadway Cast) CD. Nonesuch, 2005. ASIN: B0009A1AQE Li’l Abner (1956 Original Broadway Cast) CD. Sony, 2002. ASIN: B000067ARR The Lion King (1997 Original Broadway Cast) CD. Walt Disney Records, 1997. ASIN: B000001M1B Little Me: The New Broadway Cast Recording (1999 Revival) CD. Varese Sarabande, 1999. ASIN: B00000I8KV A Little Night Music (1973 Original Broadway Cast) CD. Sony, 1998. ASIN: B00000DHSO Little Shop of Horrors: Original Cast Album (1982 Off-Broadway Cast) CD. Decca U.S., 1992. ASIN: B000000OMF

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Little Women The Musical (2005 Original Broadway Cast) CD. Ghostlight Records, 2005. ASIN: B000929ABY Lost in the Stars (1949 Original Broadway Cast) CD. Decca U.S., 2001. ASIN: B000002OGX Mame (1966 Original Broadway Cast) CD. Sony, 1966. ASIN: B00000J28R Mamma Mia! The Musical Based on the Songs of ABBA: A Decca Broadway Original Cast Recording (1999 London Cast) CD. Decca Broadway, 2000. ASIN: B000031WEN Man of La Mancha (2002 Broadway Revival Cast) CD. RCA Victor Broadway, 2003. ASIN: B00007GZM1 March Of The Falsettos (1981 Original Off-Broadway Cast) / Falsettoland (1990 Off-Off-Broadway Cast) CD. Drg, 1992. ASIN: B000000PIO Marie Christine (1999 Broadway Cast) CD. RCA Victor Broadway, 2000. ASIN: B00004SBUT Me and Juliet (1953 Original Broadway Cast) CD. RCA, 1953. ASIN: B000003FDT Me and My Girl (1986 Original Broadway Cast) CD. Decca U.S., 1986. ASIN: B000002O57 Meredith Willson's The Music Man (2000 Broadway Revival Cast) CD. Q Records, 2000. ASIN: B00004TJ9M The Merry Widow CD. Deutsche Grammophon, 1995. ASIN: B000001GMA Mexican Hayride (1944 Original Broadway Cast) CD. Decca Broadway, 2004. ASIN: B0002VESQY Miss Saigon CD. Phantom Sound & Vision, 1998. ASIN: B000026YNN Monty Python’s Spamalot (2005 Original Broadway Cast) CD. Decca Broadway, 2005. ASIN: B0007OY2TE The Most Happy Fella (1956 Original Broadway Cast) CD. Sony, 1991. ASIN: B0000027TC The Music Man (1957 Original Broadway Records) CD. Angel Records, 1992. ASIN: B000002SNL My Fair Lady (1956 Original Broadway Cast) CD. Sony, 2002. ASIN: B000067AS1 My One and Only (1983 Original Broadway Cast) CD. Atlantic / Wea, 1983. ASIN: B000002IGJ The Mystery Of Edwin Drood: The Solve-It-Yourself Broadway Musical (1985 Original Broadway Cast) CD. Varese Sarabande, 1985. ASIN: B0000014WF Myths and Hymns (1998 Off-Broadway Cast, Originally Saturn Returns) CD. Nonesuch, 1999. ASIN: B00000IQ5N A New Brain (1998 Original Cast) CD. RCA Victor Broadway, 1998. ASIN: B00000ADLO New Girl In Town (1957 Original Broadway Cast) CD. RCA, 1957. ASIN: B000003FO2 Nine (1982 Original Broadway Cast) CD. Sony, 2003. ASIN: B0000996FQ Nine – The Musical (2003 Broadway Revival Cast) CD. P.S. Classics, 2003. ASIN: B00008Z1NB No, No, Nanette - The New 1925 Musical (1971 Broadway Revival Cast) CD. Sony, 1999. ASIN: B00000J28N No Strings (1962 Original Broadway Cast) CD. Drg, 2004. ASIN: B0002739QS Of Thee I Sing / 1952 O.C.R. CD. Drg, 1952. ASIN: B0000658H7 Oh, Kay! (1994 Studio Recording) CD. Nonesuch, 1995. ASIN: B000005J3C Oklahoma! (Original 1943 Broadway Cast) CD. Mca, 1955. ASIN: B000002ONS Oklahoma! (1955 Film Soundtrack) CD. Angel Records, 2001. ASIN: B00005A7XB Oklahoma! (1998 London Cast) CD. First Night Records, 1999. ASIN: B00002EPLJ Oliver! (Deluxe Edition) (1963 Original Broadway Cast) CD. RCA Victor Broadway, 2003. ASIN: B0000996JO

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On a Clear Day You Can See Forever: The Original Broadway Cast Recording CD. RCA Victor Broadway, 1993. ASIN: B000003F50 On the Town (1995 Studio Cast) CD. Jay Records, 1996. ASIN: B000005BGI On the Twentieth Century (1978 Original Broadway Cast) CD. Sony, 1991. ASIN: B0000025D2 On Your Toes (1983 Broadway Revival Cast) CD. Jay Records, 2002. ASIN: B000067ASW Once on This Island (1990 Original Broadway Cast) CD. RCA Victor Broadway, 1990. ASIN: B000003F2N Once Upon a Mattress (1959 Original Broadway Cast) CD. Decca U.S. ASIN: B000002ONH 110 in the Shade (1963 Original Broadway Cast) CD. RCA, 1963. ASIN: B000002W1L 110 in the Shade (2007 Broadway Revival Cast) CD. P.S. Classics, 2007. ASIN: B000PMG9GW One Touch of Venus (1943 Original Cast) / Lute Song (1946 Original Cast) [2 on 1] CD. MCA, 1996. ASIN: B000002OYO Pacific Overtures (1976 Original Broadway Cast) CD. RCA Victor Broadway, 1990. ASIN: B000002W6P Paint Your Wagon: Original Broadway Cast CD. RCA Victor Broadway, 1951. ASIN: B000003EWD The Pajama Game (1954 Original Broadway Cast) CD. Sony, 2000. ASIN: B00004THLZ Pal Joey (1950 Studio Cast) CD. Sony, 2003. ASIN: B0000996FF Parade (1998 Original Broadway Cast) CD. RCA Victor Broadway, 1998. ASIN: B00000IMFL Passion (1994 Original Broadway Cast) CD. Angel Records, 2002. ASIN: B000002SLC Peter Pan: Original Broadway Cast Recording (1954 New York Cast) CD. RCA Victor Broadway, 1954. ASIN: B000002W5G The Phantom of the Opera (Original 1986 London Cast) CD. Decca Broadway, 2001. ASIN: B00004YTY2 Pins and Needles CD. Sony, 1993. ASIN: B0000029BQ Pippin (A Decca Broadway Cast Album) CD. Decca, 2000. ASIN: B00004YNGH The Pirates of Penzance CD. Elektra / Wea, 1998. ASIN: B000002GXE Porgy and Bess (With Members of the Original Cast) CD. Decca U.S., 1992. ASIN: B000002OJM The Producers (2001 Original Broadway Cast) CD. Sony, 2001. ASIN: B00005AY6I Promises, Promises (1968 Original Broadway Cast) CD. Varese Sarabande, 2005. ASIN: B00080EU7G Raisin (1973 Original Broadway Cast) CD. Sony, 1992. ASIN: B00000252B Redhead (1959 Original Broadway Cast) CD. Fynsworth Alley, 2003. ASIN: B00008QSC3 Rent (1996 Original Broadway Cast) CD. Dreamworks, 1996. ASIN: B000005ALT The Roar of the Greasepaint – The Smell of the Crowd (1965 Original Broadway Cast) CD. RCA Victor Broadway, 1990. ASIN: B000003EZ6 Roberta (1952 Studio Cast) CD. Dr, 2005. ASIN: B0007LXP5E Rodgers and Hammerstein’s South Pacific (The New Broadway Cast) CD. Sony Classics, 2008. ASIN: B0017I1G0W The Secret Garden (1991 Original Broadway Cast) CD. Sony, 1991. ASIN: B000002862 Seussical: The Musical (Original Cast Recording) CD. Decca Broadway, 2001. ASIN: B000056QFG 1776 (1969 Original Broadway Cast) CD. Sony, 1992. ASIN: B0000027WJ She Loves Me (1963 Original Broadway Cast) CD. Decca Broadway, 1990. ASIN: B000001FM8 She Loves Me: The New Broadway Cast Recording (1993 Revival) CD. Varese Sarabande, 1993. ASIN: B0000014U0

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Shenandoah (1975 Original Broadway Cast) CD. RCA Victor, 1975. ASIN: B000002W5I The Ultimate Show Boat, 1928 - 1947 (Original, Revival and Studio Cast Anthology) CD. Show Boat (1993 Toronto Revival Cast) CD. Quality Video, 1994. ASIN: B000001ZB9 Silk Stockings (1957 Film Soundtrack) CD. Rhino / Wea, 2002. ASIN: B000063NCI Song and Dance: The Songs - Original Broadway Cast Recording CD. RCA Victor Broadway, 1985. ASIN: B000003FY5 Song of Norway (1944 Original Cast) CD. Decca Broadway, 2004. ASIN: B00023GFS6 Songs For a New World (1996 Original New York Cast) CD. RCA Victor Broaday, 1997. ASIN: B000003G5U The Sound of Music (1959 Original Broadway Cast) CD. Sony, 1959. ASIN: B00000AG6Y South Pacific (1949 Original Broadway Cast) CD. Sony, 1949. ASIN: B00000DHSL Starlight Express CD. Decca Broadway, 2005. ASIN: B000BSM298 Stop the World – I Want to Get Off! (1995 London Cast) CD. Jay Records, 1995. ASIN: B000005BGN Street Scene (1989 English National Opera Cast) CD. Jay Records, 1996. ASIN: B000005BGJ Strike Up the Band (1990 Studio Cast) CD. Nonesuch, 1991. ASIN: B000005J11 Sunday in the Park with George (1984 Original Broadway Cast) CD. RCA, 2007. ASIN: B0009A40KW Sunday in the Park with George (2006 London Revival Cast) CD. P.S. Classics, 2006. ASIN: B000EZ9048 Sunset Boulevard (1993 Original London Cast) CD. Decca Broadway, 1996. ASIN: B000001E3D Sunset Boulevard (Original Canadian Cast Recording) CD. Universal / Polygram, 1996. ASIN: B000007603 Sunset Boulevard (1994 Los Angeles Cast) CD. Decca Broadway, 1994. ASIN: B000001E6V Sweeney Todd, the Demon Barber of Fleet Street (1979 Original Broadway Cast) CD. RCA, 2007. ASIN: B0009941IE Sweeney Todd (2005 Broadway Revival Cast) CD. Nonesuch, 2006. ASIN: B000CRR3P6 They’re Playing Our Song – Original Broadway Cast CD. Decca Broadway, 1990. ASIN: B000001FEH The Thing About Men (2003 Off-Broadway Cast) CD. Drg, 2004. ASIN: B0001JXPA2 This Is the Army (1943 Film) CD. Warner Bros. Pictures, 1943. ASIN: B000007PFG The Threepenny Opera (1994 London Donmar Warehouse Cast) CD. Jay Records, 1997. ASIN: B000005BGU The Who’s Tommy: Original Cast Recording (1992 Broadway Revival) CD. RCA Victor Broadway, 1993. ASIN: B000003FLC Thoroughly Modern Millie (2002 Original Broadway Cast) CD. RCA Victor Broadway, 2003. ASIN: B000066B4Y A Tree Grows in Brooklyn (1951 Original Broadway Cast) CD. Sony, 1991. ASIN: B0000027TE The 25th Annual Putnam County Spelling Bee (2005 Original Broadway Cast) CD. Ghostlight Records, 2005. ASIN: B0009A1AMS Two Gentlemen of Verona (1971 Original Broadway Cast) CD. Decca Broadway, 2002. ASIN: B000066C1O The Unsinkable Molly Brown (1960 Original Broadway Cast) CD. Angel Records, 1993. ASIN: B000002SO6 Victor/Victoria (1995 Original Broadway Cast) CD. Decca Broadway, 1995. ASIN: B0000041E4 West Side Story CD. Sony, 2004. ASIN: B00023GGK8

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Where’s Charley? (1958 Original London Cast) CD. Angel Records, 1958. ASIN: B000008M84 Whoopee CD. Jasmine Music, 2000. ASIN: B00004Z3S0 Wicked (2003 Original Broadway Cast) CD. Decca Broadway, 2003. ASIN: B0000TB01Y The Wild Party (LaChiusa) (2000 Original Broadway Cast) CD. Decca Broadway, 2000. ASIN: B00004T9VJ The Wild Party (Original Off-Broadway Cast) CD. RCA Victor Broadway, 2000. ASIN: B00004TY8Y The Will Rogers Follies: A Life In Revue (1991 Original Broadway Cast) CD. Sony, 1991. ASIN: B00000283D Wish You Were Here (1952 Original Broadway Cast) CD. RCA, 1996. ASIN: B000003FZ3 The Wiz - The Super Soul Musical: Original Cast Album (1975 Broadway Cast) CD. Atlantic / Wea, 1975. ASIN: B000002I8P The Wizard of Oz (1988 London Cast) CD. Jay Records, 1988. ASIN: B00004SBPE Woman of the Year (1981 Original Broadway Cast) CD. Razor and Tie, 1997. ASIN: B000002ZBL Wonderful Town (Original 1953 Broadway Cast) CD. Decca U.S., 2001. ASIN: B00005O6KS Xanadu on Broadway (Original Broadway Cast Recording 2007) CD. P.S. Classics, 2008. ASIN: B000XUOLKW You’re a Good Man, Charlie Brown (1999 Broadway Revival Cast) CD. RCA Victor Broadway, 1999. ASIN: B00000I8B1 Young Frankenstein: The New Mel Brooks Musical CD. Decca Broadway, 2007. ASIN: B000XH7GHU Zanna Don’t! – A Musical Fairy Tale CD. P.S. Classics, 2003. ASIN: B0000C23I7 Zorba (1968 Original Broadway Cast) CD. Angel Records, 1968. ASIN: B000002SNO

Recommended Movie Musicals (DVDs)

(Alphabetical by Show Title) “Alexander’s Rag Time Band” DVD. 20th Century Fox, 1938. ASIN: B0002B15RE “All That Jazz” DVD. 20th Century Fox, 1979. ASIN: B000MNOY0W “An American In Paris” DVD. Warner Home Video, 1951. ASIN: B001BHI0JE “Anchors Aweigh” DVD. Warner Home Video, 1945. ASIN: B00143XDYC “Annie Get Your Gun” DVD. Warner Home Video, 1950. ASIN: B00003CWLI “Annie” DVD. Sony Pictures, 1982. ASIN: B0000VCZKM “Anything Goes” DVD. Paramount, 1956. ASIN: B000A6T1I6 “Astaire & Rogers Ultimate Collector's Edition (Flying Down to Rio / The Gay Divorcee / Roberta / Top Hat / Follow the Fleet / Swing Time / Shall We Dance / Carefree / The Story of Vernon and Irene Castle / The Barkleys of Broadway)” DVD. Warner Home Video, 1949. ASIN: B000H6SXME “Babes in Toyland” DVD. Walt Disney Video, 1961. ASIN: B000065V3X “The Band Wagon” DVD. Warner Home Video, 1953. ASIN: B0007YXPKQ “The Beggar’s Opera” DVD. Image Entertainment, 1984. ASIN: B00004Y7I5 ASIN: B00004Y7I5 “Bells Are Ringing” DVD. Warner Home Video, 1960. ASIN: B000J40AK2 “Best Foot Forward” DVD. Warner Home Video, 1943. ASIN: B00005JN99 “The Best Little Whorehouse in Texas” DVD. Universal Studios, 1982. ASIN: B0000714BR “Bird” DVD. Warner Home Video, 1988. ASIN: B0016OM3TA “Blue Skies” / “Birth of the Blues” DVD. Universal Studios, 1941. ASIN: B00007J5VP

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“Brigadoon” DVD. Warner Home Video, 1954. ASIN: B0007939NO “The Buddy Holly Story” DVD. Sony Pictures, 1978. ASIN: B00000K3TX “The Busby Berkeley Collection (Footlight Parade / Gold Diggers of 1933 / Dames / Gold Diggers of 1935 / 42nd Street)” DVD. Warner Home Video, 1935. ASIN: B000E0OE1M “Bye Bye Birdie” DVD. Sony Pictures, 1963. ASIN: 0767827651 “Cabaret” DVD. Warner Home Video, 1972. ASIN: B00009Y3L4 “Cabin in the Sky” DVD. Warner Home Video, 1943. ASIN: B000BNTMAA “Camelot” DVD. Warner Home Video, 1967. ASIN: 6304712944 “Camelot” DVD. Acorn Media, 1982. ASIN: B000NTM9ZM “Can-Can” DVD. 20th Century Fox, 1960. ASIN: B000ND91YU “Carefree” DVD. Turner Home Entertainment, 1938. ASIN: B000H6SXSS “Carmen Jones” DVD. 20th Century Fox, 1954. ASIN: B00005RT38 “Carousel” DVD. 20th Century Fox, 1956. ASIN: B000HT3PFG “Cat and the Fiddle” DVD. Classicline, 1934. ASIN: B000GERNWS “Cats – The Musical (Commemorative Edition)” DVD. Universal Studios, 1998. ASIN: B00004XMTJ “Chitty Chitty Bang Bang” DVD. MGM (Video & DVD), 1968. ASIN: 0792839749 “A Chorus Line” DVD. MGM (Video & DVD), 1985. ASIN: B00008973A “Cinderella” DVD. Sony Pictures, 1965. ASIN: B00005RYKY “Rodgers & Hammerstein’s Cinderella” DVD. Walt Disney Video, 1997. ASIN: B00004Z4SE “Classic Musicals from the Dream Factory, Vol. 1 (Ziegfeld Follies / Till the Clouds Roll By / Three Little Words / Summer Stock / It’s Always Fair Weather)” DVD. Warner Home Video, 1946. ASIN: B000EBGE5U “Classic Musicals from the Dream Factory, Vol. 2 (Hit the Deck / Deep in My Heart / Kismet / Nancy Goes to Rio / Two Weeks with Love / Broadway Melody of 1938 / Broadway Melody of 1936 / Born to Dance / Lady Be Good)” DVD. Warner Home Video, 1943. ASIN: B0011FDVEK “Coal Miner’s Daughter” DVD. Universal Pictures, 1980. ASIN: B0009R1TJ0 “Company” DVD. Image Entertainment, 2007. ASIN: B0014IC31G “The Cotton Club” DVD. MGM (Video & DVD), 1984. ASIN: B00005IA7Y “The Country Girl” DVD. Paramount, 1955. ASIN: B0002ERWZ0 “The Court Jester” DVD. Paramount, 1956. ASIN: 079215519X “Cover Girl” DVD. Sony Pictures, 1944. ASIN: B00009ZPU1 “Daddy Long Legs” DVD. 20th Century Fox, 1955. ASIN: B000BZISTY “Damn Yankees” DVD. Warner Home Video, 1958. ASIN: B0002Y4TII “Damsel in Distress” DVD. Warner Home Video, 1937. ASIN: B00005JO2M “Dancing Lady” DVD. Metro-Goldwyn-Mayer, 1933. ASIN: B000F7CMPO “Darling Lili” DVD. Paramount, 1970. ASIN: B000ANVPT2 “Dirty Dancing” DVD. Lions Gate, 1987. ASIN: B0000DIXDR “The Dolly Sisters” DVD. 20th Century Fox, 1945. ASIN: B000EXDS9S “Down Argentine Way” DVD. 20th Century Fox, 1940. ASIN: B000EXDSA2 “Dubarry Was a Lady” DVD. Warner Home Video, 1943. ASIN: B000O76ZRQ “Easter Parade” DVD. Warner Home Video, 1948. ASIN: B0007939MU

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“Eclipse Series 8 - Lubitsch Musicals (The Love Parade / The Smiling Lieutenant / One Hour with You / Monte Carlo) (Criterion Collection)” DVD. Criterion Collection, 2008. ASIN: B000ZM1MJG “Evita” DVD. Miramax, 1997. ASIN: 6304806418 “Fame” DVD. Warner Home Video, 1980. ASIN: B00008WJBF “The Fantasticks” DVD. MGM Video & DVD. ASIN: B000056KE9 “Try to Remember: The Fantasticks” DVD. Zeitgeist Films, 2003. ASIN: B0006SSREC “Fiddler on the Roof” DVD. MGM (Video & DVD), 1971. ASIN: B000KX0IQS “Finian’s Rainbow” DVD. Warner Home Video, 1968. ASIN: B0007939M0 “Flower Drum Song” DVD. Universal Studios, 1961. ASIN: B000H1RFPA “Footloose” DVD. Paramount, 1984. ASIN: B0002JP4L4 “For Me and My Gal” DVD. Warner Home Video, 1942. ASIN: B00005JLU7 “Fosse” DVD. Image Entertainment, 2002. ASIN: B00005UQ8F “Funny Face” DVD. Paramount, 1957. ASIN: B000RZIGUO “Funny Girl/Funny Lady” DVD. Sony Pictures, 1975. ASIN: B00070HK24 “A Funny Thing Happened on the Way to the Forum”, DVD. MGM (Video & DVD), 1966. ASIN: 0792844815 “The Gang’s All Here” DVD. 20th Century Fox, 1943. ASIN: B00158K1AA “Gentlemen Prefer Blondes”, DVD. 20th Century Fox, 1953. ASIN: B000FG65RQ “Gigi” DVD. Warner Home Video, 1958. ASIN: B001BHI0JY “The Glenn Miller Story” DVD. Universal Studios, 1954. ASIN: B00008DDRT “Godspell” DVD. Sony Pictures, 1973. ASIN: 0767827929 “Going My Way” DVD. Universal Studios, 1947. ASIN: B000KJTGHO “Gold Diggers of Broadway” DVD. Warner Home Video, 1936. ASIN: B001A5ES7K “The Goldwyn Follies” DVD. MGM Video & DVD, 1938. ASIN: B001PPLINC “Good News” DVD. Warner Home Video, 1947. ASIN: B00004TZRZ “Grease / Grease 2 We Go Together 2-pack” DVD. Paramount, 1982. ASIN: B000MX7V6Q “The Great Caruso” DVD. Castaway Nw UK, 1951. ASIN: B00113902O “The Great Waltz” DVD. Video Artists Int’l, 1955. ASIN: B0000E1WJ7 “The Great Ziegfeld” DVD. Warner home Video, 1936. ASIN: B00012FXJ0 “Guys and Dolls” DVD. MGM (Video & DVD), 1955. ASIN: 0792844823 “Gypsy” DVD. Warner Home Video, 1962. ASIN: B00004RF86 “Gypsy” DVD. Lions Gate, 1993. ASIN: B00079HZTS “Hair” DVD. MGM (Video & DVD), 1979. ASIN: 0792841638 “Hallelujah, I’m a Bum” DVD. MGM (Video & DVD), 1933. ASIN: B00005S8KT “Hans Christian Anderson” DVD. MGM (Video & DVD), 1952. ASIN: B000056H2A “A Hard Day’s Night” DVD. Miramax Entertainment, 1964. ASIN: B0000542D2 “The Harvey Girls” DVD. Turner Home Entertainment, 1946. ASIN: B00005Y71M “Hello, Dolly” DVD. 20th Century Fox, 1969. ASIN: B00005JL1P “High Society” DVD. Warner Home Video, 1956. ASIN: B0015FGCI8 “Hollywood Hotel” DVD. Warner Home Video, 1937. ASIN: B001A5ES7U “How to Succeed in Business Without Really Trying” DVD. MGM (Video & DVD), 1967. ASIN: 079284484X

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“The Stephen Sondheim Collection (Into the Woods / Sunday in the Park with George / Follies in Concert / Passion / Sweeney Todd in Concert / A Celebration at Carnegie Hall” DVD. Image Entertainment, 1991. ASIN: B0000AKY5I “I’ll Cry Tomorrow” DVD. Warner Home Video, 1955. ASIN: B000UPMZ30 “In The Good Old Summertime” DVD. Warner Home Video, 1949. ASIN: B0001DCYU0 “Invitation to the Dance” DVD. Metro-Goldwyn-Mayer. ASIN: B001B8QASQ “It’s Always Fair Weather” DVD. Warner Home Video, 1955. ASIN: B000EBD9RG “The Jazz Singer (Three-Disc Deluxe Edition)” DVD. Warner Home Video, 1927. ASIN: B00005JKSC “Jesus Christ Superstar” DVD. Universal Studios, 1973. ASIN: B00028HBIO “Jolson Sings Again” DVD. Sony Pictures, 1949. ASIN: B00000F5O1 “The Jolson Story” DVD. Sony Pictures, 1946. ASIN: B0000C23T2 “Joseph and the Amazing Technicolor Dreamcoat” DVD. Universal Studios, 2000. ASIN: 0783240287 “Billy Rose’s Jumbo” DVD. Warner Home Video, 1962. ASIN: B0007QS2YI “Kid Millions” DVD. MGM (Video & DVD), 1934. ASIN: B000BITV0G “The King & I (50th Anniversary Edition)” DVD. 20th Century Fox, 1956. ASIN: B000HT3PGA “Lady Sings the Blues” DVD. Paramount, 1973. ASIN: B000B5XOT8 “Les Girls” DVD. Warner Home Video, 1954. ASIN: B00008AOWL “Les Miserables - The 10th Anniversary Dream Cast in Concert at London's Royal Albert Hall” DVD. BBC Warner, 1995. ASIN: B00110K62U “Lillian Russell” DVD. 20th Century Fox, 1940. ASIN: B000K7VHNC “Li’l Abner” DVD. Paramount, 1959. ASIN: B0007TKGXK “Little Shop of Horrors” DVD. Warner Home Video, 1986. ASIN: B00004RF8J “Love Me or Leave Me” DVD. Warner Home Video, 1955. ASIN: B0007QS2ZM “Love Me Tonight” DVD. Kino Video, 1932. ASIN: B0000UX4V2 “Mame” DVD. Warner Home Video, 1974. ASIN: B000O76ZR6 “Man of La Mancha” DVD. MGM (Video & DVD), 1973. ASIN: B0001AW11A “Mary Poppins” DVD. Walt Disney Video, 1964. ASIN: B001JRB16U “Maytime” DVD. 1937. ASIN: B001OIKD3G “Meet Me In St. Louis” DVD. Warner Home Video, 1945. ASIN: B00005JKGZ “The Mickey Rooney & Judy Garland Collection (Babes In Arms / Babes on Broadway / Girl Crazy / Strike Up the Band)” DVD. Warner Home Video, 2007. ASIN: B000RT99FG “The Mikado” DVD. Acorn Media, 1982. ASIN: 1569383464 “Moon Over Miami” DVD. 20th Century Fox, 1941. ASIN: B000EXDSAC “The Music Man” DVD. Warner Home Video, 1962. ASIN: B00000F14B “Meredith Willson’s The Music Man” DVD. ASIN: B0000BWVMQ “My Favorite Blonde / Star Spangled Rhythm Double Feature” DVD. Paramount Pictures, 1943. ASIN: B00005UMFB “Naughty Marietta” DVD. Video Artists Int’l, 1955. ASIN: B0000E1WJ4 “Neptune’s Daughter” DVD. MGM (Video & DVD), 1949. ASIN: B001OIO2TC “Night and Day” DVD. Warner Home Video, 1946. ASIN: B0001WTWXS “The Night They Raided Minsky’s” DVD. United Artists, 1968. ASIN: B0014BJ1AY

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“Rodgers & Hammerstein’s Oklahoma! (London Stage Revival)” DVD. Image Entertainment, 1999. ASIN: B0000C23HY “Oliver!” DVD. Sony Pictures, 1968. ASIN: 076781326X “On A Clear Day You Can See Forever” DVD. Paramount, 1970. ASIN: B0006VXMLM “On the Avenue” DVD. 20th Century Fox, 1937. ASIN: B0019APR6M “On the Riviera” DVD. 20th Century Fox, 1951. ASIN: B000ND91Z4 “On the Town” DVD. Warner Home Video, 1949. ASIN: B00143XE1E “Orchestra Wives” DVD. 20th Century Fox, 1942. ASIN: B000AP04LK “Paint Your Wagon” DVD. Paramount, 1969. ASIN: B00003CXBX “The Pajama Game” DVD. Warner Home Video, 1957. ASIN: B0007QS306 “Pal Joey” DVD. Sony Pictures, 1957. ASIN: 0767821807 “Pennies From Heaven” DVD. Columbia Pictures, 1936. ASIN: B00007JMEC “Pete Kelly’s Blues” DVD. Warner Home Video, 1955. ASIN: B00005JL2Y “Peter Pan” DVD. GoodTimes, 1960. ASIN: B00000JZHL “The Pirate” DVD. Warner Home Video, 1948. ASIN: B00005JNA9 “The Pirates of Penzance” DVD. Kultur Video, 1980. ASIN: B00006RCMW “Poor Little Rich Girl” DVD. 20th Century Fox, 1936. ASIN: 6303095011 “Porgy & Bess” DVD. EMI Classics, 1993. ASIN: B00005LIN0 “Putting It Together: A Musical Review” DVD. Image Entertainment, 2006. ASIN: B000IOM0S8 “Rent: Filmed Live on Broadway” DVD. Sony Pictures, 2009. ASIN: B001LMAKAG “Rhapsody in Blue” DVD. MGM (Video & DVD), 1945. ASIN: 6302120543 “Rio Rita” DVD. MGM (Warner), 1942. ASIN: 6302265800 “Road to Bali” DVD. Good Times Video, 1952. ASIN: B00005O5J4 “The Road to Hong Kong” DVD. MGM (Video & DVD), 1962. ASIN: 6301978188 “Roberta” DVD. MGM (Video & DVD), 1935. ASIN: 6301978528 “Robin and the 7 Hoods” DVD. Warner Home Video, 1964. ASIN: B00005NVHV “Roman Scandals” DVD. MGM Entertainment, 1933. ASIN: 0792844785 “Rosalie” DVD. MGM (Warner), 1937. ASIN: 6301978404 “The Rose” DVD. 20th Century Fox, 1979. ASIN: 6303354742 “Rose-Marie” DVD. ClassicLine Brazil, 1936. ASIN: B000XPVHC2 “Rose-Marie” DVD. ClassicLine Brazil, 1954. ASIN: B000Y8UGDY “Royal Wedding / The Belle of New York” DVD. Good Times Video, 1952. ASIN: B000PAAK4Q “San Fransisco” DVD. MGM (Warner), 1936. ASIN: 6303354742 “Saturday Night Fever” DVD. Warner Home Video, 1977. ASIN: 0792100085 “Scrooge” DVD. Paramount, 1970. ASIN: B00005NBBJ “Second Fiddle” DVD. 20th Century Fox, 1939. ASIN: 6302985943 “Seven Brides For Seven Brothers” DVD. MGM (Video & DVD), 1954. ASIN: 630197736X “She Done Him Wrong” DVD. Universal Studios, 1933. ASIN: 6300186016 “Show Boat” DVD. Warner Home Video, 1951. ASIN: B00004RF9K “Silk Stockings” DVD. Warner Home Video, 1957. ASIN: B00008AOWJ “Singin’ in the Rain” DVD. Warner Home Video, 1952. ASIN: B00006DEF9

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“Star!” DVD. 20th Century Fox, 1968. ASIN: B0001FR54I “State Fair” DVD. 20th Century Fox, 1945. ASIN: B000AP04O2 “Stormy Weather” DVD. 20th Century Fox, 1943. ASIN: B000BOH922 “The Student Prince” DVD. YDM DVDVideo, 1954. ASIN: B0016BCD7U “Sun Valley Serenade” DVD. 20th Century Fox, 1941. ASIN: B00005JNFK “Sweet Charity” DVD. Universal Studios, 1969. ASIN: B00007J5VN “Sweethearts” DVD. 1938. ASIN: B001OIPZWK “Take Me Out to the Ballgame” DVD. Warner Home Video, 1949. ASIN: B00143XE28 “Thank Your Lucky Stars” DVD. Warner Home Video, 1943. ASIN: B001KY8JHG “That Night in Rio” DVD. 20th Century Fox, 1941. ASIN: B000K7VHNM “There’s No Business Like Show Business” DVD. 20th Century Fox, 1954. ASIN: B000059GEI “This is the Army” DVD. Echo Bridge Home Entertainment, 2000. ASIN: B000059GEI “Thoroughly Modern Millie” DVD. Universal Studios, 1967. ASIN: B00005JLIU “Three Little Words” DVD. MGM (Video & DVD), 1950. ASIN: B000EBD9S0 “Too Many Girls” DVD. RKO Pictures Inc., 1940. ASIN: B000FKU37A “The Unsinkable Molly Brown” DVD. Warner Home Video, 1964. ASIN: B00004TZS5 “Varsity Show” DVD. Warner Home Video, 1937. ASIN: B001A5ES8O “Victor/Victoria” DVD. Turner Home Entertainment, 1982. ASIN: B00003CXD9 “Victor/Victoria” DVD. Image Entertainment, 1999. ASIN: B00004RFEZ “Viva Las Vegas” DVD. Warner Home Video, 1964. ASIN: B000QUUD56 “Weekend in Havana” DVD. 20th Century Fox, 1941. ASIN: B000BZISUI “Where’s Charley” DVD. ASIN: B00005JO5M “White Christmas” DVD. Paramount, 1954. ASIN: B000TGJ8BW “With a Song in My Heart” DVD. 20th Century Fox, 1952. ASIN: B000UZDO3K “The Wizard of Oz (Two-Disc Special Edition)” DVD. Warner Home Video, 1939. ASIN: B000ADS63K “Words and Music” DVD. Warner Home Video, 1948. ASIN: B000PAAK5A “Yankee Doodle Dandy” DVD. Warner Home Video, 1942. ASIN: B00005JKS8 “Yentl” DVD. MGM Entertainment, 1983. ASIN: B001P5HI4A “You Were Never Lovelier” DVD. Sony Pictures, 1942. ASIN: B0001LJCRA “You’ll Never Get Rich” DVD. Sony Pictures, 1941. ASIN: B00000F9GK “Young Man With a Horn” DVD. Warner Home Video, 1950. ASIN: B0007QS30Q “Ziegfeld Follies” DVD. Warner Home Video, 1946. ASIN: B000EBD9SK “Ziegfeld Girl” DVD. Warner Home Video, 1941. ASIN: B0001DCYUK

Reference (Alphabetical): “Andrew Lloyd Webber - The Royal Albert Hall Celebration” DVD. Universal Studios, 1999. ASIN: B00005NGAE “The Best of Broadway Musicals – Original Cast Performances from The Ed Sullivan Show” DVD. Sofa, 2003. ASIN: B00009XN5R “Biography – William Shakespeare: Life of Drama” DVD. A&E Home Video, 2004. ASIN: B0002V7KTQ

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“Broadway & Hollywood Legends - The Songwriters Collection (Kander & Ebb / Alan Jay Lerner / E.Y. Yip Harburg / Sheldon Harnick / Burton Lane / Mitchell Parish / Arthur Schwartz / Charles Strouse)” DVD. Sunset Home Visual Entertainment / Lance Entertainment, 2004. ASIN: B0001JXPKC “Broadway's Lost Treasures Collection (Broadway's Lost Treasures 1-3 & The Best of the Tony Awards - The Plays)” DVD. Acorn Media, 2006. ASIN: B000EDWLU0 “Charlie Rose with Ann Reinking, Walter Bobbie, Joel Grey & James Naughton (January 9, 1997)” DVD. Charlie Rose, 1997. ASIN: B000IU35X6 “Gene Kelly: Anatomy of a Dancer” DVD. Warner Home Video, 2002. ASIN: B00006FDCQ “Hey Mr. Producer!: The Musical World of Cameron Mackintosh” DVD. Well Go Asia, 1999. ASIN: B000JMKK7W “The Judy Garland Collection (The Judy Garland, Robert Goulet & Phil Silvers Special / Live at the London Palladium with Liza Minnelli / The Concert Years / Judy, Frank & Dean Once in a Lifetime) (2002)” DVD. White Star, 2002. ASIN: B0000714BA “MGM: When the Lion Roars” DVD. Warner Home Video, 2009. ASIN: B001I2EQUO “The Making of ‘Miss Saigon’” DVD. A&E (Video & DVD), 1987. ASIN: B000H5U5S0 “Mary Martin and Ethel Merman - Their Legendary Appearance on the Ford 50th Anniversary Show” DVD. Video Artists Int’l, 1953. ASIN: B0002ERWZA “Paul Robeson: Here I Stand” DVD. Winstar, 1999. ASIN: B00000JLTO “P.T. Barnum – The Greatest Showman on Earth” DVD. A&E Home Video, 1999. ASIN: B000E373DU “Show Business: The Road to Broadway” DVD. Liberation Entertainment, 2007. ASIN: B000UAE7N “Sondheim: A Celebration at Carnegie Hall / Liza Minnelli, Patti LuPone, Bernadette Peters, Glenn Close” DVD. Kultur Video, 1993. ASIN: B000JGWD32 “That’s Dancing!” DVD. Warner Home Video, 1985. ASIN: B00005JNIU “That’s Entertainment! Complete Collection” DVD. Warner Home Video, 1976. ASIN: B0002OXVDW “The Unknown Marx Brothers” DVD. Winstar, 1993. ASIN: 1572522097 “W.C. Fields: 6 Short Films” DVD. Criterion Films, 1933. ASIN: 1559409053 “You’re The Top: The Cole Porter Story” DVD. Winstar, 1990. ASIN: 1572522399

Recommended Vocal Scores & Vocal Selections

Vocal Selections (Alphabetical by Show Title) Edwards, Sherman, & Stone, Peter. 1776. ISBN 978-0634082276 John, Elton, & Rice, Tim, Woolverton, Linda, Falls, Robert, & Hwang, David Henry. Aida. ISBN 978- 0634054204 Berlin, Irving, Fields, Herbert, & Fields, Dorothy. Annie Get Your Gun. ISBN 978-0793508556 Strouse, Charles M, Adams, Lee, Comden, Betty, & Green, Adolph. Applause. ISBN 978-0634057809 Bock, Jerry, & Harnick, Sheldon. The Apple Tree. ASIN: B000JDMRNQ Wilson, Sandy. The Boyfriend. ASIN: B000S8CNX6 Merrill, Bob, & Stewart, Michael. Carnival. ISBN 978-0769202440 Kuschner, Tony, & Tesori, Jeanine. Caroline, Or Change. Schwartz, Stephen. Children of Eden. ISBN 978-1423411048 Wildhorn, Frank, Murphy, Jack, & Boyd, Gregory. The Civil War. ISBN 978-1575603537 Sondheim, Stephen, & Furth, George. Company. ISBN 978-0793567638 Gershwin, George, Gershwin, Ira, & Ludwig, Ken. Crazy For You. ISBN 978-1576238677

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Lambert, Lisa, Morrison, Greg, McKellar, Don, Martin, Bob. The Drowsy Chaperone. ISBN 978- 1423425656 Schmidt, Harvey, & Jones, Tom. The Fantasticks. ISBN 978-0757900969 Bock, Jerry, Harnick, Sheldon, Weidman, Jerome, & Abbott, George. Fiorello. ASIN: B000OHNYSE Frankel, Scott, Korie, Michael, & Wright, Doug. Grey Gardens. ISBN 978-1423427025 La Chiusa, Michael John. Hello, Again. ISBN 978-0769280875 Roberts, Jimmy, & DiPietro, Joe. I Love You, You’re Perfect, Now Change!. ISBN 978-0634009334 Porter, Cole, Spewack, Bella, & Spewack, Sam. Kiss Me, Kate. ISBN 978-0881880298 Guettel, Adam, & Lucas, Craig. The Light in the Piazza. ISBN 978-1559362672 Coleman, Cy, Leigh, Carolyn, & Simon, Neil. Little Me. ISBN 978-0769275529 Sondheim, Stephen, & Wheeler, Hugh. A Little Night Music. ISBN 978-1576238400 Flaherty, Stephen, & Ahrens, Lynn. Lucky Stiff. ISBN 978-0769253947 Herman, Jerry, & Stewart, Michael. Mack and Mabel. ISBN 978-0881880946 Flaherty, Stephen, & Ahrens, Lynn. A Man of No Importance. ISBN 978-0757913464 Sondheim, Stephen, & Furth, George. Merrily We Roll Along. ISBN 978-0769259512 Schoenberg, Claude-Michel, Boublil, Alain, & Jr. Maltby, Richard. Miss Saigon. ISBN 978- 0793519781 Finn, William, & Lapine, James. A New Brain. ISBN 978-0769267302 Rodgers, Mary, Barer, Marshall, & Thompson, Jay. Once Upon A Mattress. ISBN 978-0881881011 Brown, Jason Robert, & Uhry, Alfred. Parade. ISBN 978-0634011757 Bacharach, Burt, David, Hal, & Simon, Neil. Promises, Promises!. ISBN 978-0769209159 Flaherty, Stephen, Ahrens, Lynn, & McNally, Terrence. Ragtime. ISBN 978-1576239551 Newley, Anthony, & Bricusse, Anthony. The Roar of the Greasepaint, the Smell of the Crowd. ISBN 978-0634016974 Simon, Lucy, & Norman, Marsha. The Secret Garden. ISBN 978-0943351681 Flaherty, Stephen, & Ahrens, Lynn. Seussical: The Musical. ISBN 978-0757900914 Brown, Jason Robert. Songs For A New World. ISBN 978-0634035784 Idle, Eric, & DuPrez, John. Spamalot. ISBN 978-1423400042 Shiek, Duncan, & Sater, Stephen. Spring Awakening. ISBN 978-1423431336 Bricusse, Leslie, & Newley, Anthony. Stop the World! I Want To Get Off!. ISBN 978-0634023965 Coleman, Cy, Simon, Neil, & Fields, Dorothy. Sweet Charity. ISBN 978-1423429678 Tesori, Jeanine, Scanlan, Dick, & Morris, Richard. Thoroughly Modern Millie. ISBN 978-1575606163 Weill, Kurt, & Brecht, Bertolt. The Threepenny Opera. ASIN: B000JJMA5A McDermott, Galt, Guare, John, & Shapiro, Mel. Two Gentlemen of Verona. ASIN: B000J4KBBK Lippa, Andrew. The Wild Party. ISBN 978-0634021886 Dempsey, John, & Rowe, Dana. The Witches of Eastwick. ISBN 978-0571529971

Vocal Scores (Alphabetical by Show Title) Finn, William, & Lapine, James. Falsettos. ASIN: B000KD5JOO Bock, Jerry, Harnick, Sheldon, & Stein, Joseph. Fiddler on the Roof. ISBN 978-0897241090 Guettel, Adam. Floyd Collins. ISBN 978-0634010057

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Sondheim, Stephen, Shevelov, Burt, & Gelbart, Larry. A Funny Thing Happened on the Way to the Forum. ISBN 978-0396085997 Loesser, Frank, Burrows, Abe, & Swerling, Jo. Guys and Dolls. 978-0793528721 Kander, John, Ebb, Fred, & Nash, N. Richard. The Happy Time. ASIN: B000F9PY8O Rome, Harold, & Weidman, Jerome. I Can Get It For You Wholesale. ISBN 978-0370306841 Sondheim, Stephen. Into the Woods. ISBN 978-0897242080 Adler, Richard, Ross, Jerry, Abbott, George, & Bissell, Henry. The Pajama Game. ISBN 978- 0769263694 Hague, Albert, Fields, Dorothy, & Fields, Herbert. Redhead. ASIN: B0000CWVD3 Sondheim, Stephen, & Lapine, James. Sunday in the Park with George. ISBN 978-0769275505 Sondheim, Stephen, & Wheeler, Hugh. Sweeney Todd. ISBN 978-1576238554 Bernstein, Leonard, Comden, Betty, & Green, Adolph. Wonderful Town. ISBN 978-0634073977 Gesner, Clark, & Gordon, John. You’re A Good Man, Charlie Brown. ISBN 978-0793549702

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8.2.2 Computer Access

Please note: Sheridan has the largest provincial educational installation of mobile computing with over 50% of the daytime student population (now in excess of 15,000 daytime students) being in possession of personal laptop computers. Therefore virtually every classroom and every desk across the institution is furbished with inter and intranet capabilities. The remaining open computer labs, with each desk fully computer equipped, facilitate the programs that are not considered mobile programs.

The BAA, Music Theatre Performance program is not a program that requires that all students have a personal laptop computer however; both the open labs as well as all classrooms can be utilized by any Sheridan student with their own laptop computer. In addition to current open computer laboratories at the Brampton (Davis), Oakville (Trafalgar) and Oakville (STC) campuses, a further $3,000,000 was spent in 2007-2008 for the first phase of a major expansion to open access computing – a 7,500 square foot, fully equipped Learning Commons (LC). A further $5,000,000 will be spent in 2008-2009 with the construction of a similar Learning Commons at Davis Campus, Brampton.

Sheridan practice is to ensure a standard ratio of open access computers for non-mobile students and adjusts this annually for increased enrollment. Additionally, there are specialized computer labs that are dedicated to students in specific programs such as English as a Second Language (ELS), CAD labs, MAC computer labs, etc.

Number of Number of computers Number of computers with Location of Year students available to students in Internet access available to computers (cumulative) proposed program students in proposed On- Other program site (specify) √

90 Program specific plus 90 Program specific plus 10-11 45 Learning Commons (LC Learning Commons (LC 30 √ 30 Mac, 200 PC) Mac, 200 PC)

90 Program specific plus 90 Program specific plus 11-12 88 Learning Commons (LC Learning Commons (LC 30 √ 30 Mac, 200 PC) Mac, 200 PC)

120 Program specific plus 120 Program specific plus 12-13 129 Learning Commons (LC Learning Commons (LC 30 √ 30 Mac, 200 PC) Mac, 200 PC)

120 Program specific plus 120 Program specific plus 13-14 166 Learning Commons (LC Learning Commons (LC 30 √ 30 Mac, 200 PC) Mac, 200 PC)

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8.2.3 Classroom Space

Number of students Number of classrooms Location of Classrooms Year (cumulative) (include seating capacity) On-site √ Other (specify) Year 1 45 1 recording studio for 8 √ 5 acting and vocal tutorial √ rooms for 15 5 acting and vocal studios √ for 15 1 technical classroom for 32 √ 3 dance studios for 15 √ 1 lecture hall for 160 √ 3 lecture halls for 120 √ 1 performance theatre for √ 220 1 black box theatre for 80 √ Year 2 88 1 recording studio for 8 √ 5 acting and vocal tutorial √ rooms for 15 5 acting and vocal studios √ for 15 1 technical classroom for 32 √ 3 dance studios for 15 √ 1 lecture hall for 160 √ 3 lecture halls for 120 √ 1 performance theatre for √ 220 1 black box theatre for 80 √ Year 3 129 1 recording studio for 8 √ 5 acting and vocal tutorial √ rooms for 15 5 acting and vocal studios √ for 15 1 technical classroom for 32 √ 3 dance studios for 15 √ 1 lecture hall for 160 √ 3 lecture halls for 120 √ 1 performance theatre for √ 220 1 black box theatre for 80 √ Year 4 166 1 recording studio for 8 √ 5 acting and vocal tutorial √ rooms for 15 5 acting and vocal studios √ for 15 1 technical classroom for 32 √ 3 dance studios for 15 √ 1 lecture hall for 160 √ 3 lecture halls for 120 √ 1 performance theatre for √ 220 1 black box theatre for 80 √ New rehearsal / √ performance space

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8.2.4 Laboratories/Equipment (where applicable)

# Type and number of labs Specifically equipped Location of Year stud workstations and/or labs/equipment ents specialized equipment* # Ratio of students to On- Other equipment site √ (specify) 2010 45 6 acting & vocal tutorial room 15 Since every cohort √ 5 acting & vocal studio 15 year is broken into √ 1 technical classroom 30 sections of 15, ratio of √ 2 rehearsal studio 15 1:1 can be √ 3 dance studio 15 maintained √ 1 recording studio 15 throughout all √ 1 music technology lab 20 technology / √ 1 lecture hall 160 workstation scenarios √ 3 lecture hall 120 through proper √ 1 performance theatre 200 timetabling √ 1 black box theatre 80 √ 2011 88 6 acting & vocal tutorial room 15 √ 5 acting & vocal studio 15 √ 1 technical classroom 30 √ 2 rehearsal studio 15 √ 3 dance studio 15 √ 1 recording studio 15 √ 1 music technology lab 20 √ 1 lecture hall 160 √ 3 lecture hall 120 √ 1 performance theatre 200 √ 1 black box theatre 80 √ 2012 129 6 acting & vocal tutorial room 15 √ 5 acting & vocal studio 15 √ 1 technical classroom 30 √ 2 rehearsal studio 15 √ 3 dance studio 15 √ 1 recording studio 15 √ 1 music technology lab 20 √ 1 lecture hall 160 √ 3 lecture hall 120 √ 1 performance theatre 200 √ 1 black box theatre 80 √ 2013 166 6 acting & vocal tutorial room 15 √ 5 acting & vocal studio 15 √ 1 technical classroom 30 √ 2 rehearsal studio 15 √ 3 dance studio 15 √ 1 recording studio 15 √ 1 music technology lab 20 √ 1 lecture hall 160 √ 3 lecture hall 120 √ 1 performance theatre 200 √ 1 black box theatre 80 √

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Music Technology Lab

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8.3 Resource Renewal and Upgrading

An annual budget for capital investment to programs on a priority ranking decided by Deans/Vice President, Academic is established each budget year. These funds are used to provide program specific special equipment needs, information technology hardware enhancements and classroom technology.

In the budget year 2008-09 Sheridan invested $2.5 million in furniture, fixtures and capital equipment at the college. $110,000 was invested in providing computing technology for the learning environment in close to 100 classrooms across all three campuses. A new expanded open access Learning Commons was opened in September 2008 at the Trafalgar campus. $3.6 million was spent on construction, renovation and furniture involved in creating the new Learning Commons space. An additional $250,000 was devoted to adding state of the art equipment and resources directly to the learning environment at the college. A new Learning Commons is scheduled for September 2009 for the Davis campus in Brampton. The Learning Commons are in addition to the open computer laboratories at the Brampton and Oakville (STC) campuses.

Sheridan also maintains a three-year greening schedule for technology in both academic and administrative areas. Sheridan campuses are fully wireless including dedicated student study rooms and wireless seating in casual areas at both major campuses. Classroom teaching and learning equipment is refreshed on a priority need basis. Virtually all classrooms, studios and labs at Sheridan are equipped with standardized teaching podiums, VCR/DVD combos, data projectors, document cameras and where necessary, sound systems. Approximately 100 classrooms are full mobile learning facilities with data and power connections at each student seat in addition to the standard teaching equipment.

The Sheridan library resource has an annual budget allocation of $300,000 for renewal of research resources, both for text-based and on-line materials. In addition, Sheridan Baccalaureate Degree programs contribute $150 per year per student to the library funds.

Sheridan is the leader in mobile computing within its curriculum with over 4,500 students possessing personal laptop computers.

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8.4 Support Services

Support Service Brief Description of Service (attach additional information as necessary) Academic Advising The Student Advisement Center helps with Program Change Advisement, College Form Completion, College Policy and Procedure Explanation, General Education and Program Elective Selection, Orientation and Student Success Programs, Course/Program Withdrawal Consultation and Transfer Information for Other Programs and Institutions.

Each program at Sheridan includes faculty release time for academic advising. Career Counseling The Career Center is one-stop shopping for academic and career success, offering tutoring, career planning, and employment services. Personal Counseling Counseling: Sheridan’s professional counselors work with students on a confidential basis to help them achieve their personal goals. Consultation is available to any student seeking advice on non- academic issues on a drop-in or appointment basis. Placement Co-operative Education: The Co-op Office administers the internships that are required for successful completion of degree programs. Services for Students with Disability Services: Staff work in collaboration with students with Disabilities disabilities, faculty and support staff to ensure that fair, equitable and appropriate accommodations are developed and implemented. Tutoring The Career Center offers English and Math tutoring free and available on either a drop-in basis or by appointment. Other(s) (please specify) The International Center provides assistance with processing international student applications, advice on housing, residence, off- campus housing or home stay, Health Insurance Coverage/claims and medical referrals, advice on student authorization/visas and extensions, visa and travel information, immigration regulations regarding co-op terms, internships or field placements, personal concerns or emergency situations.

Alumni Association: programs and services for Alumni include Insurance & Credit Card Affinity Benefit Programs; access to Athletic Centers, Libraries & Career Services; free parking when visiting Sheridan; Traditions Magazine twice a year.

Bookstore provides textbooks – new and used, stationary and professional grade fine art and paper supplies, Sheridan logo clothing, gifts and backpacks, software, general interest books & magazines, personal care items.

Cafeteria: Full service cafeteria facilities and vending machines.

Child Care/Preschool: Full-day early childhood programs are available for children 18 mos. to 5 years of age at Trafalgar Road Campus in Oakville, the Mississauga Civic Center and on the Davis Campus in Brampton.

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Support Service Brief Description of Service (attach additional information as necessary)

The Financial Aid Office can assist with Ontario Student Assistance Program (OSAP), Part-time Canada Student Loan, Canada Study Grant funding for students with Dependent Children, Ontario Special Bursary Program Funding, Bursary for Students with Disabilities Funding, Child-care Bursary Funding, Sheridan Tuition Reinvestment Bursaries, Ontario Student Opportunity Trust Fund Assistance (OSOTF)

Computing Skills Center provides computer workstations, network access for mobile computing students, software access, self-serve username lookup, telephone technical support.

Athletic Therapy Center provides treatments for recreational/sports injuries.

Athletics and Recreation: Membership to the Athletic Centers is included with tuition fees.

Sheridan’s Health Centers offer professional health care, lifestyle and health counseling, and referrals for students.

Sheridan has two Residence buildings, one in Oakville and one at the Davis Campus in Brampton. Students enjoy the comforts of home with easy access to all College services and facilities. Both residences are conveniently located close to many sports and entertainment opportunities in the Greater Toronto area.

Facilities Management supports and enhances the quality of the teaching and learning environment by providing a service oriented approach to maintaining the integrity and efficiency of college facilities, in a cost effective manner.

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8.5 Policies on Faculty

Teacher Education Policy for New Faculty approved by Sheridan’s Board of Governors February 16, 2005 Faculty Credentials Policy approved by Sheridan’s Board of Governors January 22, 2003 Evidence of Academic/Professional Credentials approved by Sheridan’s Board of Governors February 27, 2002 Currency of Faculty Knowledge Policy approved by Sheridan’s Board of Governors February 27, 2002

All approved by Ministry with the BAHSc. (Exercise Science & Health Promotion) December 31, 2007

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Tuition Reimbursement: Advanced Credentials for Faculty

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8.6 Curriculum Vitae of Faculty Assigned to This Degree Program

8.6.1 CV Release The college has on file and available for inspection, from all faculty and staff whose CVs are included in this submission, signatures that attest to the truthfulness and completeness of the information contained in their CV and agreeing to the inclusion of their curriculum vitae in any documents/web sites associated with the submission, review and final status of the program application.

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8.7 Enrolment Projections and Staffing Implications

Staffing Requirements – Projected Cumulative Cumulative full-time Cumulative part- Add columns for Ratio of Enrolment* faculty equivalents time faculty technical support, full-time (F.T.E.) equivalents (P.T.E.) TA’s, etc. students/ @18 TCH each @ 12 TCH @ 24 hrs / wk full-time faculty Full-time Part-time Yr. 1 45 3 1.85 2.7 + **.6 = 3.3 15:1 Yr. 2 88 5 4.16 2.9 7 + **.6 = 3.57 17.6:1 Yr. 3 129 8 6.5 + *1 4.9 7 + **.6 = 5.57 16.1:1 Yr. 4 166 10 8.8 + *1 2.9 7 + **.6 = 3.57 16.6:1

• Show the method used to calculate cumulative enrolment • *Add 1 PTE @ 12 hrs / week for managing internship • **Add new performance technologist 24hrs / 40 hrs = .6

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9. Credential Recognition Standard

9.1 Program Design and Credential Recognition

The design of the proposed program has addressed both the theoretical and performance aspect of each of the disciplines of Acting, Voice and Dance. In order to ensure a holistic approach to learning, for each discipline students will study theory and history in a lecture format as well as the practical application in a studio setting. Furthermore, in their first year, students will study research methodology in order to prepare them for critical inquiry and scholarly writing as they move through the curriculum.

To ensure that student performance and progress are at the appropriate level, the curriculum design reflects a rigorous approach to evaluation. Student learning is evaluated in a variety of products and performances that demonstrate their ability to integrate and incorporate theoretical constructs to solve visual, communication, performance and production problems. Their work must also reflect an understanding and application of technical and mechanical elements critical to the field.

Current faculty engage in significant professional development processes tied to their work in program and course development. Degree-level indicators and the theories and tools that address them are the framework within which all work is generated. New faculty (full- and part-time) engage in formal professional development processes designed to hone their skills in development and delivery of quality programs.

The confirmation of relevance and validity from both industry and academic perspectives is addressed in the annual program self-assessment process, and will be part of a formal review when the program has completed its first full cycle of implementation.

No graduate programs in Music Theatre Performance of Music Theatre exist in Canada. Of the handful of such graduate programs that do exist in the United States, the following institutions have confirmed that they would recognize graduates of Sheridan’s proposed BAA in Music Theatre Performance.

In Canada, the Graduate Program in Creative Arts Therapies (drama) at Concordia University has confirmed that they would recognize our graduates as candidates for their program.

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10. Regulation and Accreditation Standard

10.1 Current Regulatory or Licensing Requirements

Not applicable to this submission.

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10.2 Letters of Support from Regulatory/Licensing Bodies

Not applicable to this submission.

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11. Program Evaluation Standard

11.1 Periodic Review Policy and Schedule

SHERIDAN COLLEGE INSTITUTE OF TECHNOLOGY AND ADVANCED LEARNING

SHERIDAN NO OF PAGES: POLICY NO. COLLEGE POLICY

TITLE: APPROVED BY: Program Review Academic Council: May 2007 Board of Governors: June 2007

REPLACES POLICY: EFFECTIVE DATE: REVIEW DATE: Program Review September 2007 September 2010

Policy Statement Program review is an organized process of collecting and disseminating information to assist the Board, the administrators and faculty in making judgements about the effectiveness and quality of academic programs. Sheridan is committed to reviewing its programs regularly to ensure quality and effectiveness. It is, therefore, the policy of Sheridan College that all Ontario College Certificates, Ontario College Diplomas, Ontario College Advanced Diplomas, Ontario College Graduate Certificates and Baccalaureate Degrees granted by Sheridan will conduct an annual self-assessment and a comprehensive formal program review every five to seven years.

Principles The purpose of program review is to: • assist the college with the improvement of academic programs; • provide assurance to the program clientele, the public, and the ministry, that quality control procedures are in place; • provide accumulative results which may indicate trends; • assess past and recent innovations or changes; • clarify the role of the program within the institution; • confirm interest and awareness about the program; • provide information to other groups as appropriate, e.g. programs and departments affected by the reviewed area and interested external agencies; • confirm, promote and improve quality.

This process enables academic programs to make adjustments in response to factors such as industry needs and feedback from stakeholder groups associated with the program. It also confirms that the program is aligned with Sheridan’s strategic direction.

Scope The Program Review Policy applies to all Ontario College Certificates, Ontario College Diplomas, Ontario College Advanced Diplomas, Ontario College Graduate Certificates and Baccalaureate Degrees granted by Sheridan.

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Information And Compliance Plans Students and faculty members are informed about College policies in a number of ways. By the time a policy is developed, it has been reviewed by a number of internal operational committees and councils, many of which include student and faculty member representation. Relevant policies are discussed at Orientation Sessions, and at the beginning of courses. Policies are referenced in the Student Handbook, noted on course outlines and appear on the Sheridan web site. Faculty members receive an internal communications bulletin, Information Sheridan, which highlights new policies.

Responsible Executive:

Contact: Vice President Academic Department: Office of the Vice President Academic Telephone: 905-845-9430, ext. 4061

Related Policies: n/a

Definitions / Explanations / Examples: Degree: official document of the College issued to students who satisfactorily complete the requirements of the program, which is normally eight academic semesters and a work placement of no less than four months. An Ontario College Degree must conform to guidelines determined by the Ministry of Training Colleges and Universities.

Sheridan Certificate: official document of the College issued to students who satisfactorily complete the requirements of the program. The requirements of a Sheridan Certificate are determined locally.

Ontario College Certificate: official document of the College issued to students who satisfactorily complete the requirements of the program, which is normally two academic semesters. An Ontario College Certificate must conform to guidelines determined by the Ministry of Training Colleges and Universities.

Ontario College Diploma: official document of the College issued to students who satisfactorily complete the requirements of the program, which is normally four academic semesters. An Ontario College Diploma must conform to guidelines determined by the Ministry of Training Colleges and Universities.

Ontario College Advanced Diploma: official document of the College issued to students who satisfactorily complete the requirements of the program, which is normally six academic semesters. An Ontario College Advanced Diploma must conform to guidelines determined by the Ministry of Training Colleges and Universities.

Ontario College Graduate Certificate: official document of the College issued to students who satisfactorily complete the requirements of the program, which is normally two academic semesters. An Ontario College Graduate Certificate must conform to guidelines determined by the Ministry of Training Colleges and Universities.

Appendices: (note the number of the Appendix and title of the page) Procedures: Appendix 1: Program Review Procedure

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Appendix 1 Program Quality Assurance Review Procedure

In keeping with the Program Review Policy of Sheridan College Institute of Technology and Advanced Learning, and to fulfill, in part, the requirements of the Provincial Program Quality Assurance Process Audit (PQAPA), the following procedure is recommended.

1. Review Teams a) The Associate Dean for each program will establish a review team for program quality assurance. Composition will depend on the scope and size of the program; the team will include: o a professor external to the School to be the Lead Reviewer o two or more professors from the program, including the Program Coordinator and may include o a professor from English or General Education

b) . The responsibilities of the Lead Reviewer will include the following: o coordinate team activities o coordinate data collection o coordinate communication, including scheduling team meetings as required o compile data and write the report.

c) Schedule meeting # 1 to orient the team to the Quality Assurance Review process and initiate document acquisition (see list). Orientation to the process will be conducted by Professional Development. Note: Centralized support for the acquisition of data and documentation throughout the review process will be provided by Institutional Research, the Office of the Registrar, Human Resources, and others that may be identified by the Office of Academic Planning & Development.

d) The team will establish a communication plan to ensure that all stakeholders are informed on an ongoing basis.

e) The team will add elements and key questions to the Data Collection Template as they deem appropriate.

2 Data Collection

The Data Collection Template lists the elements and key questions to be addressed by the collected qualitative and quantitative data. Some of these have cross-reference notations to the PQAPA1 Requirements.

Note: As one of the initial steps, additional elements and key questions should be added as deemed appropriate by the review team.

Potential sources of aggregate quantitative data and qualitative data include, but are not limited to:

1 Program Quality Assurance Process Audit (PQAPA), the Provincial audit conducted by Ontario College Credentials Validation Service (CVS)

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a) annual performance indicators (KPI’s, application/enrolment data, graduation data)

b) comments and recommendations from program faculty, staff, students, graduates, members of the program advisory committee, employers

Note: Focus groups or interviews may be identified by the review team as effective means to gather input (beyond the KPI data) from students, graduates and employers. PQAPA requires that the review process involve “a variety of stakeholders, including faculty, students, industry representatives, and others as appropriate for the purpose of continual quality improvement.”

c) data collected using tools such as questionnaires or surveys provided by Institutional Research.

d) with the written approval of the students, samples of student work that are presented with all identifying information eliminated. (Approval forms are available the Office of Academic Planning & Development.)

e) updated faculty qualifications and experience through Human Resources

f) course mapping that shows learning outcomes across the curriculum

g) consultation with library staff.

3 The Report

The Report presents the collected information and data in a succinct, objective narrative. The template assists the report writer (Lead Reviewer) in organizing the information. The key questions in the document, Elements and Key Question suggest the focus of each section of the report; the writer will provide appropriate detail on each item as suggested by the key questions and any other elements and questions that have been added to the review.

Recommendations for improvement and their Implementation form an essential section of the report. The recommendations should be realistic and achievable, with timelines and accountability for implementation noted. This final section of the Report will be presented by the Vice-President Academic to the Board of Governors

See Report Template: Table of Contents for an outline of the Report.

4 Follow-up to the Report

a) Recommendations in the report will steer program planning. Priorities for implementation will influence budget preparation for future academic years.

b) The next annual review will result in a follow-up report to the Vice-President Academic detailing the implementation of program modifications/improvements.

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5 Suggested Timeframe for a Typical Program Quality Assurance Review 2

Month Action Responsibility March 1. Send notice to programs identified 1. Dean, Academic for full PQA Review (based on Planning & Schedule established by Deans & Development Associate Deans) 2. Notify IR, Registrar, HR of programs 2. Dean, Academic scheduled for review Planning & Development

April 1. Identify Review Teams and Lead 1. Associate Deans Reviewer prior to SWF preparation 2. Prepare data that will be required 2. IR, HR, Registrar May/June o Upload data to appropriate team IR, HR, Registrar access site May/June 1. Provide Review Teams with 1. PD orientation to the review process and typical documents 2.- 5. Lead Reviewer & 2. Establish approach team members 3. Confirm additional elements, key questions and sources as they deem appropriate 4. Confirm a schedule of critical dates, including meeting dates 5. Gather data from central resources September/December 1. Gather qualitative data (e.g., via Review Team focus groups, interviews/consultations, surveys) 2. Summarize findings and record recommendations January/April 1. Draft report 1. Lead Reviewer 2. Review draft and provide feedback 2. Review Team & Associate Dean 3. Write final report and present to 3. Lead Reviewer Dean 4. Send Report to VPA 4. Dean

(Dates edited by AP, May 2007)

2 The 2007 Pilot Reviews will operate over a different timeframe.

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Appendix 2

Elements for Program Quality Assurance Review with Key Questionsi

Data Collection Template

Program under review ______

School: ______

Date: ______

Lead Reviewer: ______

Rating Scale 4 = exceeds expectations 3 = meets expectations 2 = below expectations 1 = significantly below expectations 1. Program Context N/A = not applicable

Elements Key Questions Potential Data Rating for Comments & Sources the Recommendations Element w Timelines 1.1 Congruence with How does this program o School the mission and contribute to fulfilling the o Program strategic plan of mission & the Priority Goals Sheridan College of Sheridan’s strategic plan? 1.2 Relation to other How does the program fit Sheridan programs with the mix of programs in o School the school or program o Program cluster? Is there overlap or are there gaps in the program mix?

What opportunities are there o School for collaboration/ cross- o Program disciplinary delivery with other programs? What would be the benefits of collaboration?

Is there potential for developing a Centre of Excellence? What are the key trends, o Program 1.3 Relevance to including job opportunities, Advisory field of practice affecting the program and its Committee requirements and graduates? How well is the Minutes key trends program responding to o Environmental these? Scan through IR If there is there a co-op, o School & internship or field placement Program experience in the program? what is the rate of student o Co-op office placement?

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What is the level of success in these experiences? (pass/failure rate)

Is the program recognized o School & 1.4 Credential by relevant professional Program recognition organizations and accrediting bodies? o Program What are the implications for Advisory graduates? Committee

Does the program have o Joint or partnerships with colleges or collaborative universities that provide program further educational agreements opportunities? What o College recognition does the o Ontario Sheridan credential receive? College University Transfer Guide www.ocutg.on. ca) o Transfer examples Other (Add as appropriate)

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2. The Learner

Elements Key Questions Potential Data Rating for Comments & Sources the Recommendations Element w Timelines 2.1 Student What is the ratio of o College interest/demand applicants to spaces application & available? admissions data (Consider first choice for past 5 years applicants as well as total from Registrar applicants) What factors influence the o Institutional conversion of applications Research to registrations?

How does the program o OCAS data via rank in terms of its Institutional attractiveness to students? Research 2.2 Competition for What programs (public & o School students private) are the main o Program Cluster competitors for the program? What similar programs in o School other institutions should o Program Sheridan’s program be o Faculty compared with? What areas of strength or improvement does this comparison suggest? 2.3 Recruitment What is the program o School strategies demographic? Should other o Program groups be targeted? o Brochures & How is the program Flyers promoted/ marketed? o Marketing Is the program represented Department at career days, college fairs?

2.4 Student selection Are admission criteria o Academic & admission consistent with College Policy policy and prescribed o MTCU vocational standards? Credentials How effectively are they Framework communicated? o Calendar/ Website Do admission requirements o KPI graduation facilitate student success? rates via If there are program- Institutional specific selection Research procedures, are they reliable predictors of student success?

Do students entering the o PeopleSoft re program have the aggregate appropriate core skills placement test (English & math) and results discipline-specific skills? If o Institutional not, how will this be Research

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addressed?

2.5 Early leavers How does the attrition rate o Registrar’s in each semester compare office to other programs in the o Program College? o Institutional What are the principal Research reasons for students (Attrition leaving the program prior to reports?) completion? Other (Add as appropriate)

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3. Curriculum Quality & Effectiveness

Elements Key Questions Potential Data Rating for Comments & Sources the Recommendations Element w Timelines 3.1 Program Does the program meet o MTCU’s Standards and provincial titling & Framework for Learning nomenclature standards? Programs of Outcomes Instruction) Are learning outcomes o Course outlines defined at both the program and subject level? o MTCU Program Standards Are the vocational learning http://www.edu. outcomes consistent with gov.on.ca/eng/g MTCU program standards, eneral/college/p where they exist? rogstan/index.ht m Are the vocational learning o Program outcomes consistent with mapping current workplace requirements? o KPI employer feedback Are the learning outcomes o Program for essential Advisory employability skills Committee consistent with the levels o MTCU’s defined in MTCU’s Framework for Framework for Programs of Programs of Instruction? Instruction

3.2 Program How active is the Program o PAC Minutes Advisory Committee Advisory Committee? (PAC) How effective is the PAC as a source of information and advice that ensures the program is meeting workplace requirements? How is PAC advice implemented?

3.3 Curriculum How well do employers rate o KPI Employer Quality the preparedness and Satisfaction capability of the graduates? o IR What shortcomings are noted and how will they be addressed?

Do students graduate with o KPI Employer the essential employability Satisfaction skills? What areas need improvement? How will that be achieved?

Do students experience a o Program strong English, general mapping education and essential employability skills component in their program?

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Do students recognize the o Student contribution of English and feedback general education studies surveys to their personal growth o KPI Graduate and understanding of Student social, cultural and Surveys economic issues? Does the program Program mapping effectively integrate English oral and written communication skills? How do graduating o KPI Grad students and graduates Student Survey evaluate the program? o Grad interviews What need for or focus groups improvement do they identify? How will this be addressed?

Other (add as appropriate)

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4. The Learning Environment

Elements Key Questions Potential Data Rating for Comments & Sources the Recommendations Element w Timelines 4.1 Faculty (teaching staff) Qualifications What are the qualifications o College Policy benchmarks benchmarks for teaching in o Associate Dean the program? o Program Proposal How effective are the Documents recruitment strategies for attracting qualified faculty? How are new faculty oriented to the program and to teaching in the college?

Faculty Are faculty current in their Updated summary of qualifications/ knowledge and skills? faculty preparedness Are there gaps or credentials/profile of weaknesses in the related education& collective expertise experience via required to deliver the Human Resources curriculum effectively? (see Appendix D How are faculty evaluated? template)

Professional How are faculty supported o School development in maintaining currency: o Program Cluster 1) in the field they o PD teach? 2) in teaching techniques?

Other ( Add as appropriate)

4.2 School Facilities o Efficient & Does the program have o School effective appropriate studios, labs, o PAC Minutes technical workshops and/or facilities & equipment? equipment Is the program o School appropriately staffed for effective operation and maintenance of the studios, labs, workshops& equipment Does the program ensure o School safe, effective and efficient operating procedures in these areas? What are the priorities for o School improvement? o Efficient and Is the school appropriately o School effective office staffed in the clerical/ o Staffing ratios support administrative areas to ensure student and

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program needs are efficiently met? If not, how will shortcomings be addressed? o Budget Does the program operate o School effectively within its o Program Cluster operating budget? If not, how will this be addressed?

Are program needs for capital budget funds adequately addressed? Other ( Add as appropriate)

4.3 Institutional Learning Resources o Library Are the learning resources o Program of the library adequate and appropriate to the learning needs of the students in the o Library Staff program?

How well do the students use the resources of the library?

How is effective communication assured between the program and the library? o Information What educational o School Technology technologies (IT learning o Program Cluster resources) does the program use? o Program staff & faculty What further development in this area would benefit o IT the program?

Are the college’s organizational/infrastructur e IT resources used effectively by the program? Do students , faculty and o Student staff have adequate access satisfaction to IT services & survey equipment? If not how will o Faculty & staff this be remedied? survey through Institutional Research o Academic Is academic advising o School Advising readily available to o Student survey students? How do they o Academic learn about its availability? Advising Centre

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How does this service facilitate the achievement of the program learning outcomes? o Counselling What counselling services o School are available to students? o Student survey How does this service o Counselling facilitate the achievement Centre of the program learning outcomes?

How are special needs o College Policy accommodations identified? o Student survey Are they appropriately accommodated? Other (Add as appropriate)

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5. Student Success

Elements Key Questions Potential Data Rating for Comments & Sources the Recommendations w Element Timelines 5.1 Student What opportunities are o Program achievement provided for recognition of o Registrar prior learning when students enrol? e.g., o accelerated modes o transfer credit awarded for related post- secondary achievement o prior learning assessment & recognition (PLAR)

Are the methods of o Subject outlines evaluating student o Sample achievement clearly stated, assessments of fair and regular? student work at a range of Are they linked to learning levels outcomes and level of skill o Sample marking required? schemes or rubrics

5.2 Quality of How does the program o School learning experience provide flexibility in time o Program and place where the student can learn? Are there alternative o School modes? (e.g., part-time o Continuing study, accelerated modes, Education e-learning) Calendar If there is a formalized o School practicum such as a co-op o Program option, internship, field o Student surveys placement, or practical/lab component, how does it help students achieve their learning objectives? What other support o Program strategies assist students in their learning? (e.g., peer tutoring, mentoring) 5.3 Graduation rates What is the graduation o KPI graduation rate? What factors affect rates for this rate? Is it consistent program with the context of Ontario o KPI graduation and GTA colleges? rates for other colleges 5.4 Graduate What is the employment o KPI Grad Employment rate? What factors affect Student Survey this rate? What jobs do graduates move into? What further education do o KPI Grad graduates pursue? Student Survey

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Other ( Add as appropriate)

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12. Academic Freedom and Integrity Standard

12.1 Policy on Academic Freedom and Academic Honesty

12.1.1 Academic Freedom Policy

Approved by Sheridan’s Board of Governors October 25, 2006 Approved by Ministry with the BAHSc. (Exercise Science & Health Promotion) December 31, 2007

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12.1.2 Academic Honesty Policy

Approved by Sheridan’s Board of Governors October 25, 2006 Approved by Ministry with the BAHSc. (Exercise Science & Health Promotion) December 31, 2007

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12.1.3 Academic Honesty Procedure

Approved by Sheridan’s Board of Governors October 25, 2006 Approved by Ministry with the BAHSc. (Exercise Science & Health Promotion) December 31, 2007

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12.2 Policy on Intellectual Products

Copyright Ownership Policy approved by Sheridan’s Board of Governors March 21, 2001 Applied Research Policy approved by Sheridan’s Board of Governors June 15, 2005 Both approved by Ministry with the BAHSc. (Exercise Science & Health Promotion) December 31, 2007

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12.3 Policy on Ethical Research Practices

Research Integrity Policy approved by Sheridan’s Board of Governors June 15, 2005 Human Subjects Policy approved by Sheridan’s Board of Governors June 15, 2005

Both approved by Ministry with the BAHSc. (Exercise Science & Health Promotion) December 31, 2007

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13. Student Protection Standard

13.1 Academic Calendar Information

Current Academic Information Calendar Page Mission: To provide applied learning opportunities for life, enhanced by applied research, and taught by outstanding faculty in a student-centered environment.

34, 36, 38, 79, If the organization currently offers degree programs a general description (e.g. 101, 102, 62-65, purpose length) of each degree program. 40, 21, 31

N/A If the organization does not currently offer degree programs a general description (e.g. purpose length) of each diploma program.

165-169 The academic credentials of faculty and senior administration (Dean and above)

See Calendar Individual descriptions of all subjects in these programs and their credit value.

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13.2 Students Protection Policies

13.2.1 Dispute Resolution

Approved by Sheridan’s Board of Governors October 25, 2006 Approved by Ministry with the BAHSc. (Exercise Science & Health Promotion) December 31, 2007

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13.2.2 Fees and Charges

Payment due dates for new students is June before the start of the September semester and for returning students the due date is late July. Students receive a fee invoice that itemizes the fees charged for the program. Students with outstanding charges or other indebtedness will not be eligible to return to Sheridan until all amounts owed have been paid. Payment by the deadline will reserve the student’s seat in a program and allow the student to continue in class, write examinations, receive reports and maintain academic evaluation.

Administration charges are mandatory fees for all full-time and part-time students which include: Athletics, Athletic Building Fund, Career Center, Peer Mentoring, Sheridan Student Union Inc. (SSUI) fund, Student Center Building fund, Student Center Capital Fund, SSUI Health and Dental plan, College Student Alliance (CSA) Membership, Health Centre, Information Technology fees.

New students only (first term, one time fee): Graduation, Alumni, First Three Official Transcript requests.

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13.2.3 Student Dismissal

Code of Conduct for Sheridan Citizens Policy approved by Sheridan’s Board of Governors October 25, 2006 Approved by Ministry with the BAHSc. (Exercise Science & Health Promotion) December 31, 2007

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13.2.4 Withdrawals and Refunds

All fees are subject to a non-refundable registration charge in accordance with policy set by the Ministry of Training, Colleges and Universities.

All refundable fees, except the late fee, will be refunded to a student who completes and submits an application for a Complete Program Withdrawal to the Office of the Registrar on or before the tenth day of scheduled classes. Dropping courses may not necessarily result in an adjustment of fees. Refunds will be paid by cheque to the registered student only, four to six weeks from receipt of the Complete Program Withdrawal application.

Students who pay for two or more consecutive terms in advance will receive a full refund of subsequent term fees providing the withdrawal is received prior to the fee payment deadline date of the subsequent term, (on or before the tenth day of scheduled classes).

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13.3 Student Protection Information

Information regarding Sheridan’s policies pertaining to student protection is available in the Academic Policies and Procedures for Bachelor’s programs. These policies and procedures are referenced in the Sheridan letter of acceptance sent to each student and are available on the Sheridan web site.

A number of the policies and procedures regarding student protection are also found in the Sheridan Student Handbook and the Sheridan full-time postsecondary calendar. The following letter is intended to be sent to all students requiring that they confirm in writing their awareness of the Sheridan polices and procedures, with full compliance by September 2007.

BAA (Music Theatre Performance) 303 Sheridan College Institute of Technology and Advanced Learning

Date Name Address 1 Address 2 Postal code

Dear student name

On behalf of Sheridan College, I extend to you a warm welcome. Sheridan faculty and staff are excited that you have chosen Sheridan to continue your education and pursue your future career and we are looking forward to having you with us at the start of the semester.

A copy of the Academic Policies and Procedures for students at Sheridan pertaining to degree level programs is available on Sheridan’s website at http://capella.sheridaninstitute.ca:9085/polpro/enduserpolicylist.jsp. In addition, please be advised that all degree programs are reviewed on a regular basis by the Ministry of Training, Colleges and Universities under a Minister appointed Postsecondary Education Quality Assessment Board. This review must include samples of student work (essays, test and projects) and samples of your work may be kept on file for review by program assessors.

The Ministry of Training, Colleges and Universities, has mandated that we retain signed documentation indicating that you have been advised of the Academic Policies and Procedures, any transfer arrangements and that you have knowledge that copies of your work may be kept on file for program review purposes. Accordingly, please sign this letter in the space indicated below and return it to Sheridan’s Registration Office in the enclosed envelope before the start of the semester.

If you have any questions about your program or about Sheridan in general, please do not hesitate to contact

Once again, welcome. We wish you a very successful and rewarding year.

Sincerely,

Registrar

Confirmation of Receipt The college is committed to actively pursuing credit transfer and credential recognition opportunities for our students and graduates and to ensuring that students have access to current information regarding arrangements with other postsecondary institutions.

As a student at Sheridan, I have been advised that the Academic Polices and Procedures are available on Sheridan’s website and that samples of my work may be kept on file for program review purposes.

Date______Signature______

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14. Evidence of Economic Need

14.1 Evidence of Economic Need

Introduction

The Value of our Creative Economy The timing of this proposed program coincides with the global transition to a creative economy, an international phenomenon that is drawing attention to the economic importance of the world’s cultural sectors. Discussions and research papers from the 2008 International Forum on the Creative Economy indicate that the increasing complexity of the cultural sector has facilitated the demand for new skills, new business models and a new global perspective.1

Central to discussions of a global creative economy is a heightened interest in the creativity attributes of originality, innovation, inventiveness, imagination, artistic ability and resourcefulness, all of which are expected to provide business with a competitive edge. Having a degree that integrates creativity, business and entrepreneurship with exceptional acting, vocal and dance skills and a strong academic base will increase the marketability, employability and adaptability of graduates across a range of economic possibilities.

The Value of Canada’s Performing Arts Industry The Conference Board of Canada estimates that the “economic footprint” (the direct, indirect and induced contributions) of Canada’s cultural sector is currently valued at $84.6 billion, constituting 7.4% of the country’s real gross domestic product.2 In recognition of the critical role it plays in the attraction and retention of talent and investment, the sector has now been elevated to a place of greater prominence, taking centre stage in the new creative economy discussions.3

Art and culture are the cornerstones of Canada’s creative economy which help to strengthen the fabric of our society.4 Integral to this, the performing arts industry does much to enhance our well being. For example, results from a recent survey reveal that live music, dance, or theatre performance has an intrinsic impact on audiences that can actually be measured5 in terms of captivation, intellectual stimulation, emotional resonance, spiritual value, aesthetic growth and social bonding.6

Sheridan’s Contribution to the Performing Arts Industry Sheridan College has been integral to building Ontario’s performing artist talent pool. Implemented in 1984, the Advanced Diploma Music Theatre-Performance program has graduated an average of 33 students each year for the past nine years. Based on the nature of the industry it would seem that graduates have been successful in the field. The KPI data analyzed by an independent company confirms the satisfaction of students, graduates and employers in this field.

Many work part-time or temporary full-time, gaining employment in local theatres, on cruise lines and with events promotion companies.7 A few are fortunate enough to achieve varying levels of fame and

1 Conference Board of Canada (August 2008) Valuing Culture: Measuring and Understanding Canada’s Creative Economy – Economic Performance and Trends 2 Conference Board of Canada (August 2008) Valuing Culture: Measuring and Understanding Canada’s Creative Economy – Economic Performance and Trends 3 Ibid. 4 Ibid. 5 Wolf Brown (2007) Assessing the Intrinsic Impacts of a Live Performance, Hill Strategies Research Inc. 6 Ibid. 7 Ibid.

BAA (Music Theatre Performance) 305 Sheridan College Institute of Technology and Advanced Learning fortune, in terms of full-time employment in high profile Canadian and Broadway productions. In the absence of a clear definition one could conclude that “success” within this context is defined as a performer’s ability to secure diverse roles across a broad range of performance genres and production types.

Based on this definition, it can be concluded that to date, Sheridan’s graduates of the Music Theatre- Performance Advanced Diploma program have been successful. Some of the most recent successes include the following: • Eight of our graduates performed this past season (2008) with the Stratford Festival Company. • An additional graduate was cast as Maria in Stratford’s forthcoming (2009) production of West Side Story. • Three of Sheridan’s graduates wrote and produced the hit musical Funny Business which won the 2007 Toronto Fringe Festival Patron’s Pick Award.

In addition, graduates recently appeared in: • The Shaw Festival’s Wonderful Town • The Charlottetown Festival’s Anne of Green Gables • CBC prime time soap MVP • Spring Awakening on Broadway • The TV reality show How do you solve a problem like Maria? • Disney stage musical Toy Story8

Broadening the Capacity of the Graduate’s Career Performing artists are typically self-employed and have relatively short-lived careers that consist of part- time and/or temporary performing roles.

Having a degree will enhance and extend their career in four ways:

1. Since the general practice for entering the performing arts industry across Canada, Australia and the United States is to have a minimum of a Bachelor’s degree, Sheridan graduates will be able to compete more effectively with the international candidate pool.

2. It will prepare them to eventually assume leadership positions and administrative roles with the performing arts industry, which is currently experiencing a skills gap in Canada and a pending shortage in the United States.

3. A degree that combines creativity with business and entrepreneurship will better prepare graduates to develop their own production company, providing a contribution to the industry.

4. Global discussions on the creative economy have underscored the importance of creativity in helping to make businesses more competitive. Having this degree with some understanding of business, should make graduates more employable across a broader range of industries.

1. Competing in the International Arena The global performing arts industry is changing and there are indications that talent alone is no longer sufficient for successful performance auditions. Major performing arts companies in Australia who are looking for more highly specialized and advanced skills, are having difficulty finding this combination of talents and skills in today’s performers.

8 Peterson, Greg (June 2008) 2007-2008 Music Theatre Performance Program Annual Report

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The goal of this proposed program is to ensure the continued success of Sheridan’s Music Theatre Performance graduates, by preparing them to become more effective competitors in an industry that continually seeks multi-skilled and multi-talented performers with a high caliber of singing, dancing and acting, known as the “triple threat skills”. While it is true that Sheridan’s students already graduate with a strong portfolio of well-honed triple threat skills, having a degree will increase their capacity to compete more effectively where the baccalaureate is increasingly the norm or requirement.

Talent is critical to audition success but it is not always the sole criteria for performance assessment. The 2008 Australia Council for the Arts’ report highlights the difficulty major performing arts companies (MPA’s) are having in finding the talent they need.9 When it comes to main stage productions for example, larger MPA’s in Australia require more highly specialized and advanced skills than the small to mid size companies.10 Evaluative criteria used for performance auditions in Australia’s television, film and multi-media industry include an assessment of the knowledge and skill underpinnings used in developing and realizing the “creative concept”.11 As part of their selection process, the Open Channel Television Network looks for an understanding of the techniques used in story and character development, an ability to identify authentic and appropriate behavior, as well as a comprehension of the various narrative forms. Also included in this evaluation is the extent to which performers have knowledge of the different theories of communication.12 These are all areas that have been targeted in the design of the proposed program.

General Practices – Australia, Canada and the United States The world’s creative and performing arts sectors are typically comprised of people with education levels that are higher than the average.13 A quick review of the Government websites for Australia, Canada and the United States reveals that the general practice for entering the performing arts industry is to do so with a minimum of a bachelor’s degree (Table 1).

Table 1: Entrance Requirements for the Performing Arts – Australia, Canada and United States

Country Entrance Requirements as Noted by Source Government Websites Australia ʻEntrance into performing arts careers is Australian Government generally through a bachelorʼs degree or higherʼ (www.jobsearch.gov.au/joboutlook/) ʻThe majority of recent entrants to the Canadaʼs Job Futures Canada performing arts have an undergraduate (www.jobfutures.ca) University degreeʼ

ʻThe best to prepare for a career as an actor, US Bureau of Labour Statistics producer/director is through formal education, (www.bls.gov/oco/) preferably obtained as a bachelorʼs degree. Many stage actors continue their education and United States receive a Master of Fine Arts degree.ʼ

According to the Unified Professional Theatre http://www.upta.org/criteria.html Auditions (UPTA), ʻall actors auditioning for

performances must have an undergraduate theatre degreeʼ.

9 Australian Council for the Arts (2008) Anticipating Change in the Major Performing Arts 10 Ibid. 11 Open Channel “Conduct Selection of the Performers” (www.openchannel.org.au) 12 Ibid. 13 United Nations (2008) Creative Economy Report, Conference Board of Canada (August 2008) Valuing Culture: Measuring and Understanding Canada’s Creative Economy and the Australian Council for the Arts (2008) Anticipating Change in the Major Performing Arts

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The Specific Education Levels of Performing Artists in Canada and the United States: On average 52% of independent artists within the CMA (Census Metropolitan Area of Toronto) had a Bachelor’s Degree between 1997 and 2007 (Table 2). This is higher than the average for people employed within the “civilian” occupations and comparable to the average for people employed in the “professions” that include engineers, lawyers and doctors (56%).

Table 2: Bachelor’s Degree by Occupation (City of Toronto) 1997-2007

YEAR Average Occupation 1997- 1997 2002 2003 2004 2005 2006 2007 2007)

All (Civilian 26% 30% 31% 31% 32% 33% 35% 31% Occupations) Professional Occupations 51% 56% 58% 58% 56% 57% 59% 56% Independent Artists, Writers 53% 51% 56% 48% 58% 47% 51% 52% and Performers (Source: Department of Economic Development, 2007)

Similarly within the United States, actors, fine artists/art directors, producers/directors and writers/authors all have education levels that are higher than the average for the civilian labor force and comparable to the “professions” (Table 3).

Table 3: Percentage of the Workforce with a Bachelor’s Degree – US (2005)

Occupation % with a Bachelorʼs Degree Civilian Labour Force: 28% Professional Occupations: 65% Actors (Theatre and Television) 62% Announcers 33% Fine Artists/Art Directors 58% Dancers and Choreographers 22% Music Directors/Composers 52% Photographers 40% Producers and Directors 74% Writers and Authors 84% Note: Professional occupations include doctors, lawyers, teachers, scientists, engineers and health professionals.

(Source: National Endowment for the Arts, 2006)

It is not surprising that the people employed in the professions have higher education levels than the civilian labor force since they are often represented by an association that mandates education requirements, which in the case of the professions, is usually a degree or higher. Although there are several professional associations representing the occupations involved in the performing arts (i.e. The Alliance of Canadian Cinema, Television and Radio Artists or the Canadian Actors Equity Association), these associations do not dictate the educational requirements of their members.

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2. Contributing to Leadership in the Canadian Performing Arts Industry The renewed focus on the creative economy has generated awareness concerning the conditions of the market that employs creative and performing artists. The majority of performers are more likely to hold multiple jobs in order to sustain themselves, particularly since the type of work they do is often temporary. As well, despite having higher than average education levels artists also earn less than those in occupations with comparable levels (Table 4).

Table 4: Average Earnings by Education– All Occupations vs. Creative and Performing Artists (2001)

Average Salary Average Salary for Highest Level of Education: for All Creative and Occupations Performing Artists

Seeing these conditions as an impediment to the future growth of the sector, the International Labor Organization (ILO) in conjunction with UNESCO is currently in the process of developing an international framework that will provide governments with information on the labor market dynamics of these industries. Within Canada, a report prepared for the Canadian Conference of the Arts in March 2008 recommends that a comprehensive analysis of the sector be undertaken to map out more clearly who our artists are, exactly how much they contribute to the economy, and who the specific target groups are, in order for future initiatives to address the issues.

It is believed that this data will help make the case to help creative and performing arts organizations advocate to their local governments to change the current employment conditions. “Leaders” of the industry are identified in the Conference Board of Canada’s latest report as key to Canada’s creative economy since they can effectively harness creativity and bring about positive change.14 The proposed program’s ad hoc PAC collectively expressed an interest in having graduates in leadership roles working with funding organizations at both the provincial and federal level, to strengthen and promote the industry.15 As well, in her report to the University of Calgary, Susan Bennett (special advisor to the president of the university) notes that academic institutions have a fundamental role to play in the training of workers for the creative industries.16 Their responsibility now and in the future, she notes, will be to produce graduates who have the capability of creating opportunities for the skilled creative workers the sector is hoping to attract.17

Pending Leadership Shortage Exacerbating this need is a pending leadership shortage within both the Canadian and American performing arts industries. Identified as a key issue for discussion at the June 2008 National Performing Arts Convention, high leadership turnover across the performing arts industry is being compounded by an insufficient pool of qualified candidates across North America.18 Canada’s own industry analysis

14 Conference Board of Canada (August 2008) “Valuing Culture: Measuring and Understanding Canada’s Creative Economy” 15 Based on discussions with the Ad Hoc PAC in May/June 2008 16 Bennett, Susan (2006) “Creative Industries – The Foundation of Calgary’s Economic Success”, University of Calgary 17 Ibid. 18 National Performing Arts Convention (June 2008)

BAA (Music Theatre Performance) 309 Sheridan College Institute of Technology and Advanced Learning attributes its presenter gap (“presenters” in this study refers to artistic directors, cultural and artistic program coordinators, theatre managers, directors of programming etc.) to a lack of suitable training/education programs.19 Analysis from Canada and the USA imply a need to provide adequate education and training programs for current administrators. Further information from the June 2008 National Performing Arts Convention suggests that administrators who receive training may have a strong understanding of systems, but their understanding of the performing arts is often limited.20 Sheridan’s own ad hoc PAC also notes that it is the experienced artists themselves who can fully appreciate the urgent need for immediate and unconditional support.21

According to the 2007 “Next Generation Dialogues” the majority of Canadian creative and performing artists who have just entered the industry, have a strong ambition to pursue artistic creation and administration as part of their long term career.22 Despite these ambitions however, results of the survey reveal that these same artists feel that they are lacking appropriate business skills.23

Leadership Positions and Education Qualifications The scope of theatre production includes a broad range of potential opportunities for performing artists. While academic credentials are not formally specified for performers themselves, the career trajectory includes positions that are. With a global agenda to strengthen the creative sector, it would make sense to have leaders with the highest caliber of skills and experience. Tables 5 and 6 provide an overview of both the current job postings for leadership positions in Canada and the United States, as well as the skills gaps that have been identified among the current leaders in Canada.

Table 5: Profile of some of the Director Jobs in the Performing Arts and their Educational Requirements

Employer Job Title Education Date Posted Source of Requirements Job Posting Massey Hall and Director Operations University Degree with July 15, 2008 Roy Thomson Hall and Administration 10 years experience (Toronto, ON) Flint Youth Theatre Artistic Director MA/MFA Preferred May 14 2008 Intʼl Society for (USA) BA/BFA with the Performing experience considered Arts Performing Arts Director, Performing Minimum of a Masterʼs June 2008 Foundation Center, University Arts Center degree and five years of Texas experience or a (USA) Bachelorʼs Degree and seven years experience The Kennedy Program Bachelorʼs Degree July 2008 Center for the Development Kennedy Performing Arts Coordinator Center for the (USA) Manager, National Bachelorʼs or July 2008 Performing Advancement Advanced Degree in a Arts Related Field

19 Cultural Human Resource Council (2008) Presenters: Training Gaps Analysis Final Report 20 National Performing Arts Convention (June 2008) 21 Based on discussions with the Ad Hoc PAC in May/June 2008

22 Canada Council for the Arts (2007) “Next Generation of Artistic Leaders and Arts Audience Dialogues” 23 Ibid.

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Although the gaps analysis of Canada’s presenters does not identify current education levels, it does identify some of the current trends that are reshaping the industry and subsequently impacting required skills. While many of the directors in this sample could have a degree or higher the program from which they earned their degree may not have been conducive to the types of skills currently being sought in the industry for leadership positions.

Table 6: Skills Gaps as Identified by Presenters in Canada

Skill Category Definition Skills Develop a birdʼs eye view of the breadth of genres and performances offered. Nurture an appreciation for diverse and multi- Artistic Ability to cultivate artistic vision disciplinary art forms. Hone intuition to ensure that performances are in tune with audience demand. Financial Management Plan, forecast, budget, secure financing and manage the accounting. HR Management Manage a large range of venue staff from ticket sales to security and hospitality staff. Event Planning Booking, Scheduling and Organizing.

Project Management Projects range from one off shows to weekend festivals to season long concerts/plays. Management Marketing To ensure ticket sales and that attendance will maximize profitability. Board Management May be involved in helping determine the broad strategic direction of the organization. Negotiate Contracts Understanding of legal contracts and the ability to negotiate contracts. Office Management

Ability to assess the technical feasibility of a performance they plan to book and determine if Technical their facility can meet the technical requirements of the show. Adept at developing and maintaining relationships as well as networking with colleagues and artists. Interpersonal Able to negotiate and work effectively with diverse General personalities. Personal Creative, organized, problem solvers who are able to multi task , take risks and work under pressure. (Source: Presenters: Training Gaps Analysis Final Report, Cultural Human Resource Council, 2007)

3. Teaching Entrepreneurship and Developing Capacity to Produce Material for the Performing Arts Industry A discernable gap in the business and entrepreneurship capacity of performing artists has been identified by Canada, the United Kingdom and the United States. Having exposure to business strategies and entrepreneurship in the curriculum will help Sheridan graduates succeed as self-employed entrepreneurs capable of growing production companies which will ultimately help strengthen the sector.

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Whether graduates choose to pursue a long term career as a leader in the performing arts industry, or whether they want to be self-sustaining as a performer, their success will largely depend on their business and entrepreneurship capabilities. Having such capabilities will help graduates of the proposed program to succeed in the industry, and also will help strengthen the creative sector.

Currently the creative and performing arts industries have a larger share of self employment than the average for all industries (Table 7), as well as a preponderance of micro businesses.24 Organizations are also becoming polarized by size as opposed to genre, while the market continues to experience an increase in the number of small non-profit and amateur organizations.25 While large commercial and non- profit organizations are increasingly relying on massive advertising and marketing campaigns, small organizations by contrast, are becoming increasingly diffuse and focusing more on low-budget live performances for niche markets.26

Table 7: Self Employment by Occupation (City of Toronto and United States)

Occupation City of Toronto US Civilian Labor Force 15% 10% Professional Occupations 33% 9% Creative and Performing Artists 46% 38% (Source: Statistics Canada Census Data and the US Department of Labor Statistics)

One way of helping to strengthen the creative sector will be for graduates to effectively grow their own production company. An overview of the Canadian data in Table 8 reveals that the largest percent change in employment for the performing arts industries between 2001 and 2006 was in the performing arts/events promotions companies (20%). It should be noted that companies differ from performing arts companies in that they are primarily engaged in organizing and promoting but not producing such presentations.27 At the same time the largest share of employment in the industry in 2001 and again in 2006 was in self employment where the “independent artists, writers and performers” represented close to 60% of the total employment.

Table 8: Employment Growth of Performing Arts Industries in Canada (2001-2006)

NAICS (North American 2001 2006 % Change % Share % Share of Industry Classification in Growth of Total Total System) (2001-2006) (2001) (2006) Performing Arts Companies 20,940 22,280 6.4% 26% 24% Performing Arts/Events Promotion Companies 11,655 13,985 20% 14% 15% Independent, Artists, Writers and Performers 46,215 51,860 12% 57% 57% TOTAL: 81,575 90,865 (Source 2001 and 2006 Census Data, Statistics Canada)

24 First Research Inc., (2006) The North American Performing Arts Industry, 25 Ibid. 26 Ibid. 27 Statistics Canada North American Industry Classification (NAICS) 2007 (Definitions, Data Sources and Methods)

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United States data reveals that despite higher past and projected employment growth for creative and performing artists (Table 9 and Table 10), an increasing share of that employment growth is/will be with performing arts/events promotion companies, the companies that do not produce presentations.

Table 9: Employment Growth for Performing Artists, US (2006-2016)

Job Net Average Openings Replacement Annual Job Employment due to Needs Openings Due Occupation Change Growth (000ʼs) to Growth and

(000ʼs) Replacement Needs (000ʼs) All 10.4% Actors 11.6% 8,000 14,000 2,000 Dancers 9.5% 2,000 11,000 1,000 Choreographers 2.4% 0 11,000 1,000 Entertainers/Performers 15.8% 12,000 25,000 4,000 Music Directors 12.9% 9,000 14,000 2,000 /Composers Musicians/Singers 10.1% 20,000 40,000 6,000 (Source: US Bureau of Labor Statistics, 2008)

Table 10: Projected Employment Growth for US Performing Artists by Industry (2006-2016)

Total Growth for All Occupations 2006-2016 All Industries Total 11.3% Broadcasting 8.3% Events Promotion 31% Independent Artists 37% Motion Picture/Video 16% Performing Arts Companies -1.8% (Source: US Bureau of Labor Statistics, 2008)

This demonstrates a tremendous need and opportunity for graduates of performance programs to develop production companies generating original content.

In addition, there is presently a discernable gap in the business and entrepreneurship capacity of our current performing artists and it is believed that many are unprepared for the realities of self- employment.28 Discussions at the recent National Performing Arts Convention revealed that while professional training may have prepared performers for their roles as artists, many have little or no readiness to deal with education and community, administrative, committee or governance work, all of which are roles within the larger community they may be expected to play within the larger community.

This gap has been identified within the Province of Ontario, the United States and the United Kingdom.

28 Ibid.

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The Province of Ontario A recent survey conducted by Cultural Careers Council Ontario reveals that 84% of professional artists (creative and performing) within the Province participated in professional development within the last year.29 Key reasons for doing so include the need to upgrade their artistic skills as well as learn new techniques. Respondents indicated a discernable need for administration and management skills that include proposal preparation, grant writing, marketing, promotion, contracts, negotiation and business planning skills.30 The ad hoc PAC adds to this by saying that our graduates should be engaged in a curriculum that teaches promotional skills/self marketing, self producing, web design, as well as the knowledge to apply for government grants.

United States Within the United States, the Creative Campus report from the 104th American Assembly for education in theatre, dance, art and design notes that the career realities encountered by graduates is changing. More specifically, the report indicates that training in these fields does not promote the flexibility, resourcefulness and entrepreneurial approaches that are required to be successful. Training for their profession has neglected useful aspects of their career including learning about fundraising, budgeting, production and marketing.31

United Kingdom Within the United Kingdom, specific details from Brown’s study of Performing Arts graduates in particular, reveals that most felt insufficiently prepared for employment noting that their education did not adequately cover areas including IT, career management, industry links, how to run a small business, as well as networking skills.32 Additional skills that were deemed important by employers included team working, communication, research, self development, problem solving and business awareness.33

Evidence from the United States suggests that although the interest to incorporate business and entrepreneurship into Theatre Arts curriculum is strong, widespread and rapidly growing, its integration has been fraught with debate.34 Theatre Arts degree programs are divided over whether to use a context- based model or a business or “venture creation” model of entrepreneurship. While the most popular technique appears to be the latter, some feel that this model does not fit with the needs of the creative sector.35 They note that the dynamics of the creative sector don’t always operate in the same way that businesses across other sectors do and thus advocate for the context based model.

The context-based model is premised on the idea that curriculum should reflect the economic and cultural environments that arts students will inhabit.36 Premised on a broader conception of entrepreneurship, it teaches students new skill sets for both non-profit and for profit arts industries, while integrating entrepreneurial theory and contextualizing the skill sets through an understanding of arts policy, arts culture, arts management, and experiential opportunities.37

29Cultural Careers Council Ontario (2008) 30 Cultural Careers Council Ontario (2008) Enriching our Work in Culture: professional Development in Ontario’s Cultural Sector 31 The 104th American Assembly (2004) The Creative Campus: The Training, Sustaining and Presenting of the Performing Arts in American Higher Education 32 Brown, Ralph (2007) “Enhancing Student Employability? Current Practice and Student Experiences in the Performing Arts”, Arts and Humanities in Higher Education, Vol 6(1) 28-49 33 Ibid. 34 Beckman, Gary D. (2007) “Adventuring” Arts Entrepreneurship Curricula in Higher Education: An Examination of Present Efforts, Obstacles, and Best Practices”, The Journal of Arts Management, Law and Society Vol. 37. No.2 35 Ibid. 36 Ibid. 37 Ibid.

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4. Preparation for Employment Across a Broader Range of Industries Central to discussions of a global creative economy, is a heightened interest in the creativity attributes that provide business with a competitive edge. Having a degree that combines graduates’ creativity with business and entrepreneurship should also increase their employability across a broader range of industries.

In this current era of globalization and change, it is predicted that the attributes that made organizations th st C successful in the 20 century will actually cripple them in the 21 .38 Business people and scholars alike are now acknowledging that successful economies come more from ideas as opposed to physical capital, and that the creativity attributes of originality, innovation, inventiveness, imagination, artistic ability and resourcefulness provide businesses with a strong competitive edge.39

Although the specifics of the global discussions vary, there is a general consensus that countries need to:

a. harness their creative talent as a means of strengthening all industries b. strengthen their existing creative industries through effective leadership

Sheridan’s proposed Music Theatre Performance degree is timely given that there is an emerging demand for people with creative attributes and a simultaneous demand for people with a bachelor’s degree. It is predicted that employment for jobs in Canada requiring a degree will increase by 1.6% annually between 2006 and 2015, surpassing the average of 1% for all jobs during that time.40 Not all degree programs however, provide the creative edge that employers seek.

There is evidence of a heightened interest in graduates from creative and performing arts degree programs. In 2004 for example, the Harvard Business Review identified the fine arts and design degrees as the hottest credentials in the world of business, noting that corporate recruiters have been visiting some of the top arts and design schools in search of creative talent.41 Their goal is to recruit their future innovators – the people whom they see as becoming increasingly engaged in strategic decision making processes.42

MBA programs in the United States are also recognizing the value of the performing arts degree. Certain aspects of the performing arts curriculum are helping to prepare business graduates for future managerial positions. The Sloan School of Management, Carnegie Mellon and the University of Virginia are all providing opportunities for students to participate in and write their own plays.43 It is believed that the acting, writing and improvisation that have traditionally been integral to performing arts degrees provide key elements that help MBA students to master qualities that recruiters seek and help them to become more insightful leaders who are sensitive to the needs of those around them.44

38 Coy, Peter., Business Week Online “Creative Economy: Which Business will Thrive in the Coming Years?” (http://www.businessweek.com/2000/00_35/b3696002.htm 39Ibid. 40HRSDC (2007) “Looking Ahead: A Ten Year Outlook for the Canadian Labour Market” Labour Market and Skills Forecasting Unit. 41 Cited from Design Industry Advisory Committee (DIAC) (2004) Design Matters: Design Industry Study 42ibid. 43 Damast, Alison (2007) MBA’s Acting Out, Business Week Online 44 Ibid.

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Student Interest

Primary Research

1. Survey of current students enrolled in Sheridan’s Music Theatre Program. 2. Survey of alumni from Sheridan’s Music Theatre Program.

Survey Methodology In the summer of 2008 Sheridan College administered two online surveys to both students and alumni (alumni who graduated between the year 2004 and 2008), from Sheridan’s Music Theatre-Performance Advanced Diploma program. Although it would have been ideal to choose a sample representative of the potential applicant population (i.e. high school students), the resources required to do so are beyond the scope of this proposal.

The surveys were designed to effectively gauge student/alumni interest in Sheridan’s proposed Music Theatre Performance Bachelor of Applied Arts Degree. Both were organized into four sections: 1) Introduction, 2) Academic/Career Plans of Current Students and where Alumni are currently in their Academic/Professional Career, 3) Sheridan’s Proposed Music Theatre Performance Bachelor of Applied Arts Degree and 4) Demographic Profile.

Student interest, like satisfaction, is not a true variable but rather a complex “construct” that cannot be measured as a one item indicator. A series of items (questions) are usually designed (and tested for reliability) to ensure that the full scope of the construct is captured. For the purpose of this survey the interest construct consists of four questions. Three of the four questions are retrospective in design, since the respondents were asked to reflect back to the time when they first applied to Sheridan’s Music Theatre-Performance Advanced Diploma program.

The first of these questions was designed to measure the respondents’ overall “interest” in the proposed program, based on the description provided. The second question was designed to capture how much more they would be willing to pay in tuition costs if the proposed program was available. Response categories ranged from $2,000.00 to more than $5,000.00, and included a “no amount” category. The third retrospective question was designed to capture the respondents’ interest more specifically, by having them choose between three program options: Music Theatre Performance as a three year Advanced Diploma or a four year Bachelor of Applied Arts Degree or an “other” program. The fourth and final question in the section of the survey was designed to gauge the likelihood that they would transfer credits from their advanced diploma to the proposed degree program. In this sense the respondents represent potential applicants to the proposed program.

An email with a link to one of the two surveys was sent out to 138 Sheridan Music Theatre-Performance alumni and all of the current students enrolled in the program (114). Although having a high response rate to a survey is important, particularly in ensuring more balanced responses, (and thus a more realistic picture of the true population), it is equally important to ensure that the survey is representative of that population. Having a high response rate from a sample that does not reflect the characteristics of the target population for example loses its value. Section four of the survey therefore includes questions designed to generate information on the respondents’ age, gender, first language spoken, and in the case of current student respondents, their GPA, semester level and their home postal code.

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Survey Results Of the 138 alumni that received the email, 43 or 31% responded. Of the 114 current students that were sent the email, 72 or 63% responded. Results from the demographic profile section of the survey reflect variation across the variables for age, gender, postal codes (geographic region of the respondents) and GPA scores, thus eliminating the potential for response bias.

The following results are based on the responses to questions #1 through #4 from Section Four of the survey.

Q. “Based on the description of this proposed program please indicate how interested you would have been in applying to it if it had been available when you first came to Sheridan”.

Figure 1: Interest in Sheridan’s Proposed BAA Music Theatre Performance (Current Students: N=67 and Sheridan Alumni: N=41).

Note: The data in this graph reflects raw numbers

(Source: Sheridan College Student Interest Survey, 2008)

Results from this question reveal that the majority of both current students and alumni of Sheridan’s Music Theatre-Performance Advanced Diploma program indicate that they would have been “very interested” in this program if it had been available to them when they applied to Sheridan. This translates into 73% of the current students and 78% of the alumni surveyed. It is impossible to predict whether they would have actually applied, but the statement of interest is clear and significant.

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Q. “Given your financial circumstances at the time when you applied to Sheridan, please tell us your best estimate of the most you would have been willing and able to pay in additional tuition for this degree program”.

Figure 2: Tuition Students/Alumni would pay if the respondents had been accepted into Sheridan’s Proposed Music Theatre Performance Bachelor of Applied Arts Degree (Alumni: N=41, Current Students: N=67)

Note: The data in this graph reflects raw numbers

(Source: Sheridan College Student Interest Survey, 2008)

Responses to this question reveal that the majority of both current students (48%) and alumni (44%) were willing to pay as much as $2,000 more for tuition. Fewer students and alumni were willing to pay more than $2,000. This is in keeping with Sheridan’s prior assessment of tuition fees.

BAA (Music Theatre Performance) 318 Sheridan College Institute of Technology and Advanced Learning

Q. “If you had the following programs to choose from when you first applied to Sheridan for Music Theatre, which would have been your first choice?”

Figure 3: First Choice of Program if there had been two program options at the time of application of application(Alumni: N=41, Current Students: N=61).

Note: The data in this graph reflects raw numbers

(Source: Sheridan College Student Interest Survey, 2008)

Results for this question reveal that the majority of current students and alumni would have selected the Music Theatre Applied Degree over the current Advanced Diploma program. This translates into 96% and 83% respectively.

BAA (Music Theatre Performance) 319 Sheridan College Institute of Technology and Advanced Learning

Q. “If there is an option for you to transfer your credits from your current studies to the proposed Bachelor of Applied Arts degree in Music Theatre Performance at Sheridan, what is the likelihood that you will do this when the program launches in September 2010?”

Figure 4: Likelihood of Transferring Credits from Sheridan’s Music Theatre Advanced Diploma to the Proposed BAA Music Theatre Performance Bachelor (Current Students: 67, Alumni: 41).

(Source: Sheridan College Student Interest Survey, 2008)

Results for this question reveal that the current Music Theatre-Performance students indicate a higher likelihood of transferring credits to the proposed degree program, than the alumni, with 41 (61%) saying that this would be “very likely” (compared to 14 or 34% of the alumni’s) intent to do so.

BAA (Music Theatre Performance) 320 Sheridan College Institute of Technology and Advanced Learning

Secondary Research

Visual/Performing Arts Disciplines as a Percentage of the Total Bachelor’s Degrees Conferred in the United States Table 11 profiles the percentage of total bachelor degrees conferred by discipline in the US. As of 2006 a total of 955,369 bachelor’s degrees were conferred. Of the thirty-three disciplines the visual and performing arts discipline was in the top ten, with close to five percent of all degrees in this discipline being conferred.

Table 11: Bachelor’s Degrees Conferred by Discipline in the US (2006)

Discipline % of Total Degrees Conferred Business 19% Social Sciences/History 11% Education 8% Psychology 6% Health 6% Communications 5.3% Biological Sciences 4.9% Visual and Performing Arts 4.7% Liberal Arts 3% Security/Protective Services 2% (Source: National Centre for Education Statistics (2006) Table 267)

Institutional Offerings, Enrolment and Degrees Awarded for Music Theatre in the United States The National Association of Schools of Theatre currently accredits seventy universities that offer degree programs in the performing arts. The largest share of the degree program majors are in acting and musical theatre (Table 12). As of 2007 the total enrolment for these programs was close to 7000 students. Of these 1,260 or 18% were in music theatre.

Table 12: Bachelor of Fine Arts Degree Program Enrolment and No. of Degrees Awarded by Program Major for Institutions Accredited by the National Association of Schools of Theatre

Program Major No. of Institutions Enrollment Fall Number of with Majors 2007 Degrees Awarded 2006-2007 Acting 41 2,535 445 Design 24 391 79 Directing 4 51 2 Musical Theatre 32 1,260 214 Performance 9 633 89 Playwriting 3 12 2 Production 7 131 19 TOTAL 6,977 1,293 (Source: Higher Education Arts Data Services, National Association of Schools of Theatre, 2008)

Note: Not all Program Majors were included in this table therefore the totals do not correspond to the numbers in the columns. There are 41 institutions that currently offer a degree major in music theatre, but the enrolment data specifically gauges 32.

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Applicant/Enrolment Trends for Music Theatre Degree Programs in the United States Table 13 profiles the applicant/enrolment data for the University of Michigan, Baldwin Wallace College and Cincinnati University in the USA. Although a representative number of the total institutions currently offering music theatre degrees were contacted, only three responded with data. As well, only the University of Michigan could provide data that speaks to trends over time. In summary:

• Between 2000 and 2008 the number of applicants to Michigan’s Music Theatre degree program increased by 164% (Note: I have asked the National Centre for Education Statistics what the total applicant numbers for all disciplines, to place this in a broader context.)

• The average applicant/registrant ratio for the University of Michigan is 16:1 (2000-2007) and the ratio for Baldwin Wallace College and Cincinnati University is a comparable 15:1 (2006 and 2007).

• Within the Ontario College system, the average applicant/enrollment ratio between 2000 and 2007 is 5:1. A program with a ratio of sixteen to one within this context would be considered a high interest program.

Table 13: Applicants and Enrolments (freshman) for the Music Theatre Program, University of Michigan, Baldwin Wallace College and Cincinnati University . 2000 2001 2002 2003 2004 2005 2006 2007 2008 A E A E A E A E A E A E A E A E A 1 227 22 248 18 261 20 335 29 333 25 408 21 437 17 553 19 600 2 NA NA NA NA NA NA NA NA NA NA NA NA 175 15 200 15 225 3 NA NA NA NA NA NA NA NA NA NA NA NA 220 12 230 14 250 (Source: Office of the Registrar, University of Michigan Report No. 120, Baldwin College and Cincinnati University)

1=University of Michigan (US) 2=Baldwin Wallace College (US) 3=Cincinnati University (US)

Applicant Trends for the Music Theatre Performance Advanced Diploma Program across Ontario Colleges • The overall trend reveals that between the year 2000 and 2008, the total number of applicants to this program increased by 99% from 307 in 2000, to 611 in 2008 (Table 14 and Figure 5).

• To effectively assess what this overall trend implies, Figure 6 provides a comparative analysis of the applicants to both the Music Theatre-Performance Advanced Diploma program and all advanced diploma programs in the Ontario College system.

• While Music Theatre experienced a 99% increase in the number of applicants (between 2000 and 2008), the number of applicants to all advanced diploma programs declined by 30% during this time. Although a more in depth analysis of applicants by program title would yield additional insights, it is beyond the scope of this report. What it does reveal is that when compared to advanced diploma programs in general, music theatre performance reflects high applicant interest.

• A decline in the number of applicants to Sheridan’s program between 2004 and 2008 could be attributed in part, to the introduction of the St. Clair and St. Lawrence programs.

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Table 14: Applicant/Enrolment Numbers for the Music Theatre Advanced Diploma Program in the Ontario College System (2000-2008)

2000 2001 2002 2003 2004 2005 2006 2007 2008 A E A E A E A E A E A E A E A E A 1 307 36 398 46 399 47 449 43 367 41 371 44 307 44 342 46 349 2 72 14 112 15 108 14 110 14 131 3 94 34 114 16 83 21 120 36 131 T 533 89 597 75 498 79 572 96 611 (Source: Ontario College Application Service, 2008)

1=Sheridan 2=St. Clair 3=St. Lawrence

Figure 5: Applicants to Music Theatre Performance Programs (Ontario College System)

(Source: Raw Data Extracted from the Ontario College Application Service, 2008)

Figure 6: Percentage Growth in the Number of Applicants to all Music Theatre Performance Advanced Diploma Programs vs. All Advanced Diploma Programs

(Source: Raw Data Extracted from the Ontario College Application Service, 2008)

BAA (Music Theatre Performance) 323 Sheridan College Institute of Technology and Advanced Learning

Number of Applicants/Admits/Waiting List/Declines for Sheridan’s Current Music Theatre Performance Advanced Diploma Program

• Despite the decline in the number of applicants to Sheridan’s program between 2004 and 2008, the number of students admitted to the program and the number of students on waiting lists has actually increased (Table 15).

Table 15: Applicants/Admits/Waiting List/Declines for Sheridan’s Music Theatre-Performance Advanced Diploma Program

Year No. of Applicants No. of Admits No. on waiting list No. of declines 2000-2001 307 38 2 7 2001-2002 398 48 16 6 2002-2003 399 48 33 1 2003-2004 449 47 56 7 2004-2005 367 42 45 7 2005-2006 371 45 69 12 2006-2007 307 45 50 12 2007-2008 342 46 58 8 Average: 367 45 41 7.5 (Source: Peterson, Greg (2008) 2007-2008 Music Theatre Performance Program, Sheridan College)

• Sheridan also continues to attract the largest share of applicants (Figure 7) to this program, which on average is 62% of the total number of applicants each year.

Figure 7: A Comparison of Total Number of Applicants to Music Theatre Performance Advanced Diploma Programs, by College

(Source: Raw Data Extracted from the Ontario College Application Service, 2008)

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Potential Applicants

o Graduates from High School.

o Transfer Students: Graduates from Sheridan’s Music Theatre-Performance Advanced Diploma program. Graduates from other Music Theatre Performance Advanced Diploma programs.

o Mature Students.

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Employment Opportunities

According to the proposed BAA in Music Theatre Performance program ad hoc Program Advisory Committee, graduates of this proposed program should be able to secure employment with high profile theatre organizations that include the National Arts Centre, Stratford Festival Company, Shaw Festival Company, Mirvish Productions and DanCap Productions.

Table 16 profiles the possible career trajectory for graduates of this proposed program. While many will pursue performing roles, their degree should broaden the scope of opportunities available to them upon entry into the field and/or later in their career.

Table 16: Career Trajectory for Theatre Performance/Production

Occupation Career Level Actor Entry Agent Senior Artistic Director Senior Assistant Director Entry to Intermediate Choreographer Intermediate to Senior Communications Director Senior Diction Coach Entry to Intermediate Director Intermediate to Senior Drama Advisor Entry to Intermediate General Manager Entry to Senior Playwright Entry to Senior Producer Entry to Senior Production Manager Entry to Senior (Source: Arts Alive, 2008)

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Possible Job Placements

BAA (Music Theatre Performance) 327 Sheridan College Institute of Technology and Advanced Learning

BAA (Music Theatre Performance) 328 Sheridan College Institute of Technology and Advanced Learning

BAA (Music Theatre Performance) 329 Sheridan College Institute of Technology and Advanced Learning

BAA (Music Theatre Performance) 330 Sheridan College Institute of Technology and Advanced Learning

BAA (Music Theatre Performance) 331 Sheridan College Institute of Technology and Advanced Learning

BAA (Music Theatre Performance) 332 Sheridan College Institute of Technology and Advanced Learning

Sample Job Postings

Source: Association of Performing Arts Presenters (www.artspresenters.org)

Date: February 2009

Job Title: Program Associate Organization: Association of Performing Arts Presenters Contact: [email protected] Job Location: Washington, DC Website: www.artspresenters.org Posting Date: 02/09/2009

Arts Presenters (APAP), the nation’s largest performing arts service organization, is seeking a program associate. APAP’s services to the performing arts field include grant-making and professional development (areas that this position works with on a regular basis), plus an annual members’ conference featuring the world’s largest performing arts marketplace and advocacy/public affairs efforts. We are looking for the right individual to join our team of capable, dedicated staff, who are committed to serving the field of performing arts presenting.

The successful candidate will have a bachelor’s degree with at least two years of solid administrative experience, including program and project coordination, grants administration, technical assistance and other responsibilities associated with non-profit organizations. Additionally, the successful candidate must be able to show the ability to: use problem-solving skills; manage and prioritize multiple projects; work independently and as a team member; have a solid knowledge of MS Office suite (knowledge of CRM/member databases a plus); and communicate effectively. Background in performing arts a definite advantage.

Salary will be appropriate and competitive with associate-level positions in the nonprofit sector; full benefits provided. Interested applicants should email cover letter outlining qualifications, resume, references and salary requirements to [email protected]. No phone calls please. Principals Only. APAP is an equal opportunity employer.

BAA (Music Theatre Performance) 333 Sheridan College Institute of Technology and Advanced Learning

Job Title: Managerial Assistant, Vocal Division Organization: IMG Artists Contact: Stephanie Reiss Job Location: New York, NY Website: www.imgartists.com Posting Date: 01/16/2009

Job Description: IMG Artists, the global leader in the arts management business, seeks a Managerial Assistant to work in its Vocal Division. The successful applicant will work with the Senior Vice President and Director of the Vocal Division, providing client/project representation support and executive assistant support as required. This person will work directly with a list of artists, servicing their performance engagements with responsibilities including, but not limited to, arranging logistics such as travel and housing, issuing and processing contracts, preparing itineraries, applying for work visas, maintaining press materials, and organizing financial information. In addition, the managerial assistant will be the SVP’S “gatekeeper”, in addition to performing some tasks such as expense reporting and travel arrangements.

Skills: Ideal candidates should be self-motivated, with a strong knowledge of classical music, and interested in arts management as a career. We are looking for bright, organized, detail-oriented individuals with excellent communication skills, who possess a positive attitude and the ability to take direction and follow through on multiple projects at once. Computer literacy and proficiency in Microsoft Office are a must, and the knowledge of foreign languages is a plus. A bachelor’s degree and some experience in the music industry are required.

BAA (Music Theatre Performance) 334 Sheridan College Institute of Technology and Advanced Learning

Job Title: Director of Development Organization: Annenberg Center / University of Pennsylvania Contact: Olivia Lindquist Job Location: Philadelphia, PA Website: http://www.annenbergcenter.org Posting Date: 01/12/2009

DUTIES: Reporting jointly to the Managing Director of the Annenberg Center and the Director of Development for Arts and Culture, the Director of Development is responsible for the overall supervision of fundraising activities for the Annenberg Center. Key responsibilities include: conceptualizing, planning and executing a program of fundraising in support of productions, programs, special events, and capital priorities; Board and Guild management, building an individual major gift program; incorporating Center priorities within the University’s Making History campaign; and maintaining and building the existing corporate, foundation and government funding streams.

The Director will be a member of the Center's leadership team and manage the Center's development staff which comprises the Manager of Grants & Publications and Assistant for Administration & Development. In addition, the Director will work with the Center's Board and Guild to promote their active involvement in the fundraising process and with the University's Central Development and Alumni Relations Department to maximally leverage University development and prospect resources.

Duties by Example: Develop and implement a comprehensive fundraising plan; analyze data on potential funding sources (individuals, government agencies, corporations, foundations); identify appropriate techniques for obtaining major gifts, grants, and sponsorships; organize and oversee the work of volunteers and support staff; evaluate an appeal to a particular donor in terms of size of gift, timing, and method of giving; solicit gifts; write, prepare and supervise grant and sponsorship proposals and oversee associated grant contracts and interim/final reports; coordinate fundraising efforts with leadership of the Annenberg Center Board and Guild; and establish effective procedures for sustaining donor interest and cultivating new gift and sponsorship opportunities; prepare monthly funding activities reports and revised financial projections; and represent the Annenberg Center at central Development meetings and Major University Presenters conferences.

Qualifications: Education: B.A. or B.S. degree

Training and Experience: Five or more years of fundraising experience with a focus on individual giving, preferably within an arts related institution or in a University setting.

BAA (Music Theatre Performance) 335 Sheridan College Institute of Technology and Advanced Learning

Job Title: Sangamon Auditorium Associate Director of Stage Services (Technical Director) Organization: University of Illinois-Springfield Contact: Robert Vaughn Job Location: Springfield, IL Website: www.sangamonauditorium.org Posting Date: 02/05/2009

Under the general supervision of the Director of Sangamon Auditorium the Associate Director of Stage Services (aka: Technical Director) supervises, schedules and coordinates the use of stages, stage systems and ancillary facilities, dressing rooms and related equipment for Sangamon Auditorium, the Studio Theatre, and other venues as required by the unit. Set design and building skills, along with collegial and collaborative skills are necessary. Qualifications/Minimum Education and Work Experience: Bachelors Degree (Theatre Arts preferred) and five years experience in supervising professional theatrical stage operations required; MFA preferred. Demonstrated knowledge of stagecraft safety procedures.

For more information about this position, please visit http://www.sangamonauditorium.org.

Please send letter of application, resume and contact information for three professional references to: Alice Bettis, Chair, Associate Director of Stage Services Search Committee, Sangamon Auditorium, One University Plaza, MS PAC 397, Springfield, Illinois 62703-5407 or email to [email protected]. Screening of applicants begins February 27, 2009 and will continue until the position is filled.

UIS is an affirmative action/equal opportunity employer with a strong institutional commitment to recruitment and retention of a diverse and inclusive campus community. Persons with disabilities, women, and minorities are encouraged to apply.

BAA (Music Theatre Performance) 336 Sheridan College Institute of Technology and Advanced Learning

Job Title: Ticketing Services Manager Organization: Austin Theatre Alliance Contact: [email protected] Job Location: Austin, TX Website: www.austintheatre.org Posting Date: 02/05/2009

Established performing arts center in Austin, Texas is seeking a skilled Ticket Services Manager. The successful candidate must exhibit strong management, communication and organizational expertise as well as display a self-motivated, positive, can-do attitude combined with exemplary customer service skills. He/She must be capable of hiring, training and maintaining a staff to exhibit the same qualities.

Ticket Services Manager oversees all single and subscription ticket sales and will develop and oversee an in-house telemarketing campaign. TSM will reconcile daily activity and oversee ticket sales staff as well as assist development and marketing departments with audience development. Qualifications include a Bachelor's degree, computer literacy (MS Word, Excel), 5 years box office leadership experience and knowledge of basic accounting procedures; knowledge of Paciolan-based ticketing system preferred. Subscription and experience managing an in-house phone room are a must. Must be able to work a flexible schedule including evenings and weekends. Competitive salary/benefits package. Please respond to: [email protected] No phone calls.

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Source: International Society for the Performing Arts Foundation

Date: February 2009

______

POSITION: Director of Development/Major Gifts - The Performing Arts Center, Purchase College, SUNY

Contact --Human Resources, Purchase College Posted on November 26, 2008 at 04:43:36:

The Performing Arts Center, Purchase College, SUNY seeks an experienced development professional to fill the position of Director of Development for Major Gifts.

The successful candidate will provide leadership in all aspects of fundraising for this dynamic cultural institution, the leading arts presenter in Southeastern New York and Southwestern Connecticut. In addition to the major gift area, responsibilities include oversight of annual fund campaigns, corporate sponsorship, special events and planned giving. The successful candidate will develop and manage a significant portfolio of major gift prospects, planned endowment and annual gifts in support of artistic initiatives, educational programs, and capital needs. The position works closely with Wiley Hausam, the new Executive Director, the Board of The Performing Arts Center Foundation and the College’s Office of External Affairs and Development.

Bachelor’s degree and a minimum of five years of senior development experience with specialization in major gift cultivation, solicitation and stewardship. Candidates should have superior communication and writing skills along with a high level of personal motivation and creativity. A proven track record in major gifts, capital and endowment campaigns, and annual fund development is essential, as well as knowledge of prospect research, experience in raising funds for the performing arts, and working knowledge of Tessitura software.

BAA (Music Theatre Performance) 338 Sheridan College Institute of Technology and Advanced Learning

Criteria for UPTA (Unified Professional Theatre Auditions) Interviews and Auditions (www.upta.org) (Go to “criteria”).

Pre-Professional Auditions

• Actor must receive UNDERGRADUATE THEATRE degree (BA,

BFA, etc.) by 9/1/09, AND

• Actor must be available for work year-round (in other words,

not going back to school in the Fall or Spring), AND

• Actor must have registration signed by the department head

of their theatre program.

Regular Auditions

• Actor must be available for work year-round (in other words,

not going back to school in the Fall or Spring), AND

• Actor must have a post-graduate THEATRE degree (MA, MFA,

PhD, etc.) by 9/1/09, OR

• Have registration signed by a registered 2008 or 2009 UPTA

theatre, OR

• Have registration signed by a current Theatre

Communications Group (TCG) member theatre, OR

• Have attended previous UPTAs, OR

• Be a member of Equity or EMC program.

Production Interviews

• Production personnel must be available for work year-round

(in other words, not going back to school in the Fall or Spring),

AND

BAA (Music Theatre Performance) 339 Sheridan College Institute of Technology and Advanced Learning

• Production personnel must have an undergraduate THEATRE

degree degree (BA, BFA, etc.) in their respective technical,

administrative, or artistic field by 9/1/09, OR

• Have registration signed by a registered 2008 or 2009 UPTA

theatre, OR

• Have registration signed by a Theatre Communications Group

(TCG) member theatre, OR

• Have attended previous UPTAs, OR

• Be an Equity stage manager.

Criteria for UPTA Registered Companies

Registered Companies must be hiring for:

• Paid year-round employment, OR

• Paid job-in employment, OR

• Paid internships

BAA (Music Theatre Performance) 340 Sheridan College Institute of Technology and Advanced Learning

Comparable Programs

At present there are more than 30 universities across the United States that have a bachelor’s degree program in Music Theatre. Of these, 29 are accredited by the National Schools of Theatre and are profiled in Table 17. The Boston Conservatory of Music and Carnegie Mellon also offer degree programs in music theatre but are accredited by the National Association of Schools of Music.

Table 17: Universities in the USA that offer a Music/Musical Theatre Bachelor’s Degree program and are accredited by the National Schools of Theatre or the National Association of Schools of Music

Institution Program Title and Credential Date Implemented Auburn University Bachelor of Fine Arts Musical Theatre 1987 Ball State University Bachelor of Arts Musical Theatre 1996 Boston Conservatory of Music Bachelor of Fine Arts in Musical Theatre 1951 Brigham Young University Bachelor of Fine Arts Music Dance Theatre 1982 Carnegie Mellon University Bachelor of Fine Arts Music Theatre 1951 California State University, Fullerton Bachelor of Fine Arts Musical Theatre 1974 California State University, San Bachelor of Arts in Music Theatre 2004 Bernardino Christopher Newport University Bachelor of Arts in Music Theatre 2008 Florida State University Bachelor of Fine Arts Musical Theatre 1982 Howard University Bachelor of Fine Arts Musical Theatre 1987 Indiana University Bachelor of Fine Arts Musical Theatre 1989 Indiana University of Pennsylvania Bachelor of Arts Musical Theatre 1995 James Madison University Bachelor of Fine Arts Musical Theatre 1984 Kennesaw State University Bachelor of Arts Music Theatre 2001 Kent State University Bachelor of Fine Arts Musical Theatre 2003 Missouri State University Bachelor of Fine Arts Musical Theatre 1998 Montclair State University Bachelor of Fine Arts Musical Theatre 1986 Northwestern State University Bachelor of Science Musical Theatre Performance 1999 Oakland University Bachelor of Fine Arts Musical Theatre 2001 Pennsylvania State University Bachelor of Fine Arts Musical Theatre 1990 San Diego State University Master of Fine Arts Musical Theatre 1975 State University of New York, Fredonia Bachelor of Fine Arts in Musical Theatre 1992 State University of New York, Oswego Bachelor of Arts in Music Theatre 2005 University of Alabama Bachelor of Fine Arts Musical Theatre 1986 University of Arizona Bachelor of Fine Arts Musical Theatre 1990 University of Cincinnati Bachelor of Fine Arts Musical Theatre 1992 University of Florida Bachelor of Fine Arts Musical Theatre 1987 University of Mississippi Bachelor of Fine Arts Musical Theatre 2005 University of Wisconsin Bachelor of Fine Arts Musical Theatre 1989 Valdosta State University Bachelor of Fine Arts 1999 Western Michigan University Bachelor of Fine Arts Musical Theatre 1990 (Source: National Association of Schools of Theatre and National Association of Schools of Music, 2008)

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References

AEA Consulting (2008) Anticipating Change in the Major Performing Arts, Australia Council for the Arts

Alison, Damast (2007) MBA’s Acting Out: Theatre Classes are a Growing Trend in Business Schools, Business Week Online

The American Assembly (2004) The Creative Campus: The Training, Sustaining and Presenting of the Performing Arts in Higher Education, Arden House, Harriman, Hew York, The American Assembly, Columbia New York

Beckman, Gary D. (2007) Adventuring Arts Entrepreneurship Curricula in Higher Education: An Examination of Present Efforts, Obstacles and Best Practices, University of South Carolina

The Broadway League (2007) Broadway Statistics (www.broadwayleague.com)

The Conference Board of Canada (August 2008) Valuing Culture: Measuring and Understanding Canada’s Creative Economy – Economic Performance and Trends, Conference Board of Canada in collaboration with Canadian Heritage

Cultural Human Resource Council (2008) Presenters – Training Gaps Analysis Final Report

Department for Culture, Media and Sport – Creative Industries Division (2008) Developing Entrepreneurship for the Creative Industries: The Role of Higher and Further Education

Department of Economic Development (2007) Toronto CMA Industry Profiles, City of Toronto

First Research Inc.(2006), The North American Performing Arts Industry

Kindelan, Nancy (2004) Theatre Studies as a Practical Liberal Education, Journal of Liberal Education, Fall 2004

Ministry of Training, Colleges and Universities (2007) Employment Profile: A Summary of the Employment Experience of 2005-2006 College Graduates Six Months After Graduation

National Endowment for the Arts (2006) Artists in the Workforce 1990-2005

National Performing Arts Convention (June 2008) www.performingartsconvention.org

Peterson, Greg (2007) 2007-2008 Music Theatre Performance Program: Annual Report, Sheridan College Institute of Technology and Advanced Learning

President’s Report (2006) The Creative and Performing Arts at Princeton University, www.princeton.edu/pr/reports/arts

Simon, Cecilia Capuzzi (2008) Tryouts for the Rest of Your Life, New York Times (www.nytimes.com)

United Nations (2008) Creative Economy Report: The Challenges of Assessing the Creative Economy – Towards Informed Policy Making, United Nations

BAA (Music Theatre Performance) 342 Sheridan College Institute of Technology and Advanced Learning

US Bureau of Labour Statistics (2007) Monthly Labor Review, November 2007

Wareham, Terry (2004) Creative Graduates: Enhancing Teaching-Research Links in the Creative Arts, PALANTINE Subject Centre for Dance, Drama and Music

WolfBrown (2007) Assessing the Intrinsic Impacts of a Live Performance, Hill Strategies Research Inc.

Zannie Giraud Voss and Glenn B. Voss, with Christopher Shuff and Ilana B. Rose (2006) Theatre Facts Report: 2006: A Report on Practices and Performance in the American Not-for-profit Theatre Based on the Annual TCG Fiscal Survey

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15. Non-Duplication of Programs

15.1 Similar/Related College Programs

Note: The college has on file and available upon request the research undertaken to complete Appendix 15.1

1. Institution: St Clair College Program Name & Credential: Advanced Diploma in Music Theatre Performance Program Description: For those who combine a passion for Music Theatre with singing, acting and dancing abilities, this intensive performance training program is ideal. Graduates will have trained with professional instructors in acting, both for stage and for film. Vocal work includes technique, interpretation, with all solo work supported by one on one tutorials. Musicianship will be stressed through key-board instruction, sight-singing instruction, choral work and elementary composition. Studio work in dance for musical theatre includes ballet, jazz, tap and modern styles. Skills will be integrated through performance.

This program will appeal to students who have a love of performance, are able to demonstrate vocal potential, are ambitious and possess a strong work ethic. Students will be required to work with professional instructors in a highly disciplined environment.

Analysis of Similarities and Differences: This program is roughly similar to Sheridan’s Advanced Diploma program.

It requires 176 credits to graduate.

One credit is generally considered the equivalent of one hour. This would include all production time and General Education electives.

For Sheridan’s proposed BAA program: 120 credits/206 hours with one declared specialization; 127 credits/210 hours with a school approved double specialization. This also includes all production time and breadth electives (equivalent to liberal arts electives).

BAA (Music Theatre Performance) 344 Sheridan College Institute of Technology and Advanced Learning

2. Institution: St Lawrence College Program Name & Credential: Advanced Diploma in Music Theatre-Performance Program Description: This program is quickly gaining recognition as a primary trainer of triple-threat professional music theatre performers. Performing is an important part of your training. We give students many opportunities to perform. A first year show called New Faces introduces our students to the community in a song and dance review. Senior students perform in three main stage productions. Past shows include A Chorus Line, Beauty and the Beast, Chicago and Cats. The program most recently produced Cabaret and the Rocky Horror Show.

The program has a heavy dance component and is well balanced with courses in music and drama taught by professionals from all over Ontario. Students should expect to be in classes, one-on-one lessons, dance mentor classes or rehearsals about 43 hours a week. During the third year of the program specialty courses such as clowning, stage combat, film and television acting, voice over and acting/ singing in the recording studio are taken.

Analysis of Similarities and Differences: Program requires 182 hours to complete. This includes all time on productions.

For Sheridan’s proposed BAA program: 120 credits/206 hours with one declared specialization; 127 credits/210 hours with a school approved double specialization. This also includes all production time and breadth electives (equivalent to liberal arts electives).

3. Institution: George Brown College Program Name & Credential: Advanced Diploma in Performing Arts/Theatre Program Description: The Theatre School offers vigorously concentrated, career-oriented training in the fundamental skills,, practicalities, traditions and professionalism needed to work as a professional actor in theatre, television and film. The conservatory, hands-on training is an integrated curriculum in which all subjects are related directly to the acting profession. Five skills courses from the core of the classical approach to training the actor: voice, speech, movement, music and dance. The acting curriculum features improvisation, contact improvisation, storytelling, poetry, text analysis, contemporary and classical scene studies, neutral mask, character mask, clowning, commedia dell’arte, television and film technique and audition preparation. Further classes include: stage combat, dialectology, theatre history, the business of acting and the Alexander technique.

Analysis of Similarities and Differences: This program is generally aimed at training actors for media and theatre. In support of that, students train in voice, movement and some music courses, in addition to acting and production courses. However, this program offers general training in theatre and not a “triple-threat” training for music theatre. The program requires 135 credits to complete which represents 158 student contact hours.

For Sheridan’s proposed BAA program: 120 credits/206 hours with one declared specialization; 127 credits/210 hours with a school approved double specialization. This also includes all production time and breadth electives (equivalent to liberal arts electives).

BAA (Music Theatre Performance) 345 Sheridan College Institute of Technology and Advanced Learning

4. Institution: Humber College Program Name & Credential: Advanced Diploma in Theatre Performance Program Description: The Theatre Performance program offers a physically based training approach to classical and contemporary theatre, with an emphasis on preparation for the creation of original work. Individual creative voice is encouraged through training in devised theatre techniques in every year of the program.

Students are taught by internationally and nationally recognized actors and actors-creators. The foundation acting curriculum is classical with a focus on contemporary acting techniques, Shakespeare, neutral mask, clown and bouffon, movement and dance, voice, speech and singing. It also includes on- camera performance; the business of acting and audition; stage combat; playwriting; and theatre history. Students work on and create original material in every year of the program. In the third year, the creative work culminates in a performance season guided by professional directors, designers and stage managers.

Analysis of Similarities and Differences: This program is generally aimed at training actors for media and theatre. In support of that, students train in voice, movement and acting courses. However, this program offers general training for acting in theatre, and not a “triple-threat” training for music theatre.

The program requires 133 credits to complete, which represents 133 student contact hours.

For Sheridan’s proposed BAA program: 120 credits/206 hours with one declared specialization; 127 credits/210 hours with a school approved double specialization. This also includes all production time and breadth electives (equivalent to liberal arts electives).

BAA (Music Theatre Performance) 346 Sheridan College Institute of Technology and Advanced Learning

5. Institution: Cambrian College Program Name & Credential: Advanced Diploma in Music Performance Program Description: The program of study in Music Performance is adapted to the needs of the aspiring musician. A solid understanding of music theory and history is the basis from which to develop unique skills and styles applied to the student’s specialty. Whether they perform, compose, teach or become employed in the music industry, all musicians require an education that strengthens their perceptual, imaginative and expressive powers as well as developing specific skills.

Within the Music Performance program each student has the opportunity to study a major and a minor option in the following areas: brass, classical guitar, piano, percussion, strings, voice or woodwinds. One year of piano minor is required of all students having no background in piano. Those with Grade 2 Royal Conservatory level in piano can elect one of the following minor options: brass, classical guitar, strings, piano, organ, voice, woodwind or percussion. All students are involved in music ensembles, weekly performance classes, choirs, orchestras, bands and jazz groups.

The Music Performance program also features specially designed music theory and music history courses that enable students to be accommodated at their particular level of expertise. Courses in language, teaching methods, and business skills equip the student for both the teaching and commerce ends of the music profession.

Concerts presented throughout the school year showcase Cambrian’s music students and faculty. In addition, the Cambrian Concert Series features distinguished guest artists who host workshops, perform recitals for students and the public in the campus theatre and enhance the students’ educational experience.

Analysis of Similarities and Differences: Since this program is a Music Performance program and not a Theatre Performance program, it only has tangential similarities to Sheridan’s proposed BAA in Music Theatre Performance. As with Sheridan’s proposed program, Cambrian’s program trains students in music theory and vocal performance. However, the Cambrian program includes instrumental performance as well, where Sheridan’s proposed program does not.

Total credits required to graduate: 143

For Sheridan’s proposed BAA program: 120 credits/206 hours with one declared specialization; 127 credits/210 hours with a school approved double specialization. This also includes all production time and breadth electives (equivalent to liberal arts electives).

BAA (Music Theatre Performance) 347 Sheridan College Institute of Technology and Advanced Learning

15.2 Similar/Related University Programs

Note: The college has on file and available upon request the research undertaken to complete Appendix 15.2. The college found that there are not more than (5) similar or related existing programs offered at Ontario universities that could have been listed.”

1. Institution: Carnegie Mellon University Program Name & Credential: Bachelor of Fine Art in Musical Theatre Program Description: The School of Drama offers the music theatre option for students with special skills in singing, dancing and acting. The program’s rigorous curriculum includes training in the disciplines of acting, vocal music, voice and speech, movement and dance and deals with such forms as musical comedy, cabaret theatre, experimental musical theatre, and the epic musical.

Students in the Music Theatre option share the same curriculum and training philosophy as those in the acting option. In addition they take courses particular to the demands of music theatre. These include individual singing lessons, training in a variety of dance techniques, and musical theatre styles and skills.

At the end of the senior year, students are introduced to the profession through showcase performances in New York City and Los Angeles. This privilege is granted only to students who are in good standing, and who have obtained the necessary credits for graduation.

The School of Drama considers this option to be the equivalent of a double major. Minimal non- departmental electives are required.

Analysis of Similarities and Differences: • CMU uses the term “unit” as the equivalent of one hour of study. • Students completing curriculum in CMU’s Music Theatre program are considered to have fulfilled a double major. • Sheridan’s proposed BAA program requires students to identify whether they want to specialize in one or two streams of Acting, Dance, Voice or Commercial Performance. • To complete the CMU program, students must fulfill 467 units. • This includes all production time, and liberal arts electives.

For Sheridan’s proposed BAA program: • 120 credits/206 hours with one declared specialization. • 127 credits/210 hours with a school approved double specialization. • This also includes all production time and breadth electives (equivalent to liberal arts electives).

BAA (Music Theatre Performance) 348 Sheridan College Institute of Technology and Advanced Learning

2. Institution: University of Michigan Program Name & Credential: Bachelor of Fine Art in Musical Theatre Program Description: This comprehensive training program, now approaching its 25th anniversary year, has a national reputation among professional agents, casting directors, and producers as being among the best of its kind. A unique situation exists at Michigan, since theatre, dance and music coexist as departments within the School of Music, Theatre & Dance. Students in musical theatre, as part of their curriculum, study with faculty members in the departments of Theatre and Drama, Voice, Dance, and Musical Theatre. The University of Michigan is one of a select number of schools which promote this degree of collaboration among areas within the performing arts.

As part of the degree, students have numerous opportunities to learn about career strategies, audition techniques, and a wide range of performance skills. Studying at Michigan also presents opportunities to choose among hundreds of classes outside the performing arts. In fact, Michigan offers a rare dual degree program in which you can work on the Bachelor of Fine Arts degree and a Bachelor of Arts or Bachelor of Science degree simultaneously. Analysis of Similarities and Differences: • U of M requires a minimum total of 124 credits to complete the BFA, which translates to a minimum of 144-200 hours. • This excludes production time, but includes liberal arts electives.

For Sheridan’s proposed BAA program: • 120 credits/206 hours with one declared specialization. • 127 credits/210 hours with a school approved double specialization. • This also includes all production time and breadth electives (equivalent to liberal arts electives).

BAA (Music Theatre Performance) 349 Sheridan College Institute of Technology and Advanced Learning

3. Institution: Boston Conservatory of Music Program Name & Credential: Bachelor of Fine Art in Music Theatre Program Description: The professional actor needs to be multi-talented with keen interpretive skills and strong musical and dance abilities. Known across the country as one of the top musical theater training grounds, the theater program at The Boston Conservatory delivers programming designed to give aspiring artists an important edge in their careers.

The theater division’s highly regarded curriculum uniquely combines acting, voice and dance to produce “triple threat” graduates who work on Broadway, Off-Broadway and in television and film. Seniors may choose an emphasis in Directing, Music, Performance, Dance or Acting.

Analysis of Similarities and Differences: • Total credits required: 126 • This is the equivalent of 196 hours. This excludes production time (including liberal arts electives)

For Sheridan’s proposed BAA program: 120 credits/206 hours with one declared specialization. 127 credits/210 hours with a school approved double specialization. This also includes all production time and breadth electives (equivalent to liberal arts electives).

BAA (Music Theatre Performance) 350 Sheridan College Institute of Technology and Advanced Learning

4. Institution: York University Program Name & Credential: BFA honours degree in Theatre (Students who concentrate in studio, performance or production work within their major discipline will graduate with a BFA Honours degree. Honours BFA degrees are available in Dance, Film & Video, Music, Theatre and Visual Arts.) Program Description: One of the largest and most comprehensive programs of its kind in Canada, York's Theatre department combines in-depth academic studies and rigorous practical training in all aspects of theatre. The program deals with the creative processes and technical skills involved in performance, directing and production, lighting, costume and set design. Integrated with these are courses in dramatic literature, theatre history and theory, theatre criticism and playwriting.

Today we use the word theatre in many ways. Theatre is a social art form, a powerful means of sharing ideas with people. It is one of the oldest and most popular forms of entertainment, in which actors perform for a live audience on an area called a stage. We use theatre to describe the building where plays are put on; we also use the term to indicate where films are shown, as in “movie theatre.”

Theatre also refers to the company of actors (and owners, managers, and technicians) who perform in the theatre space and to the body of plays that such a company produces. We also use the word theatre to summon up an occupation that is the professional activity of men and women all over the world. Theatre is a combination of people, ideas, and the works of art that result from their collaboration. Plenty of performance and production opportunities are found with our in-house company, “Theatre @ York”.

Analysis of Similarities and Differences: • Total credits required: 141 – the equivalent of 186 hours. • This excludes production time (including free electives).

For Sheridan’s proposed BAA program: • 120 credits/206 hours with one declared specialization. • 127 credits/210 hours with a school approved double specialization. • This also includes all production time and breadth electives (equivalent to liberal arts electives).

BAA (Music Theatre Performance) 351 Sheridan College Institute of Technology and Advanced Learning

5. Institution: University of Toronto at Mississauga/Sheridan College Joint Program Program Name & Credential: Specialist Honours BA / Theatre and Drama Studies Program Description: The study of Theatre, Drama and Performance examines the relationship between the artists who create written texts intended for production, the artists who turn scripts into performances, and the audiences who experience the resulting theatrical event. It is the study of the event itself, and the acts of creation involved in producing that event. Understanding Theatre, Drama and Performance involves the study of plays, actors, theatres, designers, and audiences from the classical Greek stage to the most modern experimental performance.

Analysis of Similarities and Differences: • 20 credits required to complete the 4 year-Specialist Honours BA • 12 credits required toward the program – 8 credits of liberal arts electives • Of the 12 program credits-6 credits are delivered at UTM, 6 credits at Sheridan • One credit at Sheridan is generally considered to be the equivalent of one hour • One credit at UTM is generally considered to be 6 hrs • The 14 credits required at UTM are the equivalent of 48 hours (includes liberal arts electives) • The 6 credits required at Sheridan are the equivalent of 144 hours (includes all production time)

For Sheridan’s proposed BAA program: • 120 credits/206 hours with one declared specialization. • 127 credits/210 hours with a school approved double specialization. • This also includes all production time and breadth electives (equivalent to liberal arts electives).

BAA (Music Theatre Performance) 352