College of Art and Design

College of Performing Arts UArts College of Media and Communication

The University of the Arts 320 South Broad Street Undergraduate and Philadelphia, PA 19102 Graduate Course Catalog 1•800•616•ARTS 2001 • 2002 www.uarts.edu Nondiscrimination Policy The University of the Arts is committed to maintaining an environment in which students, faculty and staff may pursue academic, artistic and professional excellence. This environment can be secured only through mutual respect and The University of the Arts is the nation’s only university unconstrained academic and professional interchange among devoted exclusively to education and professional training in faculty, staff and students. Under the Civil Rights Act of 1964, Title IX of the Educational Amendments of 1972, other state design, visual, media, and performing arts. Located in central and federal laws, and The University of the Arts policy, the Philadelphia, The University of the Arts was founded in 1987 faculty, staff, and students of the University are entitled to through the consolidation of two century-old institutions: the participate in and obtain the benefits of University programs, activities and employment without being discriminated Philadelphia College of Art and the Philadelphia College of against on the basis of their race, creed, color, ethnic Performing Arts. A third academic unit, the College of Media background, national origin, sex, gender, age, religion, and Communication, was established in 1996. Offering disability or sexual orientation. The University also strictly prohibits any form of retaliation undergraduate and graduate degrees in communication, crafts, or reprisal against anyone reporting allegations of harassment dance, graphic design, industrial and museum exhibition or discrimination, or cooperating in an investigation of such a design, fine arts, illustration, media arts, multimedia, museum report. Such retaliation shall be considered a serious violation of the University’s nondiscrimination policy and shall be communication, music, theater, writing, and museum and arts punishable by discipline up to and including termination, education, the University prepares its students to assume over regardless of whether the charge of discrimination is substan- 150 careers in traditional and emerging arts and related fields. tiated. However, if an employee, student or faculty member is found to have intentionally lied about a claim of discrimi- nation, or brought a claim in bad faith, knowing that the The University of the Arts allegation of discrimination is false, then that employee, 320 South Broad Street student or faculty member may be subject to discipline or expulsion. Philadelphia, PA 19102 Examples of prohibited retaliation include: threatening reprisals against the person who complained or cooperated in 215-717-6030 an investigation; unfairly changing a person’s evaluations, assignments, grades or working conditions; or otherwise continuing any harassment or discrimination against such 1-800-616-ARTS person. The University of the Arts gives equal consideration to all fax 215-717-6045 applicants for admission and financial aid, and conducts all educational programs, activities, and employment practices without regard to race, color, sex, religion, national or ethnic http://www.uarts.edu origin, or disability. Direct inquiries to the Office of the Dean of Students/ADA Coordinator, The University of the Arts, 1500 Pine Street, Philadelphia, PA 19102; 215-875-2229. CEEB code 2664 This catalog was updated as of July, 2001. The University of the Arts reserves the right to revise any information herein at Title IV code 003350 its discretion and without prior notice. Trademarked names appear throughout this catalog. Rather than list the names and entities that own the trademarks or insert a trademark symbol with each mention of the trademarked name, the publisher states that it is using the names only for editorial purposes and to the benefit of the trademark owner with no intention of infringing upon that trademark.

The University of the Arts® is registered with the US Patent and Trademark Office, Reg. No. 2,341,258

2 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 The University of the Arts Contents

4 Academic Calendar 2001-2002

The University of the Arts College of Performing Arts General Information 78 College of Performing Arts 6 Mission Statement 82 The School of Dance 186 Admission 6 History of The University of the Arts 89 The School of Music 192 Tuition and Expenses 6 Accreditation The School of Music Graduate Programs 195 Financial Aid 7 College of Art and Design 99 Music Education 206 Student Services 7 College of Performing Arts 100 Jazz Studies 208 General Information 7 College of Media and Communication 102 The School of Theater Arts 209 Code of Conduct 7 Degree Programs 210 Student Code 8 University Libraries College of Media and Communication 216 University Guidelines for 9 Academic Policies and Procedures Responsible Computing 13 Grading Policies 110 College of Media and Communication 217 Academic Computing 112 Communication 217 Continuing Education Programs Undergraduate Degree Requirements 114 Multimedia 218 Administration 116 Writing for Film and Television 219 Board of Trustees 18 Undergraduate Degree Requirements 221 Faculty Index 19 Division of Liberal Arts Course Descriptions 225 Index 229 Campus Map College of Art and Design 118 Art Education 120 Art Therapy 26 College of Art and Design 120 Communication 28 Undergraduate Programs 123 Crafts 32 Foundation Program 127 Dance 34 Crafts 132 Electronic Media 37 Fine Arts 132 Fine Arts 43 Graphic Design 134 Foundation 45 Illustration 135 Graphic Design 47 Industrial Design 138 Graduate Seminars 49 Media Arts 138 Liberal Arts 55 Art Education 151 Industrial Design 57 Art Therapy 154 Illustration 155 Master of Fine Arts in College of Art and Design Ceramics, Painting, or Sculpture Graduate Programs 157 Multimedia 158 Museum Studies 58 College of Art and Design 161 Music Graduate Programs 168 Media Arts 60 Post-Baccalaureate Options 168 Photography/Film/Video/Animation 61 Art Education 171 Printmaking/ Book Arts 63 Visual Arts 174 Painting/Drawing 65 Book Arts/ Printmaking 176 Sculpture 67 Ceramics, Painting, or Sculpture 177 Theater Arts 69 Industrial Design 181 UArts Course 71 Museum Studies 182 Writing for Film and Television 71 Museum Communication 73 Museum Education 75 Museum Exhibition Planning and Design The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 3 Academic Calendar 2001-2002 Fall 2001 November Thursday, November 1 August Deadline – Spring 2002 application for Readmission Saturday, August 25 English Placement Exams Monday, November 5 thru Friday, November 16 Student residences open/move-in Advising for Spring 2002 registration

Sunday, August 26 thru Tuesday, August 28 Monday, November 12 thru Friday, November 16 New Student Orientation Registration for Spring 2002 Graduation Petitions for Dec 2001, May 2002 and Aug 2002 due to Registrar Monday, August 27 Advising/registration for new transfers, graduate, and readmitted students, Thursday, November 22 thru Sunday, November 25 10:00 am – 3:00pm Thanksgiving Vacation Residence halls remain open Tuesday, August 28 Advising/registration for new freshmen, December 9:00 am – 3:00 pm Friday, December 7 Fall 2001 classes end Wednesday, August 29 Fall semester classes begin Monday, December 10 thru Friday, December 14 Examinations, critiques, and juries Wednesday, August 29 & Thursday, August 30 Late registration Thursday, December 13 Continuing Education fall session ends Wednesday, August 29 thru Tuesday, September 11 Friday, December 14 Drop/Add period Grades due to Registrar by 12:00 noon Documents for students graduating December 2001 due to Registrar September Monday, September 3 Saturday, December 15 Labor Day Holiday Residence Halls close at 12:00 noon Saturday School ends Wednesday, September 12 Follow Monday class schedule Spring 2002 Friday, September 14 January Drop/Add period for CPA ensembles ends Tuesday, January 1 New Years Day Holiday Friday, September 21 Deans and Directors submit Spring 2002 courses Monday, January 7 CAD Academic Review Monday, September 24 Continuing Studies fall session begins Tuesday, January 8 CPA Academic Review October CMAC Academic Review Saturday, October 6 Saturday School begins Thursday, January 17 New Student registration Friday, October 12 Residence halls open, 9am Last day for removal of Spring 2001 Incomplete (I) grades Thursday, January 17 & Friday, January 18 Friday, October 19 New Student Orientation Last day to withdraw with a “W” grade Monday, January 21 Saturday, October 27 Martin Luther King Holiday Open House Tuesday, January 22 Spring semester classes begin

Tuesday, January 22 & Wednesday, January 23 Late Registration

4 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Tuesday, January 22 thru Friday, February 1 Wednesday, May 22 Drop/Add period - for all classes Awards Ceremony

Monday, January 28 Thursday, May 23 Continuing Education spring session begins Commencement ceremony February Saturday, February 9 Summer 2002 Saturday School begins May Monday, May 20 Friday, February 22 Summer session I begins Deans/Directors submit fall 2002 courses to Registrar Continuing Education summer session I begins

March Monday, May 27 Friday, March 1 Memorial Day Holiday Last day for removal of Fall 2001 Incomplete (I) grades Thursday, May 30 Friday, March 8 CAD Academic Review Last day to withdraw with a “W” grade CMAC Academic Review Deadline for returning, former students to petition for May 2002 graduation Friday, May 31 CPA Academic Review Monday, March 11 thru Sunday, March 17 Spring Break/Residence halls remain open June Saturday, June 22 Thursday, March 14 CAD Summer MFA program begins 2002/2003 Financial Aid Applications due Friday, June 28 Monday, March 18 Summer session I ends Spring 2002 classes resume Continuing Education summer session I ends Monday, March 18 thru Friday, March 22 July CAD Freshmen Major Orientation Week Monday, July 1 (Freshman Major Selections due to Registrar Fri 3/22) Summer Session II begins

April Thursday, July 4 Saturday, April 6 Independence Day Holiday Open House Monday, July 8 Monday, April 8 thru Friday, April 19 Summer World of Dance begins Advising for fall 2002 registration Continuing Education Summer Session II begins Summer Pre-College begins Monday, April 15 thru Friday, April 19 Registration for fall 2002 Friday, July 12 Summer Session I grades due to Registrar Saturday, April 20 Saturday School ends August Friday, August 2 Thursday, April 25 Summer World of Dance ends Continuing Education spring session ends Pre-College ends

May Saturday August 3 Friday, May 3 Pre-College students move out Spring 2002 classes end Residence Halls close at 5:00 pm

Monday, May 6 and Tuesday, May 7 Friday, August 9 Registration for summer sessions I & II Summer Session II Ends

Monday, May 6 thru Friday, May 10 Friday, August 16 Examinations CAD Summer MFA program ends Continuing Education Summer Session II ends Monday, May 13 thru Friday, May 17 Summer Session II grades due to Registrar Studios, critiques and juries

Friday, May 17 Final grades due to Registrar by 12:00 noon Saturday, May 18 Student residences close at 12:00 noon

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 5 Mission Statement History of The University of the Arts The University of the Arts is devoted exclusively to education and training in the arts. Within this community of artists the process of learning engages, refines, and articulates all of our creative The University of the Arts is the largest comprehensive educational capabilities. Our institution was among the first to contribute to the institution of its kind in the nation, preparing students for profes- formation of an American tradition in arts education. We continue to sional careers in design, visual, media, and performing arts and develop interpreters and innovators who influence our dynamic emerging creative fields. culture. The University of the Arts has evolved from two century-old institutions: the Philadelphia College of Art and the Philadelphia The University’s Mission: College of Performing Arts. The Philadelphia College of Art was formed in 1876 along with the To educate and professionally train artists in the visual Philadelphia Museum of Art. Initially known as the Pennsylvania and performing arts, in design, in media, and in writing; Museum and School of Industrial Art, the institution was established in response to the interest in art and the Centennial Art Exposition. In To grant graduate and undergraduate degrees, diplomas, 1948, the school became known as the Philadelphia Museum School and certificates in the arts; of Art, reflecting the expanded programs that trained artists in many other areas, including the fine arts. The school received accreditation To provide educational programs centered in the arts to in 1959, and in 1964 separated from the Museum to become the multiple populations; Philadelphia College of Art. Today, the College of Art and Design of The University of the Arts offers curricula in crafts, design, fine arts, To encourage relationships among the arts; media arts, museum communication, museum education, and art education. To promote high standards in creativity and scholarship; The performing arts programs of The University of the Arts date from 1870, when three graduates of the Conservatory of Leipzig To prepare artists who will contribute responsibly opened one of the first European-style conservatories of music in to our culture; America: the Philadelphia Musical Academy. The Philadelphia Musical Academy became an independent college of music in 1950, To challenge students to think critically, joining knowledge granting a Bachelor of Music degree after a four-year course of study, and skill to their individual creative vision; one of only eight such music colleges in the nation at the time. While still offering only a music program, the school changed its name to To anticipate and to cultivate new art forms as they emerge. the Philadelphia College of Performing Arts in 1976, the first such college in Pennsylvania. One year later the former Philadelphia The University of the Arts offers instruction across a broad spectrum Dance Academy became part of the Philadelphia College of of artistic disciplines. We serve the community in which we reside, the Performing Arts, and in 1983 the School of Theater Arts was created, professions for which we prepare new members, and ultimately the thus achieving the college’s ideal program of studies: dance, music, society whose culture we both sustain and advance. and theater arts. The University’s goal is to direct each student’s quest for creative In 1983, the Philadelphia College of Art Philadelphia College of self-expression towards a productive role in society. Our programs Performing Arts joined to become the Philadelphia Colleges of the develop the student’s talent, aesthetic sensibility, conceptual and Arts, and in 1987, The University of the Arts was inaugurated. In the perceptual acumen, cultural awareness, and professional expertise. fall of 1996, the University created a new academic unit, the College of The curricula integrate specific knowledge and skills needed for Media and Communication, which emphasizes the integration of art, technical mastery of the various arts disciplines with a significant technology, and communication. The first two BFA degree programs examination of conceptual and humanistic studies. offered by this new college are Writing for Film and Television, and To this end, the University must gather and retain a distinguished Multimedia. A BS degree program in Communication began in teaching faculty offering a breadth of professional expertise. Their September 1999. scholarly work and artistic exploration have national and interna- tional consequences for the institution. Our educational programs Accreditation seek to stimulate and influence not only our students but the very disciplines that we teach. The University of the Arts is authorized by the Commonwealth of Pennsylvania to grant degrees in the visual, performing, and related arts and is accredited by the Middle States Association of Colleges and Schools (Commission on Higher Education, Middle States Association of Colleges and Schools, 3624 Market Street, Philadelphia, PA 19104; telephone: 215-662-5606). The College of Art and Design is also an accredited institutional member of the National Association of the Schools of Art and Design, and the Industrial Designers’ Society of America. The School of Music is also accredited by the National Association of Schools of Music.

6 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 College of Art and Design Degree Programs

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

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 7 Reference assistance and course reserves are available at each University Libraries University library location. The libraries provide other information services such as interlibrary loan, class instruction in research Carol Graney techniques and library use, and advanced electronic research [email protected] capabilities including discounted online database searching for Director of University Libraries students. The library maintains reciprocal use arrangements with Greenfield Library, 1st floor Anderson Hall other nearby academic libraries. 215-717-6281 Albert M. Greenfield Library The University libraries are central to the educational mission of 215-717-6280 the University, enabling and enriching every student’s professional preparation and general education. Through the services the library Music Library staff provides, and through the materials it collects or to which it 215-717-6292 provides access, the University libraries seek to enhance teaching and improve learning, and to educate students in the arts to be successful Visual Resources/Slide Collection and productive users of information. 215-717-6290 The libraries of the University of the Arts include the following three campus locations: University Libraries’ Web Site The Albert M. Greenfield Library, on the first floor and lower level of http://library.uarts.edu Anderson Hall (333 South Broad Street), serves as the main library for the campus, containing materials in many formats on art and design, communication, dance, theater, film and television, multimedia, liberal arts, and other general subjects. The Greenfield Library also houses the libraries’ administrative offices and technical services operation, as well as the library’s Picture File, University Archives, and the library’s Special Collections, with particular strengths in book arts and textiles. The Music Library, on the third floor of the Merriam Theater Building (250 South Broad Street), is a specialized library serving academic programs and interests in music. Its holdings and services are also important for students and faculty studying or needing information about dance, musical theater, and other areas related to music. The Music Library contains listening facilities for recorded sound in addition to general reading areas and a music education resource area. The Slide Collection, in Anderson Hall, adjacent to the lower level of the Greenfield Library, houses a large collection of 35mm slides relating to subjects of interest to all University visual and performing arts programs and Liberal Arts courses. Light tables and slide carousels may be used for viewing the library’s and one’s own slides. The total holdings of the libraries are more than 101,000 books and bound periodicals, 14,600 music scores, 115,000 mounted and encapsulated pictures, 166,000 slides, and 12,000 items of recorded music in LP and CD formats. The library also has a growing collection of audiovisual materials in videocassette, videodisc, DVD, and multimedia formats. Listening and viewing facilities, Internet/World Wide Web access, and photocopiers are available in addition to general reading facilities.

Information about the libraries’ collections is available through an online catalog that is accessible from computers in the Greenfield and Music Libraries or via the World Wide Web. Records for library materials can be searched by author, title, keyword, subject, and call number. Once a record is found, information including its shelf location and whether or not it is available for circulation is displayed. Traditional card catalogs are also maintained for some specialized collections, which have not yet been added to the automated system. Other electronic reference tools are also available, including online and CD-ROM periodical indexes, databases and encyclopedias.

8 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Verification of Enrollment Academic Policies and Students often need to send additional information concerning Procedures their enrollment to insurance companies, loan services, scholarship programs, and other outside parties. Any request for verification of enrollment beyond the directory information listed below must be Nancy McCool made in writing and signed by the student wishing to release the [email protected] information. The request for verification must state exactly which Acting Registrar information the student wants released and who is authorized to Second Floor, Dorrance Hamilton Hall receive it. There is no fee for this service. The Office of the Registrar 215-717-6420 will verify enrollment for future terms only after the student has registered in classes and has been cleared by the Student Billing The Office of the Registrar develops and maintains all records and Office. Normal service for other verifications of enrollment is three to files relating to the students’ academic life at the University. Course five working days from the time the request is received. and program transactions and changes become official when properly Please note that the University may release the following directory processed through the Office of the Registrar. Students who are information without prior consent from the student: formally admitted to the University and have paid all applicable •Name tuition and fees will be allowed to register. •Address Students must have a program of courses documented and •Telephone listing approved by the required advisor(s). All students are advised to obtain •Email address a copy of their curriculum requirements as soon as possible after •Date and place of birth admission to the University and to check those against their •Major field of study transcripts after each term. Student copies of the transcript are •Participation in officially recognized activities available upon request. The Office of the Registrar maintains the •Dates of attendance official academic record for each student and is responsible for certifi- •Enrollment status cation of completion of requirements for graduation. •Degrees and awards received •Last institution attended Transcripts In accordance with the Family Educational Rights and Privacy Act Official transcripts are available for $5.00 per copy. Transcript of 1974, students may request to have this information withheld from requests are to be made in writing to the Office of the Registrar and public information. Students must file this request within the first must include the student signature, which authorizes the release of three weeks of the term. information to another party. Requests should also include the student’s name at the time of enrollment, years of enrollment, Social Security or Student Identification Number, birth date, major program of study, and correct address for sending the transcript. Official transcripts will not be issued for students with outstanding financial obligations to the University. Normal service for release of transcripts is five working days from the time the request is received. Service may take up to three weeks at the end of the term, while grades are being processed. Unofficial student and advising copies of transcripts are available upon request. Students are encouraged to obtain a copy of their specific curriculum requirements as soon as possible after admission to the University and to check their progress against their transcripts after each term.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 9 Academic Advising and Student Late Registration A late-registration fee of $35 will be charged to any student who has Responsibility not completed registration by the first day of term. Late registration Each student is personally responsible for observing all regulations may jeopardize a student’s chance of obtaining his/her desired in the catalog which may affect academic progress, financial course schedule. obligations, relationships with University authorities, transferability of credits, acceptance of credits for graduation, and eligibility to Matriculated Students graduate. Matriculated students are those who have applied, been accepted, Academic advising at the University is designed to assist students in and enrolled in a degree program at The University of the Arts during directing and completing their degree programs by providing the semester for which they were admitted. Course credits completed guidance through contact with informed advisors and by providing prior to matriculation at the University will not necessarily be information in various publications. Students are expected to refer to accepted into the degree programs. In no case will more than 6 credits this catalog, course bulletins, and the student handbook for taken as a non-matriculated student at The University of the Arts be information on policies, procedures, and deadlines. Students in doubt accepted into the degree program. Students seeking degrees may about any College or University regulation should seek advice from enroll for part-time or full-time study. their academic advisor or the Office of the Registrar. In preparing for registration, students consult with their faculty Non-Matriculated Students advisors, who help them assemble schedules for the semester and who A student who takes classes in a major department but is not enrolled give final approval to all course selections. Students entering the final in a degree program at The University of the Arts and has not submitted year of their degree program are urged to consult with the Registrar to an application to the Office of Admissions qualifies as a non-matric- ensure that all major requirements will be completed on schedule for ulated student. graduation. Students are responsible for knowing the specific Non-matriculated status provides opportunity for students to study requirements of their particular degree program and for tracking with a specific professor, access classes not offered by the Continuing their academic progress toward the degree. Meeting requirements for Studies program, or pursue additional college-level instruction for graduation is ultimately the student’s responsibility. those who already hold a bachelor’s degree. Non-matriculated students may enroll for a maximum of 11.5 Change of Address credits per semester and may not audit any classes. It is essential that students keep the Office of the Registrar informed Students who subsequently enroll in a University of the Arts degree of all current addresses: permanent, local, and billing. Change of program may apply a maximum of 6 credits taken as a non-matric- Address forms are available in that office. Grades, schedules, and other ulated student to their degree at the discretion of the department important information are mailed to the addresses provided by the director/chair. Non-matriculating students who are simultaneously student. enrolled or have plans to enroll at another institution may transfer credits to that institution if they have received prior approval in Change of Name writing from that institution. Students must notify the Office of the Registrar of any change of To enroll as a non-matriculated student, please contact the Office name (through marriage, divorce, etc.) by bringing to the office an of Continuing Studies. Please be advised that there are no payment original legal document showing the change, which may be plans or financial aid opportunities for non-matriculated students. photocopied and kept on file. This is important in order to maintain Non-matriculated students are otherwise governed by all the rules all of the student’s records in one place, and prevents future confusion and regulations that apply to matriculated students. with transcript requests, etc. Full-Time Credit Load/Overloads Registration Full-time undergraduate students are defined as those who are Official registration forms must be filed in order for the student to enrolled in at least 12 credits a semester. Students wishing to take attend class. Students are responsible for knowing regulations more than 18 credits in a semester must obtain permission from the regarding withdrawals, refund deadlines, program changes, and dean of their college. Factors such as grade point average and academic policy. progress in meeting degree requirements will be considered in giving Matriculating students must register for subsequent semesters in permission for an overload. Excess credits are subject to additional accord with the posted schedule (see Academic Calendar). Failure to charges at the standard credit rate. Registration as Audit or Pass/Fail register will result in a late registration fee (see below). A student is counted the same as all other academic credit for the purpose of is not considered registered until Finance Office clearance has determining tuition. been obtained. Graduate students are considered full-time if enrolled in at least 9 In order to register for classes, it is necessary to meet any financial credits per term. or academic criteria that have caused a hold to be placed on a student’s record. Student Classification All students are responsible for completing any prerequisites A student’s class is determined by the number of credits earned, required for enrollment in a course. Failure to complete prerequisites regardless of the number of semesters of enrollment or the student’s may result in cancellation of registration in the course requiring standing in his or her major program. Class status is a factor in the prerequisite. determining financial aid eligibility and is one indicator of academic progress. Class standing is also used to prioritize scheduling during registration.

10 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Undergraduate class status is determined as follows: After the end of the seventh week, a “W” is possible only under U1 up to 29.5 credits unusual circumstances such as an accident or severe illness, which U2 30 - 59.5 credits must be documented. Permission for an exceptional withdrawal must U3 60 - 89.5 credits be given by the instructor and the Dean/Assistant Dean of the college. U4 90 - 123 credits A student who wishes to withdraw from all of his or her classes U5 more than 123 credits must initiate an official Withdrawal or Leave of Absence from the Graduate status is determined as follows: University as outlined in this catalog. If a student withdraws from all G1 up to 17.5 credits of his/her classes and does not officially withdraw from the University G2 18 or more credits or take a leave of absence, he/she may be withdrawn from the University or dismissed in accordance with Academic Review policies. Change of Major/Degree Program/College Students may request a change of major through the Office of the Leave of Absence Registrar. Students are advised to initiate the Change of Major Petition A student may request a Leave of Absence by completing a Leave of prior to registration for the upcoming semester. The petition requires Absence Form, available in the Office of the Registrar. A Leave may be the approval of the appropriate chairpersons or directors of both the granted for one or two semesters, with approval granted by the Dean former and the intended new department or school. The student will of the appropriate College, provided that the student is in good be required either to present a portfolio or to audition as part of the standing. transfer review process. Deadlines are June 1 for the fall semester and A Leave of Absence will not be granted after the seventh week of the November 1 for the spring semester. semester. If a student wishes to leave during a semester and the Change of Major forms are available in the Office of the Registrar. request is approved, s/he may withdraw from the current semester After completion of a change of major, students are advised to review with the leave taking effect in the current and subsequent semester. In their degree program requirements with their new academic advisor, this instance, the student will be subject to the grading, withdrawal the department chair or school director, and the dean of the periods, and withdrawal refund policies listed elsewhere in this appropriate college. catalog. A student who is granted a Leave of Absence is unconditionally Change in Degree Requirements eligible to register for classes for the semester immediately after the Students who have not completed their degree requirements at the leave expires. (A student may return before the expiration of the leave end of seven years from the date of initial matriculation may be by indicating his/her intention to do so in writing to the Office of subject to new degree requirements, which will be determined by the the Registrar.) department chairperson and the Office of the Registrar on a case-by- If the student does not register for the term following the Leave’s case basis. expiration, but wishes to resume his/her studies at a later date, a completed Request for Readmission Form (from the Office of the Course Substitutions Registrar) is required. Occasionally a student may not be able to enroll in the exact course A graduate student may take a Leave of Absence prior to the required for the degree program, or may find that an alternate course completion of all course work, subject to approval by his/her program would better suit his or her academic goal. In this case, the student is director. Graduate students may take a maximum of two one-semester to request an approval for a course substitution from the department Leaves of Absence throughout their course of study, whether in chairperson or program director. The Course Substitution Approval sequence or as needed. Once the thesis or Master’s of Music graduate form is available in the Office of the Registrar. Students list the project has begun and all course work has been completed, graduate required course and the approved substitution on the form. After students are not eligible for a Leave of Absence. obtaining the signature of the Department Chairperson or Program The following procedure must be followed to obtain a Leave of Director, the student submits the form to the Office of the Registrar Absence from the University: for processing. 1. The student obtains a Request for Leave of Absence Form from the Office of the Registrar. Schedule Revision — Drop/Add 2. The student must obtain approval from all those listed in the Beginning with the first week of the semester, only students who “Required” section of the form. have obtained finance office clearance may revise their schedules 3. After the Leave of Absence approvals are obtained, the student without academic penalty until the end of the Drop/Add period. Any submits the completed form to the Office of the Registrar for schedule revision must be approved in writing by the appropriate processing and coding. The form will then be distributed to all instructor or department chairperson. This is accomplished by appropriate parties, including the student. completing a Drop/Add Form, obtaining the appropriate signatures, and submitting the form to the Registrar’s Office for processing. The Drop/Add period takes place during the first ten days of classes each semester in accordance with the Academic Calendar. Withdrawal from a Course A student may withdraw from a course with a “W” (Withdrawal) from the last day of the drop/add period through the last day of the seventh week of the semester. The withdrawal form must be signed by the course instructor and submitted to the Office of the Registrar prior to the deadline.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 11 Withdrawal from the University Registering for Other Categories of Study A student may withdraw from the University by initiating an official Independent Study Withdrawal process with the Office of the Registrar. Students who Independent Study offers a matriculated student the opportunity to withdraw from the University prior to the beginning of the fall or initiate individual research or advanced projects that are beyond the spring semesters or summer sessions, or prior to the end of the limits of the standard curriculum, with limited supervision. drop/add period, do so without academic penalty. Independent Study is available to junior and senior undergraduate Official Withdrawals after the drop/add period but prior to the end students who have a minimum 2.5 GPA and to graduate students in of the seventh week of the respective fall or spring semester or second good standing. To enroll in an Independent Study, the student must week of the respective summer session will result in the notation of the follow these guidelines: grade “W” (Withdrawal) for all courses. 1. Obtain an Independent Study Form from the Office of Students are not permitted to withdraw without academic penalty the Registrar. from the University after the end of the seventh week of a fall or spring 2. Prepare a proposal and identify a University of the Arts faculty semester or second week of a summer session, except when non- member having expertise in the area of investigation who is willing to academic extenuating circumstances exist, in which case documen- serve as the course advisor. With the consultation of the course advisor, tation (by a physician or a counseling professional) must be complete the Independent Study Form, which must include a presented and approval of the appropriate Dean must be obtained. semester plan for the course of study, indicating the number of credits Students who have withdrawn and wish to resume their studies at a being taken and the evaluation criteria. The form must be signed by later date must submit a Request for Readmission Form to the Office the course advisor and the student’s department chair/school director. of the Registrar in accordance with application deadlines and pay the 3. Present the approved Independent Study Form at registration or readmission fee. within the drop/add period, along with your registration or drop/add The following procedure must be followed to obtain withdrawal form. The course number for an independent study is the department from the University: code (the course advisor’s department) and course number “999” for 1. The student obtains a Withdrawal from University form from the undergraduates (Example: PR999) and the department code and Office of the Registrar. “799” for graduate students (Example: PR799). 2. If the student does so in person, the Office of the Registrar will 4. Each Independent Study may be taken for 1 to 3 credits in advise the student to visit his/her academic department, the Dean of Liberal Arts, 1.5 to 6 credits in CAD, and 1 to 6 credits in CPA and the College, the Dean of Students, the Finance Office, the Financial CMAC. Aid Office, and the Library. 5. The student is responsible for documenting the content of the If the student withdrawing from the University is not physically on independent study work to other institutions or outside agencies. campus, the Office of the Registrar will accept a letter signed by the 6. Students may not elect the Pass/Fail or Audit options for student. After processing the withdrawal, appropriate departments will Independent Study. be notified. Independent Study may not fulfill major requirements. Independent Study may serve as free, studio and liberal arts electives, Non-attendance in classes or non-payment of tuition does not depending on the topic of investigation. Students may not apply more constitute grounds for withdrawal. The University does not recognize than 12 total credits of independent study towards their degree non-attendance in classes or non-payment of tuition as the equivalent requirements. of withdrawal. Credit for an Independent Study may not be reduced or increased after the student has registered. Readmission Written appeal for reinstatement as a degree candidate should be Internships addressed to the Office of the Registrar by June 1 for the fall semester Internships allow matriculated undergraduate students to earn and November 1 for the spring semester. There is a $40 application academic credit while working in their chosen field. Internship fee. Appropriate deans, departmental chairpersons/directors, and the courses are scheduled during the fall and spring semesters and, with Finance Office must endorse the readmission prior to registration. The special permission, during the summer. To register for an internship, major department reserves the right to require transcripts, letters of see the course bulletin and the appropriate department for current recommendation, an additional portfolio review or audition. Credit offerings. Internship courses are graded on a Pass/Fail basis. for courses taken seven or more years prior to the date of readmission will be re-evaluated in conjunction with degree programs currently Undergraduate Minors/Concentrations offered. Academic units may choose not to accept courses regardless of The University offers minors and concentrations for students who when they were completed for credit toward the degree. Final determi- wish to focus on a specific discipline through organized electives. The nation will be made by the dean of the college. In the event of College of Art and Design offers seven minors, and concentrations in Dismissal, an application for readmission will not be entertained until digital fine arts, art therapy, and art education. The College of Media a full academic year has elapsed. and Communication offers a minor in Information Architecture. Please also note that previous censure from the Academic Review Please refer to the sections of this catalog titled “College of Art and Committee may apply to any readmitted student. Design” and “College of Media and Communication” for information about eligibility, prerequisites, and course requirements. You may also contact the departments directly for additional information.

12 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Cross-College Elective Options and Prerequisites The University encourages students to take courses outside their Grading Policies major department and college. To facilitate this goal, the University offers a wide selection of courses that are open for enrollment without prerequisites. Students may select from introductory electives and Grading System A 4.00 C+ 2.33 non-major courses. In general, upper-level courses will have specific A- 3.67 C 2.00 prerequisites, which must be satisfied prior to registration. Students B+ 3.33 C- 1.67 interested in these areas are advised to contact the department B 3.00 D+ 1.33 chairperson or school director regarding specific course offerings and B- 2.67 D 1.00 prerequisite requirements. F 0.00 Private Lessons Grades not included in computing averages: I Incomplete Private instrumental/vocal lessons for non-majors may be taken IP In Progress (Graduate Thesis only) for elective credit (1.5 credits, 7 hours of instruction per semester) NG No Grade Reported with permission of the Director of the School of Music. An additional NC No Credit fee is required. W Withdrawal Foreign and Summer Study Programs OP Optional Pass (Grade of “C” or better) OF Optional Fail (Grade of less than “C”) Foreign and summer study opportunities are available through AU Audit programs hosted by other institutions. Interested students should meet P Pass with the chair or director of their major department to discuss issues such as program selection, timing, and feasibility. Those who choose Computing Grade Point Average (GPA) to participate must contact the Registrar and the Financial Aid Office The GPA is computed by multiplying the number of credits earned for advising on transfer of credit and financing options. for a course by the numerical value of the grade. The resulting figures Undergraduates Enrolled for Graduate Credit from all courses for that semester are then totalled, and this figure is divided by the total number of credits attempted that semester. A student in the final year of the bachelor’s degree program may The grades of I, IP, NG, NC, W, OP, OF, P, and AU are not entered take a maximum of 6 credits of graduate courses toward a master’s in this computation. degree, subject to all of the following conditions: 1. The student must have completed the junior year. Dean’s List 2. The credits must be over and above the credits required for the This list is compiled each semester in the respective deans’ offices. bachelor’s degree and may not be applied to that degree. The Dean’s List honors those undergraduate students who have met 3. The student must have a cumulative GPA of 3.00 or better. the following criteria: 4. Permission is granted by the department chairperson/director 1. Are full-time undergraduate degree candidates. Candidates for and dean of the college. certificate, diploma, and master’s degrees are not eligible. 5. No more than a total of 6 credits, taken either as an 2. A minimum semester GPA of 3.60. undergraduate or non-matriculated student, or taken at another 3. No grade lower than a “B” in any course. college or university, may be applied to the graduate program. 4. No grade of “I” or “F” in any course. Graduates Enrolled in an Undergraduate Course 5. Enrolled in at least 12 credits for a letter grade. Graduate students may register for 300-400 level undergraduate liberal arts Pass/Fail Option courses or 200-400 level studio courses (with permission of the graduate director and director of liberal arts) for graduate credit. Graduate students 1. In courses taken on a Pass/Fail basis, the standard letter grades will be expected to contribute at a higher level in the classroom and will have of “A” to “C” are converted to “OP” by the registrar. A grade of “C-” to additional assignments (readings, papers, etc.) in order to be granted “F” is recorded as “OF.” graduate credit. Students are advised to select an area of study that broadens 2. The pass/fail grading option must be selected prior to the end of or intensifies their background in the arts, education, and related disciplines. the drop/add period; no change from Pass/Fail to a regular grade or a Often this work contributes directly to preparation of the graduate project regular grade to Pass/Fail may be made after that deadline. proposal. 3. Grades of “OP” or “OF” are not computed in the grade point average, Auditing a Course 4. The Pass/Fail policy stipulates that the instructor is not to be Audited courses carry no credit and do not satisfy degree informed as to who is enrolled on a Pass/Fail basis. requirements. An audited course may not be repeated for credit. 5. Availability of this option is limited to a total of nine (9) credits Regular tuition rates are charged for audited courses, and they are in Liberal Arts courses or studio electives during the student’s included in the full-time tuition charge. Audited courses will be undergraduate career. Pass/Fail courses may not include First Year indicated on the transcript with a grade of “AU” and may be registered Writing, Introduction to Modernism and any required discipline for until the end of the Drop/Add period. history course.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 13 Notice of Deficiency Class/Lesson Cancellations or Lateness of Instructor Instructors may advise a student of unsatisfactory performance in Students must check every morning for notices regarding class or the course with a Notice of Deficiency. lesson changes. Such notices are posted in a designated area. If none is posted for the scheduled class or lesson and the instructor is not Grade of Incomplete (“I”) present, students are expected to wait 10 minutes for an hour-long An incomplete grade may be granted only in extraordinary circum- class/lesson and 15 minutes for those of longer duration. In the event stances, either personal or academic, which prevent the student from the instructor fails to appear within the 10-15 minute waiting period, completing coursework by the end of the semester. The grade “I” is students are to report to the appropriate School Director’s or given only when the completed portion of the student’s course work is Department Chairperson’s office and may then leave without penalty. of a passing quality. To receive the grade of Incomplete, the student must obtain written approval on the Incomplete Form from the Academic Review course instructor, and the Dean of the College or the Director of Undergraduate students who maintain a minimum 2.0 cumulative Liberal Arts prior to the conclusion of the semester. and semester grade point average (GPA) are considered to be in good Incomplete grades not cleared by the end of the sixth week of the standing. Academic Review is the process the University follows for following semester will be automatically assigned the grade of “F”. students whose academic performance does not meet the minimum Incomplete Forms are available from the Office of the Registrar. standard. Students who fail to meet the minimum grade requirements in major coursework required by the department, College or Change of Grade University will be reviewed by the Academic Review Committee and An instructor may change a grade only if an error occurred in may be required to meet additional requirements in order to avoid computing or recording the final grade, or if the reevaluation of probation or dismissal. Any of the following types of academic censure previously submitted work is warranted. Extra work, beyond that may be imposed by the Academic Review Committee based on the required of other class members during the period when the class met, student’s scholastic performance in a given semester, and may have or work handed in after the completion of the course, may not be financial aid ramifications. offered as reasons for a grade change. If a student questions the Any of the following types of academic censure may be immediately correctness of a grade, the student should first discuss the matter with imposed by the Academic Review Committee (ARC) based on a the instructor. If a satisfactory resolution is not reached, the student’s scholastic performance in a given semester and may have chairperson of the department or director of the school should be financial aid ramifications. consulted. The student may, as a last resort, bring the matter to the attention of the dean of the appropriate college. Any change of final Academic Warning grade must be submitted by the course instructor, who must submit A student previously in good standing who receives a semester GPA the signed Change of Grade form with the signature of the college between 1.5 and 2.0 will receive a letter of censure from the dean’s dean to the Office of the Registrar no later than the end of the office of his/her college on advisement from the Academic Review semester following the one in which the grade was given. Committee. Students will be required to achieve semester and cumulative GPAs of 2.0 during the next semester and may be required Class Attendance to meet additional requirements in order to avoid further All students are expected to attend classes regularly and promptly probationary action. A student who receives a GPA below 1.5 will and for the duration of the scheduled instructional time. Individual automatically be placed on Initial Probation and will not receive an instructors will decide the optimum time for taking attendance and Academic Warning. may penalize for habitual lateness or absence. Repeated, unexcused absences may result in a grade of “F” for a course. Initial Probation Students who withdraw from a course or the University must do so If in the semester following his/her placement on Academic through the Registrar’s Office. Non-attendance does not constitute an Warning the student is unable to achieve semester and cumulative official withdrawal. GPAs of 2.0, and/or new conditions required by the ARC, the student will receive a letter of Initial Probation from the dean’s office on Absences behalf of the ARC. The student will be advised that if a 2.0 GPA and/or Full participation is expected of all UArts students and is necessary other conditions are not attained by the following semester, the to fully benefit from and succeed in our programs of study. student will be placed on Final Probation and may lose financial aid Absences from class may result in a lowered grade or an “F” in the according to federal regulations. course, depending on the attendance policies stated by the instructor on the syllabus. It is the responsibility of the student to arrange with Final Probation his/her instructor(s) to make up all missed work. Failure to do so will If a student fails, for a third consecutive semester, to attain semester also affect the student’s grade. and cumulative GPAs of 2.0 and/or other conditions required by the In the event that absences are the result of extraordinary, ARC, the student will receive a letter of Final Probation. A student on documented circumstances and are numerous enough that it is Final Probation will not receive financial aid for that semester, and if impossible for the student to qualify for advancement, the student the conditions of Final Probation are not met, the student will be may be advised to withdraw from the course. If the course is dismissed from the University. required, the student will also be required to repeat the course in a subsequent semester.

14 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Dismissal Graduation Requirements It is the University’s prerogative to dismiss a student for a stated It is the student’s responsibility to complete the requirements of the cause including: 1) continued failure to maintain a minimum degree program in which he or she is enrolled. cumulative GPA of 2.0, 2) failure to fulfill academic probationary requirements specified by the Academic Review Committee, 3) failure Undergraduate Degree Requirements to attain the GPA specified by the Academic Review Committee by the To be certified for a degree, a student must end of the second consecutive semester of censure. Guidelines for • submit a Petition for Award of Degree to the appeal of Dismissal, in the event of extenuating circumstances, are Office of the Registrar, outlined in the Letter of Dismissal. • fulfill all degree requirements, Students dismissed for disciplinary reasons will automatically • satisfy the minimum residency requirements receive the grade of “W” for all classes in which they are enrolled (four semesters in residence, a minimum of 48 UArts credits), at the time of dismissal. For more information on disciplinary • achieve a minimum cumulative GPA of 2.0 (C average), and action, please refer to the Student Code of Conduct section in this • receive the approval of his/her department chairperson or catalog. director as having met all major requirements, including any and all requirements unique to the department. Graduate Probation and Dismissal Policies Once the student has submitted a Petition for Award of Degree, and A minimum cumulative GPA of 3.0 is required for good standing the Registrar has certified that student as having completed the degree and for graduation for graduate students. If a student is unable to requirements, the degree will be awarded. Two-year certificates are achieve a semester or cumulative GPA of 3.0, he or she will be placed awarded only to students who are in residence and are matriculated in on probation. If a 3.0 GPA and/or other conditions are not attained by the certificate program. the following semester, the student may be dismissed from the program. While on probation, a student will be ineligible to hold a Graduate Degree Candidacy and Completion graduate assistantship or to receive a University supplemental grant- Midway through the program, each graduate student’s progress in in-aid or scholarship. his/her discipline and thesis proposal will be reviewed by the appropriate Graduate Committee to formally determine whether a Appeal student becomes a degree candidate, and is ready to continue toward Students who are dismissed may make an appeal to the Academic development and completion of the thesis or graduate project. Review Committee regarding the dismissal. In order to request a Graduate students have up to seven years from matriculation date hearing for an Appeal by the Academic Review Committee, students to complete a two-year master’s program, and up to six years from must contact the dean’s office of their college by the date indicated in matriculation date to complete a one-year program. the letter of dismissal. Students must also deliver a written request for To be certified for a degree, a student must an appeal to the committee at the time of the hearing, and will be • submit a Petition for Award of Degree to the Office of the notified of the committee’s decision at the completion of the hearing. Registrar, • fulfill all degree requirements, Academic Grievance Procedure • satisfy the minimum residency requirements and Students who have a concern or grievance regarding an academic • achieve a minimum cumulative GPA of a 3.0 (B average). matter should first discuss their concern with the instructor or their advisor. If a satisfactory resolution is not reached, the chair of the Graduation - Conferral of Degrees and Diplomas department or the director of the school should be consulted. If the Students expecting to complete requirements for a degree within student believes that his/her concern requires further attention, the year (December, May, or August) are required to file a Petition for he/she may bring the matter to the attention of the dean or assistant Award of Degree in the Office of the Registrar at the November dean of the appropriate college or the Director of Liberal Arts. The registration for the spring semester. The Office of the Registrar is college dean’s office may convene an Academic Grievance Committee responsible for certification of completion of requirements for or similar committee to review the concern. As a last resort, the the degree. dean’s office may forward concerns to the Office of the Provost for Degrees and diplomas are conferred once a year at the spring final resolution. Commencement Exercises. For students who complete degree requirements in other terms, the transcript will be posted “degree granted” with either the date of December 31 for fall semester or August 31 for summer semester graduates. Only students who have completed all of their degree requirements may participate in Commencement. Graduation with Honors Candidates for the baccalaureate degree may graduate with honors only if they achieve a minimum cumulative GPA of 3.6.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 15 U

16 UArts 2001 Graduate CourseCatalog Undergraduate and • 2002

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

18 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 2. Papers must be free of consistent patterns of error in punctuation Division of Liberal Arts and grammar and must be spell-checked and proof-read. 3. Papers must be word-processed and printed with appropriate Peter Stambler margins. In addition, papers must be conceptually and visually [email protected] divided into paragraphs as appropriate. Director 215-717-6262 Liberal Arts Requirements

In addition to the major requirements for earning a bachelor’s Common Core 12 credits degree at The University of the Arts, all undergraduate students are HU 110 A/B First-Year Writing 6 credits required to complete approximately one-third of their studies in the HU 103 A/B Modernism 6 credits liberal arts, reflecting the University’s conviction that the liberal arts are essential for the education of artists, designers, performers and Discipline History (DH) 9 credits writers. The aims of the division are to develop students’ powers of Majors in: critical thinking and their understanding of the history and criticism Acting TH 311 A/B, TH 213 of the creative arts, to introduce them to philosophic and scientific Animation HU 140 A/B, WM 251 modes of thought, and to the study of human cultures and societies- Applied Theater Arts TH 213, TH 311 A/B in sum, to refine students’ perceptions of both their inner world and Communication CM 250, CM 251, CM 260 the outer world and to help make them both intellectually responsible and creative. The Liberal Arts Division represents a common ground Crafts Matriculation before fall 1999: in the curriculum where students from all the colleges meet. It thus HU 140 A/B, Art History elective offers a unique forum for artistic and academic exchanges. Matriculation fall 1999 and after: Students are expected to meet with their advisors regularly and are HU 140 A/B, HU 253 responsible for knowing and fulfilling their liberal arts requirements. Dance DA 211 A/B, DA 117 Film HU 140 A/B, WM 251 Transfer Credit Policy and Requirements Fine Arts (PT, PR, SC) HU 140 A/B, Art History elective

New Students: Graphic Design Matriculation before fall 1997: The University of the Arts will accept transfer credit for liberal arts HU 140 A/B, Art History elective courses completed elsewhere, after review, provided that the course Matriculation fall 1997 and after: work completed is determined to be equivalent to University of the Arts HU 140 A/B, HU 254 offerings, is from an accredited college or university, and a grade of “C” or better is earned. Students are required to present official Illustration HU 140 A/B, Art History elective transcripts of courses taken at other institutions as well as course Industrial Design HU 140 A/B, Art History elective bulletins in order for evaluation of transfer credits to take place. Multimedia MM 271, six credits chosen from any Contact the Office of the Registrar for further information. Arts/Discipline History

Enrolled Students Music * Performance and Composition: Once they have matriculated, students may transfer up to 15 credits MU 301 A/B, MU 401 B in the liberal arts provided they have not already transferred that Vocal: many or more at the time of matriculation. Students who wish to take MU 301 A/B, TH 312 A liberal arts credits at other colleges must secure prior written approval from the Director of the Division of Liberal Arts. Such courses may not Musical Theater TH 312 A/B, TH 213 duplicate courses already taken for credit at The University of the Arts. Photography HU 140 A/B, HU 255 Writing Film and TV HU 320 A/B, WM 253 Credit-Hour Ratio Liberal arts credit is earned at the ratio of one credit per class * Additional discipline history course required, MU 401 A, counts contact hour. toward major requirements University Writing Standards Liberal Arts Distribution 15 credits The faculty of the University have established a standard of profes- Social and Behavioral Sciences (SS) 6 credits sionalism for all formal papers written for liberal arts and studio Natural Science and Mathematics (SCI/M) 3 credits courses. Literature (LIT) 3 credits 1. Citations of any text used must be documented as appropriate. Humanities (HU) 3 credits The MLA and APA styles, as detailed in Diane Hacker’s A Writer’s Reference, are taught in First-Year Writing HU 110 A/B. Lack of Liberal Arts Electives 6 credits knowledge of citation procedures will not be an acceptable explanation for plagiarism.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 19 Liberal Arts Distribution Requirements Distribution

This grid shows how liberal arts courses may be used to satisfy the HU 250 History of Sculpture AH/HU liberal arts distribution requirement. HU 251 History of Industrial Design AH/HU HU 253 History of Crafts AH/HU Key: LIT = Literature HU 254 History of AH = Art History Communication Design AH/HU (DH/GD) SS = Social Science HU 255 History of Photography AH/HU SCI/M = Science/Math (DH/Photo majors) HU = Humanities DH = Discipline History HU 259 Listening to Music AH/HU HU 260 A Human Origins and Primates SS Distribution HU 260 B Human Evolution SS HU 261 Observing Humans SS HU 130 A French I HU HU 130 B French I HU HU 262 A History of China SS HU 131 A German I HU HU 262 B History of Japan SS HU 131 B German I HU HU 263 History-Italian Renaissance SS HU 264 Modern American History SS HU 132 A Italian I HU HU 265 Introduction to Folklore SS HU 132 B Italian I HU HU 266 A History of Classical World SS HU 140 A Art History Survey I HU (DH/all CAD majors) HU 266 B History of Medieval Europe SS HU 140 B Art History Survey II HU (DH/all CAD majors) HU 267 Intro to Cultural Anthropology SS HU 162 Individual & Society SS HU 268 Introduction to the Bible SS HU 181 A Child & Adolescent Psychology SS HU 270 Introduction to Aesthetics HU HU 181 B Adult Psychology SS HU 272 Money Matters SS HU 201 Lyric Poetry LIT HU 274 Introduction to Philosophy HU HU 210 A 19th C. American Writers LIT HU 281 Dynamic Anatomy SCI/M HU 210 B 20th C. American Writers LIT HU 282 A Fundamentals of College Math SCI/M HU 282 B Calculus SCI/M HU 211 Women Writers LIT HU 212 Introduction to Mythology LIT HU 285 A Life Sciences SCI/M HU 213 World Drama LIT HU 285 B Physical Sciences SCI/M HU 216 The Short Story LIT HU 286 Science and Pseudoscience SCI/M HU 217 African American Literature LIT HU 292 Introduction to World Religions SS HU 218 Super Heroes LIT HU 293 Dance and Expressive Culture HU HU 310 The Stories of Chekhov LIT HU 219 Children’s Literature LIT HU 311 Greek Drama LIT HU 221 Forms of Autobiography LIT HU 313 Poetry Writing Workshop HU HU 230 A French I HU HU 230 B French II HU HU 314 Literature & Film LIT HU 232 A Italian I HU HU 315 A Modern Drama LIT HU 232 B Italian II HU HU 315 B Contemporary Drama LIT HU 316 American Playwrights LIT HU 240 Ancient Art AH/HU HU 317 Romanticism LIT HU 241 Medieval Art AH/HU HU 318 Literature of the Roman Empire LIT HU 242 A Northern Renaissance Art AH/HU HU 320 A Masterpieces-West. Tradition I LIT (DH/WMP majors) HU 242 B Italian Renaissance Art AH/HU HU 320 B Masterpieces-West. Tradition II LIT (DH/WMP majors) HU 243 Baroque Art AH/HU HU 244 Mythology in Oriental Art AH/HU HU 322 Scriptwriting HU HU 323 Arts Criticism HU Distribution HU 325 Fiction Writing HU HU 245 A History of Western Arch I HU HU 326 Contemporary Arts in America LIT HU 245 B History of Western Arch II HU HU 342 Arts of China HU HU 246 19th Century Art HU HU 343 Art of Venice HU HU 248 A Film History (= WM 251) HU 248 B Issues in National Cinema (= WM 252)

20 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Distribution Distribution

HU 344 Avant Garde Cinema HU U 414 A Big Fat Famous Novel LIT HU 345 Modern Architecture HU HU 414 B European Novel LIT HU 346 Folk Art and Architecture HU HU 415 A Modern Poetry LIT HU 347 Arts of Africa HU HU 415 B Contemporary Poetry LIT HU 348 American Art to 1945 HU HU 416 Contemporary Novel LIT HU 349 American Film Genres HU HU 417 Lyric LIT HU 351 Electronic Video HU HU 419 American Modernists LIT HU 353 A Impressionism HU HU 420 Major Writers LIT HU 353 B Post Impressionism HU HU 421 On the Nature of Poetry & Art LIT HU 354 Women Artists HU HU 355 Dada and Surrealism HU HU 422 Amer. Politics & Cult. 1945-75 LIT HU 357 Modern Art HU HU 423 Literature and Opera LIT HU 424 Latin American Literature LIT HU 359 Politics and the Media SS HU 428 Portraits of the Artist LIT HU 360 A Renaissance and Reformation SS HU 440 Wagner and the Ring Cycle HU HU 360 B Age of Enlightenment SS HU 442 Abstract Expressionism AH/HU HU 361 Islam: Religion & Culture SS HU 448 A American Art Since 1945 AH/HU HU 362 A American Civilization I SS HU 448 B European Art Since 1945 AH/HU HU 362 B American Civilization II SS HU 449 Diaghilev and the Ballet Russe HU HU 363 Modern Culture SS HU 450 Arts of India HU HU 364 Sociology of Art SS HU 451 Arts of Islam HU HU 365 A Hist. & Culture-Latin Amer. I SS HU 452 Topics in Design HU HU 365 B Hist. & Culture-Latin Amer. II SS HU 453 Arts of Japan HU HU 456 Major Artists HU HU 366 The City SS HU 367 Eastern Religions SS HU 462 American Social Values SS HU 368 Sociology of Politics SS HU 463 Middle East Art and Culture SS HU 369 Cultural Ecology SS HU 464 Holocaust SS HU 370 Greek Philosophy HU HU 466 Comparative Religion I SS HU 371 The Suburbs SS HU 372 Cont. Philo. & Existentlsm HU HU 467 Comparative Religion II SS HU 474 Contemporary Philosophy HU HU 373 Ethics HU HU 475 Freud and Mahler HU HU 374 Personality & Creativity SS HU 377 Critical Theory and the Arts SS HU 478 Aesthetics Seminar HU HU 378 Psychology of Touch SS HU 480 Psychology of Creativity SS HU 381 Urban Wildlife SCI/M HU 481 A Physics SCI/M HU 382 Social Psychology SS HU 481 B Physics SCI/M HU 483 Theories of Personality SS HU 383 Personality & Adjustment SS HU 384 Abnormal Psychology SS HU 484 Educational Psychology SS HU 385 Concepts of Modern Physics SCI/M HU 485 Brain and Behavior SCI/M HU 386 Human Genetics SCI/M HU 492 Vienna and Berlin HU HU 388 Perception SCI/M HU 495 Dante in the Modern World LIT HU 497 Women and Sex Roles LIT HU 389 Evol. in Modern Perspective SCI/M HU 390 Mass Media SS CM 250 History of Communication SS HU 392 American Musical Theater HU CM 251 Communication Theory and HU 393 African American Culture SS Culture in the 20th Century SS HU 394 Play, Performance and Lit. HU CM 260 Media Industries SS

HU 410 The Uncanny LIT DA 117 Survey of Music HU (DH/Dance majors) HU 411 A Renaissance Literature LIT DA 211 A Dance History I HU (DH/Dance majors) HU 411 B Shakespeare LIT DA 211 B Dance History II HU (DH/Dance majors) HU 412 Detective Film and Fiction LIT HU 413 Lit & Film: From Text to Screen LIT

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 21 Distribution Key: LIT = Literature SS = Social Science MM 271 Survey of Multimedia HU SCI/M = Science/Math MM 360 Psychology of Human/Computer HU = Humanities Interaction SS DH = Discipline History MU 301 A Music History I HU (DH/Dance majors) MU 301 B Music History II HU (DH/Dance majors)

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

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

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

TH 312 A Musical Theater History I HU (DH/MusTh majors) TH 312 B Musical Theater History II HU (DH/MusTh majors) WM 251 Narrative Cinema I HU (DH/Film & Anim Majors) WM 252 Narrative Cinema II HU (DH/Film & Anim Majors) WM 253 History of Television HU

22 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Liberal Arts Faculty Richard Farnum Barbara Korb Associate Professor Senior Lecturer Juan Sebastian Agudelo AB, Princeton University BA, Temple University Adjunct Assistant Professor PhD, University of Pennsylvania MFA, University of the Arts BA, MA, Southern Illinois University MBA, Philadelphia College of Textiles Kevin Finn and Science Steven Antinoff Senior Lecturer PhD, Drexel University Senior Lecturer BA, Wilkes University BA, Temple University MA, University of Delaware Elizabeth Kostova MA, Temple University Senior Lecturer PhD,. Temple University Janet Fishman BA, Yale University Senior Lecturer John Baker BA, Brandeis University Anita Lam Adjunct Assistant Professor MA, Villanova University Adjunct Assistant Professor AB, Washington University BA, Beaver College STB, Gregorian University Eileen Flanagan MA, Temple University PhD, Brown University Senior Lecturer BA, Duke University Andrew Lamas Ann Richman Beresin MA, Yale University Senior Lecturer Assistant Professor AB, Davidson College BA, Tufts University Cheryl Floyd MA, University of London MEd, Harvard University Senior Lecturer JD, University of Pennsylvania Law School PhD, University of Pennsylvania BA, Chestnut Hill College MA, PhD, Temple University Cris Larson Stephen Berg Senior Lecturer Professor Nancy Heller BFA, Rhode Island School of Design BA, State University of Iowa Professor MFA, Rutgers University AB, Middlebury College Donald Chant Bohn MA, PhD, Rutgers University Sharon Lefevre Senior Lecturer Adjunct Assistant Professor BS, Gettysburg College Eugene Howard BA, Princeton University Senior Lecturer MA, MPhil, Columbia University Caroline Cassells BA, Antioch University Senior Lecturer MA, Norwich University Katharina Mach BA, University of Maryland Senior Lecturer MA, University of Virginia Jamer Hunt BA, Paedagogische Hochschule, Visiting Assistant Professor Heidelberg, Germany Lawrence Curry BA, Brown University MFA, Southern Illinois University Associate Professor PhD, Rice University BA, MA, University of Pennsylvania Gina Masucci MacKenzie John Jernigan Senior Lecturer Nancy Davenport Senior Lecturer BA, St. Joseph’s University Professor BA, Swarthmore College MA, Temple University BA, MA, Bryn Mawr College MA, Temple University PhD, University of Pennsylvania George Marcus Elise Juska Senior Lecturer Jack DeWitt Senior Lecturer BA, Brandeis University Associate Professor BA, Bowdoin College BA, Northeastern University MA, University of New Hampshire Mary Martin MA, PhD, University of Connecticut Adjunct Assistant Professor Anne Karmatz BA, Macalester College Mary Ellen Didier Adjunct Associate Professor MA, Washington University Senior Lecturer BA, University of Pittsburgh BA, University of Wisconsin MS, University of Pennsylvania Chris Myers MA, University of Chicago MA, Villanova University Associate Professor BA, University of Toledo Samuel Durso Jeannine Keefer MFA, Yale University Adjunct Assistant Professor Senior Lecturer BA, MA, Temple University BA, St. Mary’s College MA, University of Virginia

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 23 Stewart Netsky Sid Sachs Fabian Ulitsky Adjunct Associate Professor Senior Lecturer Associate Professor BS, Drexel University BFA, Tyler School of Art BA, MEd, Temple University MA, Philadelphia College Art MFA, Rutgers University MFA, Tyler School of Art Judith Vassallo Craig J. Saper Adjunct Professor Martha Nichols Assistant Professor BA, American International College Senior Lecturer BA, MA, PhD, University of Florida MA, University of Pennsylvania BA, Antioch College MFA, Bard College Mikhail Sergeev Susan T. Viguers MA, Villanova University Adjunct Assistant Professor Professor BA, Moscow State University BA, Bryn Mawr College Paul Nolan MA, PhD, Temple University MA, University of North Carolina Adjunct Assistant Professor at Chapel Hill BA, Shenandoah Conservatory of Music Martha Shaw PhD, Bryn Mawr College MA, Hahnemann University Senior Lecturer BA, Smith College Stanley Ward Elie Noujain Adjunct Assistant Professor Senior Lecturer Frank Smigiel BA, Duke University BS, University of London Adjunct Assistant Professor MA, PhD, Harvard University PhD, London School of Economics BA, University of Pittsburgh MA, PhD, University of Delaware Faith Watson Martin Novelli Senior Lecturer Adjunct Professor David Spolum BA, MA, University of Pennsylvania BS, St. Joseph’s University Senior Lecturer MA, Purdue University BSS, Cornell College William Webster PhD, JD, Temple University MA, Temple University Associate Professor BM, Curtis Institute of Music Christopher Patton Noah Brodie Spring BA, University of Iowa Senior Lecturer Senior Lecturer PhD, University of Pennsylvania BA, Oberlin College BA, Yale University MFA, Columbia University MFA, University of South California Carla Weinberg U Adjunct Associate Professor Andrew Petto Peter Stambler Dottore in Lingue, University of Pisa Associate Professor Director of Liberal Arts BA, Middlebury College Professor Burton Weiss MA, PhD, University of Massachusetts, BA, Yale University Adjunct Professor Amherst MFA, Carnegie-Mellon University BA, MA, PhD, Princeton University PhD, Syracuse University Steve Reeder Toby Zinman Senior Lecturer Andrew Stein Professor BA, West Chester University Senior Lecturer BA, MA, PhD, Temple University MA, Villanova University BA, Grinnell College MA, PhD, Indiana University Robin Rice Adjunct Assistant Professor Patricia Stewart BFA, Ohio Wesleyan University Adjunct Associate Professor MA, University of Missouri BA, University of Pennsylvania

Catherine Robert Dena Sukol Adjunct Assistant Professor Senior Lecturer BA, Connecticut College for Women BA, JD, Temple University MA, PhD, University of Pennsylvania Denise Tanyol William Rudolph Senior Lecturer Senior Lecturer BA, Johns Hopkins BA, University of Nebraska, Lincoln MA, University of Southern Texas MA, University of Virginia

24 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 UArts 2001 Graduate CourseCatalog Undergraduate and • 2002

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

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

26 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Exhibition Program elective courses in computer concepts, digital multimedia, and The Exhibition Program showcases major contemporary electronic media production, at introductory, intermediate, and exhibitions related to the University’s diverse academic curricula in advanced levels for all students regardless of their major. UArts design, crafts, and the fine arts. remains dedicated to continuing this leadership role of preparing Over the years, the Rosenwald-Wolf Gallery, the University’s primary students for career opportunities in traditional and electronic media. exhibition space, has attracted national and international artists to the campus. Artists who have had one-person exhibitions in the Advanced Computing and Simulation Laboratory gallery include Vito Acconci, Siah Armajani, Alice Aycock, Willie Cole, The graduate Industrial Design studio is equipped with Macintosh Gregory Crewdsen, Richard Fleishner, April Gornik, Lois Greenfield, computers and adjoins an advanced computing lab equipped with Alex Grey, John Hejduk, Barbara Kasten, Mel Kendrick, Jon Kessler, Windows NT, and Macintosh computers. Donald Lipski, Henry Moore, Ree Morton, Robert Motherwell, Thomas Nozkowski, Irving Penn, Anne and Patrick Poirer, Judith Shea, Pat Media Arts Studios Steir, Lenore Tawney, Paul Thek, George Trakas, and Lebbeus Woods. The Media Arts Department (photography/film/video/animation) In addition, the gallery has presented notable historic exhibitions of provides students with high-end equipment and studios modeled after design: Alexei Brodovich, Czech Cubism, Charles Eames, frogdesign, professional environments. Media Arts houses two Master Series and Memphis. Oxberry animation stands, as used by Disney and other professional Additional exhibition spaces in Dorrance Hamilton Hall Galleries, firms, to film animation drawings, which enable students to produce the Solmssen Court Gallery, and the Window on Broad furnish professional-quality work. In addition, Media Arts digital facilities opportunities for faculty, alumni, students, and regional talents. include three AVID digital video editing systems, a Windows NT Nearly every department also launches its own series of exhibits. The computer animation lab, and a 16-station closed-loop color- Mednick Gallery in Media Arts, the Painting/Drawing Gallery, the calibrated digital imaging computer lab. The digital imaging lab Printmaking Gallery, the Richard C. von Hess Illustration Gallery, and includes high-resolution digital printers, film and flat-bed scanners, the Ceramics/Sculpture Gallery all show work of emerging and and an 8K film recorder and high-capacity storage to accommodate established artists. Student-run invitational and juried exhibitions digital video. give students the experience of installing shows. Museum Exhibition Other Media Arts facilities include state-of-the-art high-ventilation Planning and Design MFA students gain experience and skills from darkrooms with 4x5 enlargers, a black-and-white RC print processor, their practical work in the galleries. Highlights of the year are the a color darkroom with 14 individual stations and a 32” RA-4 color Annual Student Show, a featured Commencement event, the Student print processor, four photography shooting studios with all the Scholarship Exhibition, and Senior Student and Master of Fine Arts essential equipment for studio photography, two animation shooting exhibitions. studios, a specially built and acoustically isolated film shooting studio, two fully equipped sound studios, five flatbed film editors, as well as video editing, a Casablanca editing system, splicers, synchro- Special Facilities nizers, and projectors. Anderson Hall is a nine-story visual arts facility which houses a The Media Arts equipment Room serves student needs by checking spacious gallery, studios, classrooms, and a library designed with a out animation, film, and photography equipment, including lights, feeling of openness. Through the combination of Anderson Hall, cameras, tripods, animation discs, and sound equipment. The Dorrance Hamilton Hall, and the Terra Building, the University Equipment Room is open seven days a week and offers extended hours provides a wealth of modern studios, shops, labs, equipment, galleries, on weekdays. and libraries to support the making of art. The variety of studios and equipment is extensive, ranging from Borowsky Center for Publication Arts woodworking and metal shops, printmaking and computerized The Borowsky Center for Publication Arts is both a unique typesetting shops, to fine arts, crafts and design studios, and photo, educational arm of the University and a printing facility that provides film, and digital imaging labs. Four large kilns enhance ceramic- students, staff, faculty, and visiting artists a resource to explore the making capabilities and a forge has been built for sculpture. A large creative potential inherent in the offset lithographic printing weaving shop is complete with dozens of looms and a dyeing room. A medium. The Center enables qualified users to experience the nineteenth-century carriage house was converted into a skylit figure- complete graphic arts process from initial conceptualization through modeling studio for sculpture students. production, while maintaining the highest printing standards. The Center is equipped with state-of-the-art equipment, including a Digital Technology/Electronic Media Heidelberg Kors 19” x 25” offset press, a Dos flatbed horizontal Advances in digital technologies have established the computer as camera, a darkroom for shooting and developing negatives, and an essential tool for creative work. Artists, designers, and performers platemaking and stripping facilities. Staffed with two master printers will increasingly be responsible for the development of new digital and student assistants, the Borowsky Center produces a wide variety of media. These advances are creating a wealth of job opportunities for printed material including posters, catalogs, brochures, individuals with creative talent that is unparalleled in the history of announcements, and limited edition prints. The Center’s Fact Sheet, the arts. which includes all procedures for project submittal, is available in the Since 1981, The University of the Arts has been a leader in the field CAD Dean’s office. of computer-mediated art and design education in the north-east region. The University has carefully integrated new media technologies into traditional fields of study within art and design disciplines. Additionally, the Electronic Media department offers studio

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 27 and meetings with advisors as often as necessary to deal with any Undergraduate Programs problems that arise. Students may request a credit count from the Office of the Registrar at any time. All freshman students enter the 18-credit Foundation core program Transcript copies of student records are supplied on request to that includes courses in drawing, two-dimensional design, three- faculty advisors by the Registrar following the recording of grades dimensional design, and time-motion studies. The Foundation each semester. program introduces the basic language and processes of the visual arts and prepares the students for entry into a major department. Credit Distribution Through freshman elective course offerings, students are introduced The student is ultimately responsible for completion of all course to major course options and opportunities offered by the College of requirements for the degree program in which he/she is enrolled. The Art and Design. College requires a minimum of 123 credits for graduation (126 for In the sophomore year, students select a major from one of the the BS in Industrial Design). A student carrying an average of 15.5 following departments: credits per semester would be making normal academic progress Crafts: (Ceramics, Fibers, Metals, Wood) toward graduation. Fine Arts: Painting & Drawing, Printmaking, Sculpture The general credit structure for the BFA is as follows: Graphic Design Illustration Courses Credits Industrial Design Foundation 18 Media Arts: Animation, Film/Video, Photography Major department credits 42 The major program is augmented by required and elective courses Studio Elective 21 in other departments in CAD, CPA, and CMAC to encourage an Liberal Arts 42 awareness of the productive interaction that can occur between the many disciplines available at the University. Alternative career Total credits 123 opportunities are often developed by students stimulated by courses outside their major. Studio Electives The college currently offers three concentrations and seven minor • Major studio departments may require up to 6 credits in another programs that can augment or complement the student’s major studio major, and/or Liberal Arts. course of study. • Students may elect to replace up to 6 studio elective credits with Many departments offer internships and practicums to study off- Liberal Arts courses. campus during the junior and senior years. Frequent field trips to • Students are required to take at least 9 credits of studio elective museums, galleries, artists’ studios, and design studios in courses outside of their major program. Philadelphia, New York, and Washington, D.C. supplement their • Elective studio credits may be completed in any department at regular work in studios and workshops. the College of Art and Design, the College of Performing Arts, or the College of Media and Communication. Academic Advising Academic advising at the University is designed to provide Major Program Requirements maximum information and assistance to students from the time they The professional orientation and preparation of the College of Art enter the Foundation program in their freshman year until they and Design’s undergraduate major degree programs require students complete their final semester as seniors. to achieve beyond the University’s minimum academic standards. In the Foundation year, each student is assigned to a Foundation Students must achieve a grade of “C” or better in all College of Art section with its own advisor. Each student is required to meet with the and Design major course requirements and any required courses in advisor at least once each semester and is encouraged to seek out the other departments, including a discipline history if applicable. advisor as soon as any difficulties begin to occur. Students who receive a grade of “C-” or lower in a required At the end of the Foundation year, when the student selects and major course must repeat the course. The degree requirement for enters one of the major departments, the student is assigned to a that student will be increased by the number of credits that must faculty member who teaches in that department. This faculty member be repeated. serves as that student’s advisor for the next three years. Each student Students who receive “C-” or lower grades in major courses are meets with his or her advisor at least once a semester to discuss the required to schedule an appointment with the chair of their student’s academic program. department during the first week of classes of the semester In addition, there are three formalized advising sessions: (1) First immediately following the semester in which the “C-” or lower grade semester, sophomore year, first two weeks: When students enter a was received. After advising with the chair, students must adjust their major department, the advisor meets in small groups (4-5 students) schedule accordingly during the drop/add period. to orient them to collegiate and departmental academic requirements A student who receives more than one grade of “C-” or lower in and standards, departmental expectations, elective options and required major courses in a given semester will be reviewed by the opportunities, program strategies, two-year planning, and office Academic Review Committee and placed on academic censure, even if hours; (2) Second semester, junior year: Individual meetings to review the student’s GPA is above 2.0. progress and credit-counting sheets, plan final year (both semesters), and review graduation requirements; (3) Last semester: Exit interview,

28 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Excessive grades of “C-” or lower in major coursework may result Book Arts Minor in dismissal. Students who are unable to achieve minimum grades in This minor emphasizes the development of skills related to major coursework are advised to speak with their advisor and consider designing and creating books, incorporating both type and imagery. transferring to another major. Instruction in image making in multiples through printmaking The Art Therapy and Education concentrations are special courses processes, basic typesetting techniques, and introductory bookbinding of study that are offered in conjunction with the studio major methods are studied. Fine Arts-Printmaking majors may not declare a programs. Interested students should refer to the program Book Arts minor. requirements of those concentrations. Every student must have the approval of his or her department to PR201 Relief Monotype or 3.0 credits proceed to the next level of coursework. Advising is a shared responsi- PR204 Screenprinting - Etching bility between the department and the student. Each must remain PR307 Book Arts: Concept and Structure 3.0 informed about the student’s progress toward graduation. Finally, the PR326 Intro to Offset Litho 3.0 student’s petition to graduate must be approved by the department PR425 Book Production 3.0 advisor or chairperson in consultation with his/her faculty. PR223 Bookbinding Methods 1.5 PR224 Book Arts Structures 1.5 CAD Minors/Concentrations The College of Art and Design offers minors and concentrations Figurative Illustration Minor that enable a student to focus on a specific discipline through The focus of this minor is on work with the figure in space. Old organized electives. Students wishing to include a minor or concen- master and traditional drawing and painting techniques are tration are governed by the following guidelines: demonstrated and utilized as the student concentrates on the 1. A student may not take a major and a minor or concentration in development of skills related to figurative drawing and painting. the same subject. Minors must be taken in a program other than the Illustration majors may not declare a Figurative Illustration minor. major. 2. Courses applied to the minor or concentration may not be used IL 200 A Pictorial Foundation 3.0 credits for the major, but students may include this coursework as part of IL 200 B Pictorial Foundation 3.0 their studio elective degree requirement. IL 202 A Figure Anatomy 3.0 3. All minors require a minimum of 15 credits, which are defined IL 202 B Figure Anatomy 3.0 by the department; generally, no substitution is allowed. IL 303 Figure Utilization 3.0 4. Students must declare their intent to complete a minor or concentration by filing the Minor Declaration Form in the Office of Film/Video Minor the Registrar. This form must be signed by the student’s major and This minor provides training in film and video technology. minor advisors. Once a minor or concentration is on file in the Students work on their own as well as in teams with other students. Registrar’s Office, any changes must be discussed with the faculty Animation and Film/Video majors may not declare a Film/Video advisor. minor. 5. A student pursuing a minor or concentration may be required to complete more than the minimum number of credits required for PF 210 A Introduction to Film I 3.0 credits graduation. PF 210 B Introduction to Film II 3.0 6. Minors and concentrations are available only to undergraduate PF 310 A Junior Cinema Production I 3.0 students. PF 320 Film Sound 3.0 7. Students wishing to pursue a minor or concentration must meet PF 322 Media Technology 3.0 eligibility requirements, which may include satisfactory completion of foundation courses, prerequisites, and departmental portfolio review. Photography Minor The Photography minor stresses a fine-art approach to Currently available minors/concentrations: photography. It provides the basics of black and white as well as color Animation Drawing Minor photography and digital imaging. The emphasis is placed on gaining This minor concentrates on the development of drawing skills that experience in a wide range of pictorial photographic applications. embrace a sense of timing and movement. The program also includes Once a student has mastered basic photographic technique, materials instruction in the basics of film and video technology. Film/Video and and processes that are used to manipulate photographic imagery are Animation majors may not declare an Animation Drawing minor. explored. Creativity and personal expression are emphasized in all of these courses. Photography majors may not declare a Photography PF 210 A Introduction to Film I 3.0 credits minor. PF 212 A Introduction to Animation I 3.0 PF 212 B Introduction to Animation II 3.0 PF 211 A Introduction to Photo I or 3.0 credits PF 312 A Junior Animation Workshop I 3.0 PF 209 Photo for Illustrators PF 312 B Junior Animation Workshop II 3.0 PF 211 B Introduction to Photo II 3.0 PF 217 Color Concepts 3.0 PF 311 A Junior Photography Workshop 3.0 PF 315 Digital Photo Workshop 3.0

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 29 Studio Photography Minor Art Education Pre-Certification Concentration This minor is designed to give the student mastery of the full range This concentration is designed to be taken in conjunction with a of camera formats from a 35mm small format up to a 4x5 studio view regular studio major in the CAD BFA program. In addition to meeting camera. Technical training covers electronic strobe and tungsten the requirements of a major studio department, students take courses studio lighting as well as color transparency film and conventional in the Art Education Department, plus prescribed courses in liberal black-and-white, and color photographic print materials and arts, photography, electronic media, and other studio areas. Please see techniques. Advanced-level classes concentrate on design and creative the Art Education program description for additional information, approaches to staged and directed shooting. Photography majors may requirements, and regulations. not declare a Studio Photography minor. Art Therapy Concentration GD 310 Photographics 3.0 credits While enrolled in one of the BFA programs in CAD, students may PF 211 A Introduction to Photo or 3.0 also elect this concentration, which introduces them to the discipline PF 209 Photo for Illustrators of art therapy on the undergraduate level. Students take four PF 217 Color Concepts 3.0 designated courses in psychology and behavioral science, which can PF 313 A Basic Photography Studio I 3.0 also count toward the liberal arts requirements of their BFA program, PF 313 B Basic Photography Studio II 3.0 and 15 credits of art therapy courses, which are considered as studio electives. Please see the Art Therapy program description for Typography Minor additional information, requirements, and regulations. The student learns the basic visual grammar of typography, incorporating this knowledge into information-based interpretations. Internships Intermediate studies are concerned with the informational and Crafts, Fine Arts, Media Arts, Illustration, and Design sponsor an editorial uses of typography as well as multi-page formats. The internship course open to all CAD students regardless of their majors. advanced level develops a sophisticated expertise in solving complex Internships are voluntary and valuable. They reinforce and expand messages through typographic expression. Graphic Design majors classroom theory and practice and allow the student to test possible may not declare a Typography minor. career choices and get a feel for the workplace. Each participating department has an Internship Faculty Advisor GD 212 Typography Fundamentals 3.0 credits who is responsible for coordinating the internships, placing students EM 201 Electronic Media/Production I 1.5 * with workplace sponsors, advising students on course requirements, EM 202 Electronic Media/Production II 1.5 ** and deciding on the final pass/fail grades. GD 306 A Typography Emphasis 3.0 * Students who are interested in pursuing an internship may obtain GD 306 B Typography Emphasis 3.0 ** Internship information from their faculty advisor, the Career Services GD 426 Advanced Typography 3.0 Office, or the Dean’s Office in CAD. Students sign up for internships during the registration process. The internship course is graded on a * It is recommended that these two courses be taken concurrently, pass/fail basis and carries 3 academic credits. when possible. ** It is recommended that these two courses be taken concurrently, when possible. Foreign and Summer Study Programs Foreign and summer studies are available through a number of Digital Fine Arts Concentration programs hosted by other institutions. Interested students should meet This concentration is designed for students grounded in traditional with the chair of their major department to discuss the appropriate two- and three-dimensional art and design principles who wish to program, timing, and feasibility of off-campus study. Those who incorporate digital tools and technology to create highly personalized choose to participate should contact the Registrar and Financial Aid artistic statements. While conceptually and procedurally digitally Office for advising on transfer of credit and financing. Those based, the digital fine arts concentration provides for physical output programs most popular with College of Art and Design students are: in two-, three- and four-dimensional realms as well as combined • The Academies of Fine Arts in Florence and Rome, Italy formats. Working closely with advisors, the student selects 15 credits • Parsons School of Design in Paris, France from categories I and II, with a 6-credit minimum in each category. • Skowhegan School of Painting and Sculpture in Maine • Tyler School of Art in Rome, Italy I. Imaging, Interactivity, and Sound Options: • Vermont Studio Center, Vermont * EM 210 Digital Multimedia 3.0 credits * The University of the Arts is the accrediting institution for the PF 216 Computer Animation 3.0 Vermont Studio Center and our students receive a discount on PF 315 Digital Photo Workshop 3.0 tuition charges. Interested students should contact the Office of MU 149 A Aural Concepts 3.0 the Dean for advising and the Office of Continuing Studies for MU 415 A Intro to MIDI 3.0 registration procedures. PF 218 Creative Sound 3.0 PR 412 Advanced Printmaking Media: Digital Applications 3.0 credits PR 425 Book Production 3.0 PF 322 Media Technology 3.0 ID 425 Advanced Computer-Aided Design 1.5

30 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Cooperative Program with Philadelphia University An agreement between The University of the Arts and Philadelphia University (formerly Philadelphia College of Textiles and Science) permits a limited number of students in each institution to register for a maximum of 3 undergraduate credits per semester at the sister institution without the payment of additional tuition. Students are limited to a total of 6 undergraduate exchange credits during their four-year enrollment at the home institution. Registration is available on a selective basis for qualified students and is restricted to courses not offered at the home institution. Interested students should contact the Office of the Registrar at 215-717-6420, for additional information and registration materials. Student Exchange Students in good standing from other institutions may attend the College for either one or two semesters on a full-time basis. To be eligible, a student must have completed the freshman year at the home institution and receive approval from the department chair of the major department in the College of Art and Design. In addition, the student must provide a letter from the dean of the home college granting permission to take courses at The University of the Arts and agreeing to accept those credits for credit at the student’s own institution. All University expenses are the responsibility of the student. Inquiries should be addressed to the Office of the Dean, at 215-717-6120. Association of Independent Colleges of Art and Design (AICAD) Mobility Program The College of Art and Design at The University of the Arts is a member of the Association of Independent Colleges of Art and Design (AICAD). Students in good standing may spend a semester (with a possible extension to two semesters on a space-available basis) as a guest at another member institution. Students remain matriculated at The University of the Arts, and with their advisor’s prior approval will receive full credit for work done at one of the following cooperating institutions:

Art Academy of Cincinnati Otis College of Art and Design Students apply through their home Art Institute of Boston Pacific Northwest College of Art institutions, which are responsible for the Art Institute of Southern California Parsons School of Design selection of participants. For further Atlanta College of Art Pennsylvania Academy of the Fine Arts information, contact the Office of the Dean, California College of Arts and Crafts Rhode Island School of Design 215-717-6120. College for Creative Studies Ringling School of Art and Design Cleveland Institute of Art San Francisco Art Institute Columbus College of Art and Design School of the Art Institute of Chicago Cooper Union School of Art School of the Museum of Fine Arts, Corcoran School of Art Boston Kansas City Art Institute Lyme Academy of Fine Arts AICAD International Affiliates Maine College of Art Alberta College of Art and Design Maryland Institute, College of Art Emily Carr Institute of Art and Design Massachusetts College of Art Nova Scotia College of Art and Design Memphis College of Art Ontario College of Art and Design Milwaukee Institute of Art and Design Minneapolis College of Art and Design Montserrat College of Art Moore College of Art and Design Oregon College of Art & Craft

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 31 Midyear Admission The full-time freshman student is typically Foundation Program In addition to the typical September start scheduled for 16.5 credits each semester, date, students may also enter midyear and usually as follows: Niles Lewandowski begin the Foundation Program in January. [email protected] The department schedules first-semester core Foundation Credits Michael Rossman courses during the spring semester, and a [email protected] seven-week, 9-credit, intensive second Fall/Spring Co-Chairs semester between mid-May and the end of FP 100 B Drawing 3.0 215-717-6210 June. Midyear admits who successfully FP 120 A 2-D Design 3.0 complete the two-semester Foundation FP 190 A 3-D Design 3.0 The Foundation Program in the College of Program between January and June can Electives 1.5 Art and Design provides incoming freshmen enter their major program of study in the fall HU 110 A First Year Writing I 3.0 with a year devoted to a basic understanding of the same calendar year in which they HU 103 A Intro to Modernism I 3.0 of principles and concepts in the visual arts. entered the program. Semester Total 16.5 During the first semester each student is a Facilities Spring/Summer member of a Foundation section and takes Choose any 3 courses Two-Dimensional Design, Three- In addition to the numerous multipurpose FP 100 B Drawing 3.0 Dimensional Design, and Drawing. During studios used by Foundation students for their the second semester students select a regular class activities, the Foundation FP 120 B 2-D Design 3.0 minimum of 9 credits (3 courses) from Program provides other facilities to support FP 190 B 3-D Design 3.0 the four courses offered by Foundation: and enrich studio projects. FP 140 Time and Motion 3.0 Two-Dimensional Design, Three- The Foundation Shop is used for all Electives 1.5 Dimensional Design, Drawing, and Time Three-Dimensional Design and Time and HU 110 B First Year Writing II 3.0 and Motion. Each class meets for three Motion classes and provides all Foundation HU 103 B Intro to Modernism II 3.0 hours, twice a week. students with the opportunity to work with a Semester Total 16.5 Each section of students is taught by a diversity of materials such as wood, metal, Freshman Year Total 33.0 team of faculty who are professionals in their plastic, and stone. The Foundation Shop various fields of art and design; many hold houses a wide range of power equipment, the rank of Professor and Associate Professor. including band saws, scroll saws, sanders, * Under certain circumstances students In Foundation courses, faculty stress not only table saw, chop saw, and other power tools. make take all four second-semester the independent qualities of a discipline but The Shop is monitored by a full-time Shop Foundation courses. also its interdependent character. Through Supervisor and is open from 8am to 4pm these basic studies and their interaction, Monday through Friday. students discover the underlying values and The Nature Lab (the Visual Resource principles important to all visual arts. Center) contains an extensive selection of Classroom work is enriched by home natural and man-made objects that serve as assignments, critiques and reviews, guest a source for research that enhances and artists, films, slides, and class trips. One complements the educational experience. faculty member from the section’s team is The Nature Lab is used frequently by all designated as the advisor to that section. Drawing classes. It is also well utilized by Students meet individually with the advisor Three-Dimensional and Two-Dimensional to discuss concerns, the registration process, Design classes. Some of the many objects in and their choice of major. our collection include rocks, minerals, The student chooses an additional course animal skeletons such as birds, cats, turtles, offered by the major studio departments each human skeletons and skulls, plant forms, sea semester. These elective courses are designed shells, sea horses, coral, horseshoe crabs, to acquaint the student with the practices of taxidermy reptiles, bats, frogs, and more. the major studio areas. Students also register Students are invited to use the Nature Lab in for two Liberal Arts courses in each semester, addition to their scheduled class time. as required by the University core.

32 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Foundation Faculty Elsa Johnson Foundation Professors Emeritus Professor David V. Berger BFA, Cooper Union Edna Andrade Senior Lecturer MFA, University of Pennsylvania Robert McGovern BFA, The University of the Arts Oscar Mertz, Jr. MFA, Pennsylvania Academy of the Fine Arts Niles Lewandowski Richard Stetser Associate Professor Lowell Boston BFA, Maryland Institute College of Art Adjunct Assistant Professor MFA, University of Pennsylvania BFA, The University of the Arts MFA, California Institute of the Arts David Love Senior Lecturer Bill Brown BFA, Columbus College of Art & Design Senior Lecturer MFA, Pennsylvania State University BA, Temple University MFA, Washington University Larry Mitnick Associate Professor Mark Campbell BArch, Cooper Union Associate Professor MArch, Harvard University BFA, Philadelphia College of Art MFA, Mills College Diane Pepe Adjunct Associate Professor Charles Cooper BFA, Carnegie Mellon University Senior Lecturer MFA, University of New Mexico BFA, Philadelphia College of Art MFA, Yale University Boris Putterman Associate Professor Eileen Goodman Diploma, Cooper Union School of Art Adjunct Professor BFA, Philadelphia College of Art BFA, Philadelphia College of Art MFA, Indiana University MFA, Tyler School of Art, Temple University Leo Robinson Michael Grothusen Master Lecturer Assistant Professor BA, Howard University BFA, University of Kansas MFA, Cranbrook Academy of Art MFA, Tyler School of Art, Temple University Michael Rossman Gerald Herdman Professor Associate Professor BID, MFA, Pratt Institute Certificate, Cleveland Institute of Art MFA, University of Pennsylvania Karen Saler Associate Professor Steven Jaffe BFA, Philadelphia College of Art Associate Professor MFA, Maryland Institute College of Art BFA, Philadelphia College of Art MFA, Tyler School of Art, Temple University

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 33 Crafts Faculty James Makins Crafts Professor Susie Brandt BFA, Philadelphia College of Art Roy Superior Assistant Professor MFA, Cranbrook Academy of Art [email protected] BFA, Philadelphia College of Art Chairperson MFA, The School of the Art Institute of Rod McCormick 215-717-6100 Chicago Professor BFA, Tyler School of Art, Temple University The Crafts Department seeks to develop Sharon Church MFA, Rhode Island School of Design artists of originality and resourcefulness who Professor can excel in the most competitive profes- BS, Skidmore College Kris Parker sional environment. Studio experience is MFA, School for American Craftsmen, Senior Lecturer provided in four major craft areas: ceramics, Rochester Institute of Technology BFA, Maryland Institute fibers, metals, and wood. There are also MFA, Tyler School of Art, Temple University offerings in glass, plaster, and papermaking William Daley to complement the curriculum. Professor Emeritus Diane Pepe Each crafts area offers a balanced concen- BA, Massachusetts College of Art Adjunct Associate Professor tration in both the technical and aesthetic MA, Columbia Teachers College BFA, Carnegie Mellon University aspects of the medium. While practical MFA, University of New Mexico training and specialized skills are necessary Christopher Darway for creative ability, the conceptual and Senior Lecturer Judith Schaechter expressive evolution of each student is the BFA, Philadelphia College of Art Adjunct Professor essential focus of the department. An BFA, Rhode Island School of Design ongoing study of the contemporary crafts Larry Donahue movement is seen as an integral element for Adjunct Associate Professor Warren Seelig those involved in the program. The range of BFA, Philadelphia College of Art Distinguished Visiting Professor faculty in each area provides the student with MA, The University of the Arts BS, Philadelphia College of Textiles exposure to a diversity of professional and Science perspective and experience. Rachel Fuld MFA, Cranbrook Academy of Art Through an incisive and rigorous Lecturer curriculum, the department prepares BA, Oberlin College Patricia Marie Siembora students for professional involvement in Lecturer their craft. Roland Jahn BFA, MAT, The University of the Arts Upon graduation, students elect to become Associate Professor independent artists, teachers, or designers, or BA, MS, MFA, University of Wisconsin Lizbeth Stewart find employment in industry. Individuals Associate Professor often combine these occupations in order to Gabrielle Kanter BFA, Moore College of Art meet their individual needs and goals. Lecturer BFA, The University of the Arts Roy Superior MFA, Cranbrook Academy of Art Professor BFA, Pratt Institute Alec Karros MFA, Yale University Visiting Assistant Professor BFA, Philadelphia College of Art MFA, Rhode Island School of Design

Lucartha Kohler Senior Lecturer Moore College of Art Carnegie Mellon University

Jack Larimore Adjunct Associate Professor BS, Michigan State University

Barbara Mail Senior Lecturer BS, State University of New York at Buffalo MFA, State University of New York at New Paltz

34 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Crafts Bachelor of Fine Arts 123 credits

Foundation Credits Junior Credits Fall/Spring Fall FP 100 B Drawing 3.0 CR300 A Projects II 3.0 FP 120 A 2-D Design 3.0 CR XXX Media Specific Course 3.0 FP 190 A 3-D Design 3.0 CR XXX Media Specific Course 3.0 Electives 1.5 (300 level/advanced) HU 110 A First Year Writing I 3.0 Electives 3.0 HU 103 A Intro to Modernism I 3.0 HU 253 History of Crafts 3.0 Semester Total 16.5 Fall Total 12.0 Spring/Summer Spring Choose any 3 courses CR300 B Projects II 3.0 FP 100 B Drawing 3.0 CR XXX Media Specific Course 3.0 FP 120 B 2-D Design 3.0 (300 level/advanced) FP 190 B 3-D Design 3.0 Electives 3.0 FP 140 Time and Motion 3.0 HU XXX Liberal Arts 6.0 Electives 1.5 Spring Total 15.0 HU 110 B First Year Writing II 3.0 Junior Year Total 30.0 HU 103 B Intro to Modernism II 3.0 Semester Total 16.5 Senior Freshman Year Total 33.0 Fall CR400 A Projects III 3.0 Sophomore CR XXX Media Specific Course 3.0 Fall (300 level/advanced) CR200 A Projects I 3.0 Electives 3.0 CR XXX Media Specific Course 3.0 HU XXX Liberal Arts 6.0 CR XXX Media Specific Course 3.0 Fall Total 15.0 HU 140 A Art History Survey I 3.0 Spring Fall Total 12.0 CR400 B Projects III 3.0 Spring CR XXX Media Specific Course 3.0 CR200 B Projects I 3.0 (300 level/advanced) CR XXX Media Specific Course 3.0 Electives 6.0 Electives 3.0 HU XXX Liberal Arts 3.0 HU140 B Art History Survey II 3.0 Spring Total 15.0 HU XXX Liberal Arts 3.0 Senior Year Total: 30.0 Spring Total 15.0 Sophomore Year Total 27.0

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 35 Crafts Curriculum Options Dual Concentration Media Specific Course Offerings: The Crafts curriculum has been designed It is possible to have a dual concentration to give the student flexibility in choice of within the Crafts Department. If the student CR 211 A/B Introduction to Throwing media concentrations. Some students may enters the sophomore year with an interest in CR 212 A/B Introduction to Handbuilding enter the Crafts department knowing the two distinct media, then by taking the CR 221 A Introduction to Fibers and Mixed Media specific medium in which they wish to prerequisite of 2 courses at the 200 level early CR 221 B Introduction to Color and the Loom concentrate. Other students may elect to on, in the sophomore and junior years, the CR 222 Introduction to Dyeing and divide their media-specific course work student can continue at the advanced level in Off-Loom Construction between two areas of potential concentration. these same two media during the junior and CR 223 A/B Papermaking Still others may want to purse a mixed media senior years. Two 3 credit courses at the CR 227 Experimental Costume Design approach to their Crafts education. All are advanced level in each concentration will CR 231 A/B Introduction to Glassblowing possible, but careful attention must be paid fulfill the 12 credit advanced level CR 232 Stained Glass to meeting departmental, college, and requirement. CR 241 A Body Adornment University requirements while pursing CR 241 B Introduction to Jewelry personal interests. Multiple Media CR 242 Introduction to Metalsmithing Of the 42 credits required for a Crafts major, 18 of these credits are devoted to the Concentration CR 243 Jewelry Rendering and Design core of Project Courses. The remaining 24 It is possible to take courses during the CR 245 Art for the Body credits are to be taken elsewhere in the Crafts sophomore and junior years in three or more CR 249 Enameling Department. However, it is important to note media. However, this will require the greatest CR 251 Introduction to Molding and Casting that 12 of those credits must be at the vigilance on the part of the student to meet CR 252 Plaster Workshop advanced (300-400) level. all requirements for graduation. Having CR 253 Ceramic Technology sampled an array of introductory courses, the CR 255 Large-Scale Handbuilding student must then take an additional CR 256 Ceramics Core Studio Projects Courses introductory course in at least one medium CR 261 Introduction to Wood Each semester all Crafts students take in order to proceed to the advanced level. To CR 277 Fabric Resists and Embellishment Projects, a core studio course. These courses meet the advanced level requirement as a CR 278 Fabric Printing provide aesthetic structure and involve multiple media student, it will be necessary discussion and investigation of broader CR 279 Paper Casting to (a) take all 12 advanced credits in one CR 280 Introduction to Metal Casting Crafts issues, with critique of student’s work. medium or (b) use studio elective credits to Students then have freedom to choose from a CR 281 Introduction to Electroforming take advanced level courses in additional CR 282 Metal Furniture variety of technique-based courses, which aid media. in developing that aesthetic. Emphasis is CR 283 Small-Scale Steelworking placed on the interdependency of all the arts, CR 285 Introduction to Furniture with particular attention given to the unique CR 286 Wood Carving contribution of Crafts; ideology and practice. CR 287 Low-Tech Furniture As a co-requisite for Projects, each student CR322 A/B Advanced Fibers Mixed Media must be enrolled in at least one 3 credit CR329 Advanced Textile Design media-specific course in a major area of CR331 Advanced Glassblowing concentration: ceramics, fibers, jewelry, CR332 Advanced Fusing and Stained Glass metalsmithing, and wood. These co- CR370 A/B Advanced Throwing requisites must be at the appropriate 200 or CR371 A/B Advanced Ceramics 300 level. Glass is currently offered as a CR380 A/B Advanced Jewelry/Metals department elective. CR381 A/B Advanced Metals CR385 A/B Advanced Furniture Single Medium CR386 Advanced Wood Concentration Students entering the department knowing the specific medium in which they wish to concentrate from sophomore through senior year, take one 3 credit media-specific course in that concentration each semester throughout the three-year journey through the department. Four media-specific courses must be at the advanced level.

36 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Fine Arts Painting/Drawing Steven Jaffe Boris Putterman Associate Professor Coordinator BFA, Philadelphia College of Art Gerald Nichols 215-717-6495 MFA, Tyler School of Art, Temple University [email protected] Chairperson The Painting/Drawing major provides a David Kettner 215-717-6495 firm basis for students to develop a profes- Professor sional involvement with their work. A BFA, Cleveland Institute of Art The Fine Arts Department provides balance is sought between the acquisition MFA, Indiana University students an opportunity to explore both the of studio skills and the development of a common and diverse nature of the Fine Arts critical intelligence. Nathan Knobler traditions of Painting/Drawing, Students are encouraged, through the Professor Printmaking/Book Arts, and Sculpture. On rigor of studio activity, to understand the BFA, Syracuse University the sophomore level students are introduced breadth of art in both its traditional and MA, Florida State University to the media and concepts of all three contemporary forms, and to gain increasing disciplines. In the junior year, students authority in their own work. Susan Lowry choose a major from one of the above studio Courses evolve from the study of basic Senior Lecturer areas to develop personal authority and working methods and concepts to the BFA, Philadelphia College of Art commitment within the discipline. The refinements of personal vision and aesthetic BA, Hamilton College senior year is focused on advanced studio judgment. In the final semester of the senior practice and performance in the major. year, each student is required to complete a Tamar Miller Upper-level Fine Arts seminars and studio thesis project, which culminates in a formal Lecturer classes are designed to foster an appreciation presentation of a paper and an exhibition of BFA, Brandeis University of the shared purposes and goals of the a coordinated body of work. MFA, Yale University contemporary fine artist. The faculty of practicing professional In addition to the major programs, artists represents a diversity of attitudes and Eileen Neff the University offers a Digital Fine Arts ideals. Through the format of studio Adjunct Professor concentration. See the listing of Minors instruction, dialogue, and critique, they seek BA, Temple University and Concentrations for information to instill in each student a habit of self- BFA, Philadelphia College of Art on requirements. instruction, which will serve far beyond the MFA, Tyler School of Art, Temple University Having encountered a diversity of program at the University. concepts, attitudes, and media from charcoal The Painting/Drawing Department Gerald Nichols to the computer, Fine Arts graduates find possesses its own gallery space where faculty, Professor career opportunities as professional, students, alumni, and invited artists have an Diploma, Cleveland Institute of Art exhibiting artists, curators and gallery opportunity to exhibit their work. MFA, University of Pennsylvania personnel, critics, mural and portrait Studio activity is augmented by lectures, painters, decorative artists, set designers, symposia, seminars, visiting artists, and field Boris Putterman printmakers, bookbinders, paper and book trips to museums and galleries. Associate Professor conservators, graphic designers, commercial Diploma, Cooper Union School of Art printers, mold-makers, commercial Painting/Drawing Faculty BFA, Philadelphia College of Art sculptors, cinematic prop makers, special MFA, Indiana University effects artists, and teachers at elementary, Eugene Baguskas secondary, and university levels. Associate Professor BFA, Yale University

Charles Cooper Senior Lecturer BFA, Philadelphia College of Art MFA, Yale University

Gerald Herdman Associate Professor Certificate, Cleveland Institute of Art MFA, University of Pennsylvania

Sharon Horvath Assistant Professor BFA, The Cooper Union MFA, Tyler School of Art, Temple University

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 37 Painting/Drawing Bachelor of Fine Arts 123 credits

Foundation Credits Junior Credits Fall/Spring Fall FP 100 B Drawing 3.0 FA 333 A Attitudes and Strategies 3.0 FP 120 A 2-D Design 3.0 PT 302 A Junior Painting 3.0 FP 190 A 3-D Design 3.0 Electives** 3.0 Electives 1.5 HU XXX Liberal Arts 6.0 HU 110 A First Year Writing I 3.0 Fall Total 15.0 HU 103 A Intro to Modernism I 3.0 Spring Semester Total 16.5 PT 334 Junior Drawing 3.0 Spring/Summer PT 302 B Junior Painting 3.0 Choose any 3 courses Electives** 3.0 FP 100 B Drawing 3.0 HU XXX Liberal Arts 6.0 FP 120 B 2-D Design 3.0 Spring Total 15.0 FP 190 B 3-D Design 3.0 Junior Year Total 30.0 FP 140 Time and Motion 3.0 Electives 1.5 Senior HU 110 B First Year Writing II 3.0 HU 103 B Intro to Modernism II 3.0 Fall PT 402 A Senior Painting 3.0 Semester Total 16.5 FA 424 Drawing References 3.0 Freshman Year Total 33.0 Electives** 6.0 HU XXX Liberal Arts 3.0 Sophomore Fall Total 15.0 Fall Spring PT 202 A Sophomore Painting 3.0 FA 460 Senior Fine Arts Seminar 1.5 FA 222 A Drawing: Form & Space 3.0 PT 402 B Senior Painting 4.5 Choose 1 course from the following*: Electives 6.0 SC 201 Sculpture I 3.0 HU XXX Liberal Arts 3.0 PR 201 Relief/Monotype 3.0 Spring Total 15.0 PR 204 Screen Printing/Etching 3.0 HU 140 A Art History Survey I 3.0 Senior Year Total: 30.0 HU XXX Liberal Arts 3.0 Fall Total 15.0 * Painting Majors must take one sculpture course Spring and one printmaking course PT 202 B Sophomore Painting 3.0 ** Electives must include at least 9 studio credits Choose 1 course from the following: outside the major FA 222 B Drawing: Form & Space 3.0 FA 223 Intro to Figure Modeling 3.0 FA 205 Concepts/Works on Paper 3.0 Choose 1 course from the following*: PR 201 Relief/Monotype 3.0 PR 204 Screenprinting/Etching 3.0 SC 202 Sculpture II 3.0 HU140 B Art History Survey II 3.0 HU XXX Liberal Arts 3.0 Spring Total 15.0 Sophomore Year Total 30.0

38 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Printmaking/Book Arts Facilities Peter Lister Lois M. Johnson The Printmaking Department provides Senior Lecturer [email protected] extensive facilities for water-based screen- Certificate, Pennsylvania Academy of Coordinator printing, stone and plate lithography, relief, the Fine Arts 215-717-6490 etching and non-silver photographic The Barnes Foundation, Philadelphia processes. The bookbinding room houses The Printmaking major bases its instruc- book presses, board shear, and a guillotine Scott McMahon tional program on the development and paper cutter. The letterpress studio contains Lecturer realization of visual ideas through multiple three Vandercook presses for printing handset BFA, The University of the Arts image-making processes. The primary type and polymer plates over 100 fonts of objectives are to develop conceptual varied type. The offset lithography press Mary Phelan abilities and technical proficiencies room features a Davidson 901 offset press Associate Professor leading the student to acquire personal used by the students for hands-on experience. BS, The College of Saint Rose imagery and professional competence in Another important resource is the MA, University of Wisconsin-Madison printmaking media. Borowsky Center for Publication Arts, which The department provides the expertise of a is equipped with a Heidelberg KORS offset Rosae Reeder faculty of professional artists for study in press and full darkroom for experimental Lecturer traditional and contemporary methods. The and production printing of student, faculty, BFA, Buffalo State University major graphic media explored include relief and visiting artist works. MFA, The University of the Arts processes, etching (intaglio), lithography stone, metal plate, and offset and waterbased Printmaking/Book Arts Faculty Anthony Rosati screenprinting and non-silver photographic Adjunct Associate Professor printmaking. Courses in book and Carol Barton BA, Rider College typographic design stimulate experimen- Senior Lecturer MFA, Tyler School of Art, Temple University tation in unifying the elements of paper, BFA, Washington University prints, typography, and bookbinding. Laurel Schwass-Drew Visiting artists, field trips, and guest Denise Carbone Lecturer lecturers supplement the studio experience. Senior Lecturer BFA, The University of the Arts Using the city as an extended workshop, BFA, Glassboro State College Print students attend seminars and museum MFA, The University of the Arts Patricia M. Smith collections. The Print Study Seminar is held Assistant Professor in the Print Room at the Philadelphia James Dupree BA, Immaculata College Museum of Art and furnishes a unique Adjunct Assistant Professor MAEd, Philadelphia College of Art opportunity to study original prints from the BFA, Columbus College of Art fifteenth through the twentieth centuries. and Design Lori Spencer The main emphasis over the three-year MFA, University of Pennsylvania Adjunct Assistant Professor undergraduate period of study is on the BFA, State University of New York, evolution of students as artists who make James Green Purchase individualized demands upon the media. As Master Lecturer MFA, The University of the Arts with any study in the fine arts, the experience BFA, Oberlin College should be multidimensional, reflective of a MPh, Yale University Sarah Van Keuren broad range of personal and professional MLA, Columbia University Adjunct Professor involvement, and reinforced with BA, Swarthmore College stimulation from related areas of interest, Lois M. Johnson MFA, University of Delaware including drawing, painting, digital arts, Professor photography, graphic design, illustration, BS, University of North Dakota sculpture, and crafts. MFA, University of Wisconsin-Madison The undergraduate curriculum is enhanced by the graduate program in Book Nathan Knobler Arts/Printmaking. This two-year course of Professor study of 60 credits culminates in a Master of BFA, Syracuse University Fine Arts Degree. The program provides the MA, Florida State University opportunity for individual artist’s expression in limited edition bookworks. Undergraduate Hedi Kyle students work alongside MFA candidates in Adjunct Associate Professor studios, workshops, and some major and Diploma, Werk-Kunstschule, Wiesbaden, elective classes. (Students interested in the Germany MFA degree in Book Arts/Printmaking should contact the Department of Printmaking or the Office of Admission.)

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 39 Printmaking/Book Arts Bachelor of Fine Arts 123 credits

Foundation Credits Junior Credits Fall/Spring Fall FP 100 B Drawing 3.0 FA 333 A Attitudes and Strategies 3.0 FP 120 A 2-D Design 3.0 PR 300 Lithography 3.0 FP 190 A 3-D Design 3.0 PR 306 Print Study Seminar I 1.5 Electives 1.5 Electives 3.0 HU 110 A First Year Writing I 3.0 HU XXX Liberal Arts 6.0 HU 103 A Intro to Modernism I 3.0 Fall Total 16.5 Semester Total 16.5 Spring Spring/Summer PR 333 Attitudes and Strategies 3.0 Choose any 3 courses PR 301 Printmaking Workshop 1.5 FP 100 B Drawing 3.0 PR 307 Book Arts: Concepts & Structure 3.0 FP 120 B 2-D Design 3.0 Electives* 3.0 FP 190 B 3-D Design 3.0 HU XXX Liberal Arts 6.0 FP 140 Time and Motion 3.0 Spring Total 16.5 Electives 1.5 Junior Year Total 33.0 HU 110 B First Year Writing II 3.0 HU 103 B Intro to Modernism II 3.0 Senior Semester Total 16.5 Fall Freshman Year Total 33.0 PR 400 Advanced Workshop 3.0 PR 406 Print Study Seminar II 1.5 Sophomore Electives* 6.0 Fall HU XXX Liberal Arts 3.0 FA 222 A Drawing: Form & Space 3.0 Fall Total 13.5 PR 201 Relief/Monotype 3.0 Spring PT 202 Sophomore Painting 3.0 PR 420 Thesis Workshop 3.0 HU 140 A Art History Survey I 3.0 FA 460 Senior Fine Arts Seminar 1.5 HU XXX Liberal Arts 3.0 Electives* 6.0 Fall Total 15.0 HU XXX Liberal Arts 3.0 Spring Spring Total 13.5 PR 204 Screen Printing/Etching 3.0 Senior Year Total: 27.0 SC 201 Sculpture I 3.0 Choose 1 course. from the following: FA 222 B Drawing: Form & Space 3.0 * Electives must include at least 9 studio credits out- FA 223 Intro to Figure Modeling 3.0 side the major FA 205 Concepts/Works on Paper 3.0 HU 140 B Art History Survey II 3.0 HU XXX Liberal Arts 3.0 Spring Total 15.0 Sophomore Year Total 30.0

40 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Sculpture Sculpture Faculty Jeanne Jaffe [email protected] Harvey Citron Coordinator Adjunct Professor 215-717-6102 BFAEd, Pratt Institute Diploma, Academy of Fine Arts, Rome The field of sculpture today is open and wide-ranging. Sculptors now create works Laura Frazure that range from coin-sized medallic art to Senior Lecturer pieces that incorporate actual craters and BFA, The University of the Arts other natural landforms. While some sculptors work with traditional materials Jeanne Jaffe such as clay and stone, others incorporate Associate Professor light and sound and video into their work. BFA, Tyler School of Art, Temple University Figurative sculpture today can be either MFA, New York State College of Ceramics traditional modeled form or robotic forms at Alfred University that actually move. The expansive nature of sculpture provides a challenge to institutions Elsa Johnson that educate artists, and we take that Professor challenge seriously. BFA, Cooper Union The Sculpture department’s aim is to MFA, University of Pennsylvania provide a sound, balanced exposure to all the formal, technical and intellectual aspects of Mashiko Nakashima art, in preparation for the student’s Master Lecturer continued professional growth beyond the Brooklyn Museum School of Art undergraduate years. To this end, our curriculum is structured to provide formal Barry Parker and technical instruction, while at the same Professor time allowing for individual creative BFA, Eastern Michigan University development. Seminar classes in the junior MFA, University of Massachusetts and senior years engage the student in discussions on sculpture theory, philosophy John Phillips and critical thought. Senior Lecturer Comprehensive facilities include fully BA, Temple University equipped wood and metal shops, a foundry, plaster shop and figure modeling studio, as Jennie Shanker well as an open studio for general use. Lecturer Juniors and seniors have individual studios. BFA, Philadelphia College of Art A full-time shop supervisor provides MFA, Yale University technical assistance and supervision. Faculty members are all practicing professional sculptors, representing a wide variety of styles and interest. Classroom instruction is supple- mented by visiting artists, gallery and museum visits in Philadelphia, as well as field trips to New York and Washington. Our graduating students are recognized nationally for their creativity and diversity, and for their preparation for the next steps in their professional careers.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 41 Sculpture Bachelor of Fine Arts 123 credits

Foundation Credits Junior Credits Fall/Spring Fall FP 100 B Drawing 3.0 FA 333 A Attitudes and Strategies 3.0 FP 120 A 2-D Design 3.0 SC 251 Theories of Structure 1.5 FP 190 A 3-D Design 3.0 Sculpture Elective* 1.5 Electives 1.5 Electives** 3.0 HU 110 A First Year Writing I 3.0 HU XXX Liberal Arts 6.0 HU 103 A Intro to Modernism I 3.0 Fall Total 15.0 Semester Total 16.5 Spring Spring/Summer SC 333 B Attitudes and Strategies 3.0 Choose any 3 courses Sculpture Elective* 3.0 FP 100 B Drawing 3.0 Electives** 3.0 FP 120 B 2-D Design 3.0 HU XXX Liberal Arts 6.0 FP 190 B 3-D Design 3.0 Spring Total 15.0 FP 140 Time and Motion 3.0 Junior Year Total 30.0 Electives 1.5 HU 110 B First Year Writing II 3.0 Senior HU 103 B Intro to Modernism II 3.0 Fall Semester Total 16.5 SC 401 Sculpture III 3.0 Freshman Year Total 33.0 Sculpture Elective* 3.0 Electives** 6.0 Sophomore HU XXX Liberal Arts 3.0 Fall Fall Total 15.0 SC 201 Sculpture I 3.0 Spring FA 223 Intro to Figure Modeling 3.0 SC 402 Sculpture III 3.0 Choose one course from the following: FA 460 Senior Fine Arts Seminar 1.5 PT 202 A Sophomore Painting 3.0 Sculpture Elective* 1.5 PR 201 Relief/Monotype 3.0 Electives** 6.0 PR 204 Screen Printing/Etching 3.0 HU XXX Liberal Arts 3.0 HU 140 A Art History Survey I 3.0 Spring Total 15.0 HU XXX Liberal Arts 3.0 Senior Year Total 30.0 Fall Total 15.0 Spring SC 202 Sculpture I 3.0 * Sculpture Electives Choose one course from the following: Choose from: PT 202 B Sophomore Painting 3.0 SC 220 A Molding and Casting PR 201 Relief/Monotype 3.0 SC 241 Introduction to Sculpture Projects PR 204 Screen Printing/Etching 3.0 SC 242 Introduction to Sculpture Projects HU 140 B Art History Survey II 3.0 SC 260 A Structure of the Figure HU XXX Liberal Arts 3.0 SC 260 B Structure of the Figure Choose one course from the following: SC 321 Carving FA 222 B Drawing: Form & Space 3.0 SC 421 Metals FA 223 Intro to Figure Modeling 3.0 FA 205 Concepts/Works on Paper 3.0 SC 431 A Advanced Figure Modeling Spring Total 15.0 SC 431 B Advanced Figure Modeling SC 441 Advanced Projects Sophomore Year Total 30.0 SC 442 Advanced Projects SC 443 Projects in Figure Modeling ** Electives must include at least 9 studio credits outside the major

42 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Graphic Design Faculty Marie Greco Graphic Design Senior Lecturer Hans Allemann BFA, Philadelphia College of Art Debra Drodvillo Adjunct Professor [email protected] Swiss National Diploma, School of Design, Kenneth Hiebert Chairperson Basel, Switzerland Professor Emeritus 215-717-6225 BA, Bethel College Jan Almquist Swiss National Diploma, School of Design, Graphic designers play a key role in our Adjunct Professor Basel, Switzerland information-based society. They give form to BFA, Philadelphia College of Art the interface between users and our culture Peter Kery of rapidly proliferating products, places, Laurence Bach Assistant Professor processes, information, and services. Professor BFA, Philadelphia College of Art The Graphic Design Department, since its BFA, Philadelphia College of Art beginning, has sought to give students the Certificate, Graduate Study, School of Deborah McSorley-Kery basis to solve problems in communication in Design, Basel, Switzerland Senior Lecturer a way that merges concerns for fidelity to BFA, The University of the Arts content, for the visual aesthetic, and for John Connolly engaging the reader-viewer’s rapport. Senior Lecturer Chris Myers The faculty and students are engaged in a BFA, The University of the Arts Associate Professor collaborative process of exploring the New as MFA, Yale University BA, University of Toledo it emerges. For graphic design the New has MFA, Yale University meant especially the transformation of Debra Drodvillo media, affecting how we create messages, Assistant Professor Deborah Shmerler how they are transmitted, and understanding BFA, Cooper Union Assistant Professor the changing landscape of design where MFA, Yale University BFA, Indiana State University media and culture intersect. MFA, Virginia Commonwealth University Throughout the three years of major Inge Druckrey concentration, problems in graphic Professor Chris Zelinsky communication are combined with AB, University of Basel, Basel, Switzerland Associate Professor exploratory and experimental studies in Swiss National Diploma, School of Design, Swiss National Diploma, School of Design, drawing, color, photography, typography, and Basel, Switzerland Basel, Switzerland emerging technologies. The curriculum is supplemented by special lecture programs; Richard Felton workshops with invited design firms; and on- Professor site studio seminars in selected design offices BS in Design, University of Cincinnati and studios, paper and printing plants, MFA, Yale University museums and libraries, and with film and computer graphic producers. Dorothy Funderwhite Opportunities for additional study in fine Senior Lecturer arts, illustration, photography, animation, BFA, The University of the Arts filmmaking, and emerging technologies are Certificate, Graduate Study, School of available. Design, Basel, Switzerland Designers work across several media and venues-from handmade images to digital images, from still images to time-based communications, from print-oriented problems to communications in cyberspace. With successful completion of the program, students are prepared for entry- level positions as graphic designers with design studios, publishers, corporations, nonprofit institutions, governmental agencies, architects and planners, network or cable broadcasters, film and video producers, or advertising agencies. The faculty are practicing professionals with distinguished records of accom- plishment, sensitive and responsive to the changes in the field of design, yet not limited by its current practices.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 43 Graphic Design Bachelor of Fine Arts 123 credits

Foundation Credits Junior Credits Fall/Spring Fall FP 100 B Drawing 3.0 GD 306 A Typography Emphasis 3.0 FP 120 A 2-D Design 3.0 EM 202 Electronic Media/Production II 1.5 FP 190 A 3-D Design 3.0 GD 311 A Communications Studio 3.0 Electives 1.5 Electives 1.5 HU 110 A First Year Writing I 3.0 HU 254 History of Com. Design 3.0 HU 103 A Intro to Modernism I 3.0 HU XXX Liberal Arts 3.0 Semester Total 16.5 Fall Total 15.0 Spring/Summer Spring Choose any 3 courses GD 306 B Typography Emphasis 3.0 FP 100 B Drawing 3.0 EM 203 Digital Interactive Techniques 1.5 FP 120 B 2-D Design 3.0 GD 311 B Communications Studio 3.0 FP 190 B 3-D Design 3.0 Electives 1.5 FP 140 Time and Motion 3.0 HU XXX Liberal Arts 6.0 Electives 1.5 Spring Total 15.0 HU 110 B First Year Writing II 3.0 Junior Year Total 30.0 HU 103 B Intro to Modernism II 3.0 Semester Total 16.5 Senior Freshman Year Total 33.0 Fall GD 411 A Design Studio 3.0 Sophomore GD 412 A Problem Solving 3.0 Fall Electives 3.0 GD 210 Letterform Design 3.0 HU XXX Liberal Arts 6.0 GD 211 A Descriptive Drawing 3.0 Fall Total 15.0 GD 213 A Design Systems 3.0 Spring Electives 3.0 GD 411 B Design Studio 3.0 HU 140 A Art History Survey I 3.0 GD 412 B Problem Solving 3.0 Fall Total 15.0 Electives 3.0 Spring HU XXX Liberal Arts 6.0 GD 212 Type Fundamentals 3.0 Spring Total 15.0 EM 201 Electronic Media/Production I 1.5 Senior Year Total 30.0 GD 211 B Descriptive Drawing 3.0 GD 213 B Design Systems 3.0 Electives 1.5 HU 140 B Art History Survey II 3.0 Spring Total 15.0 Sophomore Year Total 30.0

44 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Illustration Faculty Earl Lewis Illustration Adjunct Associate Professor Jonathan Barkat BFA, MFA, Tyler School of Art, Mark Tocchet Lecturer Temple University [email protected] BFA, The University of the Arts Chairperson Michael Liddy 215-717-6240 Megan Berkheiser Senior Lecturer Senior Lecturer BFA, The University of the Arts Illustrators give visual substance to BFA, The University of the Arts MFA, School of Visual Arts thoughts, stories, and ideas. The Illustration MFA, School of Visual Arts Department prepares its students for entry Tim O’Brien into the fields of book and periodical Robert Byrd Senior Lecturer publishing, promotion, advertising, design, Senior Lecturer BFA, Paier College of Art and specialty fields. BFA, The University of the Arts Illustrators must call upon a broad range Phyllis Purves-Smith of traditional and up-to-date competencies to Christine Cantera Associate Professor respond to today’s visual problems. As visual Senior Lecturer BFA, Cooper Union communicators, illustrators need to be open- BFA, Philadelphia College of Art MFA, Tyler School of Art, Temple University minded, eclectic, flexible, and imaginative. The illustrator’s solution should be Joseph DiPalma David Rankin, III appropriate, intelligent, expressive, and Senior Lecturer Lecturer visually engaging. BFA, The University of the Arts BFA, The University of the Arts In order to prepare for a career in this competitive field, The University of the Arts Russell Farrell Roger Roth Illustration student develops skills that Senior Lecturer Senior Lecturer encompass two-dimensional media: from BFA, The University of the Arts BFA, Pratt Institute painting and drawing to photography, design, production processes, and emerging Renee Foulks Robert Stein opportunities in digital image making. Master Lecturer Professor Students may concentrate on a design, a BFA, Moore College of Art BFA, Massachusetts College of Art digital or a pictorially oriented illustration MFA, Tyler School of Art, Temple University MFA, Tyler School of Art, Temple University curriculum. These skills are nurtured within a stimulating cultural climate provided by Ralph Giguere Stephen Tarantal the resources of the faculty, visiting profes- Adjunct Associate Professor Professor sionals, a gallery exhibition program, the BFA, The University of the Arts BFA, Cooper Union university, and the city at large. Each student MFA, Tyler School of Art, Temple University progresses from general competencies to a Linda Gist personal viewpoint, clarified career goals, a Senior Lecturer Mark Tocchet professional attitude, and a finished BFA, The University of the Arts Associate Professor portfolio. BFA, School of Visual Arts Al Gury Master Lecturer BA, St. Louis University

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

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

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 45 Illustration Bachelor of Fine Arts 123 credits

Foundation Credits Junior Credits Fall/Spring Fall FP 100 B Drawing 3.0 IL 300 A Illustration Methods 3.0 FP 120 A 2-D Design 3.0 IL 301 Design Methods 3.0 FP 190 A 3-D Design 3.0 IL 302 Figurative Communication 3.0 Electives 1.5 Electives 3.0 HU 110 A First Year Writing I 3.0 HU XXX Liberal Arts 3.0 HU 103 A Intro to Modernism I 3.0 Fall Total 15.0 Semester Total 16.5 Spring Spring/Summer IL 300 B Illustration Methods 3.0 Choose any 3 courses IL 303 Figure Utilization 3.0 FP 100 B Drawing 3.0 IL 304 Sequential Format 3.0 FP 120 B 2-D Design 3.0 Electives 3.0 FP 190 B 3-D Design 3.0 HU XXX Liberal Arts 6.0 FP 140 Time and Motion 3.0 Spring Total 15.0 Electives 1.5 Junior Year Total: 30.0 HU 110 B First Year Writing II 3.0 HU 103 B Intro to Modernism II 3.0 Senior Semester Total 16.5 Fall Freshman Year Total 33.0 IL 400 A Illustration 3.0 IL 403 A Senior Portfolio 3.0 Sophomore Electives 3.0 Fall HU XXX Liberal Arts 6.0 IL 200 A Pictorial Foundation 3.0 Fall Total 15.0 IL 202 A Figure Anatomy 3.0 Spring IL 204 Typography 3.0 IL 400 B Illustration 3.0 HU 140 A Art History Survey I 3.0 IL 403 B Senior Portfolio 3.0 HU XXX Liberal Arts 3.0 Electives 6.0 Fall Total 15.0 HU XXX Liberal Arts 3.0 Spring Spring Total 15.0 IL 200 B Pictorial Foundation 3.0 Senior Year Total 30.0 IL 202 B Figure Anatomy 3.0 PF 209 Photo for Illustrators 3.0 HU 140 B Art History Survey II 3.0 HU XXX Liberal Arts 3.0 Spring Total 15.0 Sophomore Year Total 30.0

46 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 career planning, portfolio preparation, and Industrial Design Faculty Industrial Design the development of information gathering and business communication skills to better Rama Chorpash Anthony Guido prepare the student to enter the profession. Assistant Professor [email protected] Due to the wide scope and creative yet BSID, California College of Arts and Crafts Chair practical character of an Industrial Design 215-717-6250 education, many career opportunities await David Comberg the graduate: with consulting design firms, Adjunct Associate Professor The Industrial Design Department corporate design staffs, manufacturing BFA, Massachusetts College of Art provides a professional education for those facilities, exhibit houses, retailers, MFA, Yale School of Art wishing to bring order, utility, aesthetics, and advertising/marketing agencies, research appropriateness to the products, contents, organizations, museums, educational Jean Gerth and processes of our modern global society. institutions, and government agencies, Senior Lecturer The program prepares students for careers in all of whom recognize the need to BSID, The Ohio State University the design of products, environments, and constantly improve the appearance, design systems/strategies, integrating the manufacture, performance, and social Anthony Guido design of communications, furniture, value of their products. Associate Professor equipment, interfaces, and interiors/exhibits. BSID, The Ohio State University Also addressed are issues of human factors research, computer-aided design, product Jamer Hunt development, manufacturing, business, and Assistant Professor a host of other considerations related to the BA, Brown University humanistic uses of technology. PhD, Rice University Industrial Design involves considerable conceptual experimentation. An Jonas Milder encompassing investigation into our Assistant Professor evolving material product culture and BID, Fachhochschule fuer Gestaltung contemporary social issues provides a forum MID, Hochschule der Kuenste, in which students may draw from diverse Berlin, Germany sources: high technology, fine arts, industrial production, architectural constructions, Larry Mitnick invention, social behavior, craft techniques, Associate Professor and contemporary design culture. BArch, Cooper Union The department emphasizes the MArch, Harvard University development of graphic, sculptural, and spatial design skills as a complement to Barent Roth creative problem solving, technical Senior Lecturer innovation, and effective communications BSID, University of Illinois during the solution of actual problems MID, The University of the Arts of design. After initial coursework to introduce basic Pavel Ruzicka design, communication, and collaboration Lecturer processes, including computer-aided design MME, University of Engineering, and model making, students develop and Czech Republic apply theory, skill, and knowledge to MID, The University of the Arts functional design problems, many brought into the studio by industry. Visiting designers also bring knowledge of current design, manufacturing, and professional practices into studio and lecture courses, while visits to industry provide opportunities for direct observation and firsthand knowledge of design and manufacturing processes. Based on this foundation of skill, experience, and information, emphasis in the final semesters shifts the responsibility for integration of the total design process to the individual student, who works directly with a client/sponsor on a thesis project prior to graduation. During the final semester the instructional focus shifts to

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 47 Industrial Design Bachelor of Science 126 credits

Foundation Credits Junior Credits Fall/Spring Fall FP 100 B Drawing 3.0 ID 300 A Studio 3: Projects Studio 3.0 FP 120 A 2-D Design 3.0 ID 320 A Studio 4: Techniques 3.0 FP 190 A 3-D Design 3.0 ID 327 Design Semantics Seminar 3.0 Electives 1.5 Electives 3.0 HU 110 A First Year Writing I 3.0 HU XXX Liberal Arts 6.0 HU 103 A Intro to Modernism I 3.0 Fall Total 18.0 Semester Total 16.5 Spring Spring/Summer ID 300 B Studio 3: Projects Studio 3.0 Choose any 3 courses ID 320 B Studio 4: Techniques 3.0 FP 100 B Drawing 3.0 ID 326 Human Factors Seminar 3.0 FP 120 B 2-D Design 3.0 HU XXX Liberal Arts 6.0 FP 190 B 3-D Design 3.0 Spring Total 15.0 FP 140 Time and Motion 3.0 Junior Year Total 33.0 Electives 1.5 HU 110 B First Year Writing II 3.0 Senior HU 103 B Intro to Modernism II 3.0 Fall Semester Total 16.5 ID 400 A Studio 5: Projects Studio 3.0 Freshman Year Total 33.0 ID 420 A Studio 6: Prof. Communication 3.0 ID 490 A Design Theory Seminar 3.0 Sophomore HU XXX Liberal Arts 6.0 Fall Fall Total 15.0 ID 200 A Studio 1: Projects 3.0 Spring ID 220 A Studio 2: Techniques 3.0 ID 400 B Studio 5: Projects Studio 3.0 ID 214 Materials and Processes Sem. 3.0 ID 420 B Studio 6: Pro. Communication 3.0 HU 140 A Art History Survey I 3.0 ID 490 B Design Practice Seminar 3.0 HU XXX Liberal Arts 3.0 Electives 3.0 Fall Total 15.0 HU XXX Liberal Arts 3.0 Spring Spring Total 15.0 ID 200 B Studio 1: Projects 3.0 Senior Year Total 30.0 ID 220 B Studio 2: Techniques 3.0 ID 290 Design Issues Seminar 3.0 Electives 3.0 Recommended Electives: HU 140 B Art History Survey II 3.0 While none of the following is required for gradua- Spring Total 15.0 tion, they are recommended by the department. ID 113 Freshman ID Sophomore Year Total 30.0 ID 312 Architectonics ID 425 Advanced Computer-Aided Design PF 203 Photography for Industrial Designers CR 251 Intro to Molding and Casting CR 252 Plaster Workshop EM 110 Computer Concepts HU 251 History of Design HU 452 Topics in Design

48 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Media Arts Faculty Alida Fish Media Arts Professor George Akerley BA, Smith College Harris Fogel Adjunct Associate Professor MFA, Rochester Institute of Technology [email protected] BM, Composition, Philadelphia Chairperson Musical Academy Harris Fogel 215-717-6300 MM, Composition, Philadelphia College Associate Professor of Performing Arts BA, Humboldt State University The Media Arts Department offers majors MA, New York University in photography, film/video, and animation Laurence Bach while providing elective classes to the Professor Judy Gelles University at large. The three-year BFA, Philadelphia College of Art Senior Lecturer curriculum of each major is built around a Certificate, Graduate Study, School of BS, Boston University sequence of courses designed to move the Design, Basel, Switzerland MEd, University of Miami student to a position of independence within the discipline. Many of our studio courses Justyna Badach David Graham feature a written component to provide a Lecturer Associate Professor balance between technical skills and the BFA, The University of the Arts BFA, Philadelphia College of Art critical thinking and historical context MFA, Cranbrook Academy of Arts MFA, Tyler School of Art, Temple University necessary for a complete exploration of one’s medium. An introduction to the Rick Barrick Matthew Hollerbush fundamental ideas and techniques of the Senior Lecturer Lecturer medium fills much of the sophomore year. BA, University of Georgia BFA, The University of the Arts During the two remaining years, the student MFA, School of Visual Arts is expected to refine techniques, develop a Jenny Lynn sense of personal vision, identify goals, and Lowell Boston Senior Lecturer pursue activities directly related to profes- Adjunct Assistant Professor BFA, Tyler School of Art, Temple University sional practice. BFA, The University of the Arts The Media Arts Department provides MFA, California Institute of the Arts Gabriel Martinez extensive studio facilities and equipment for Adjunct Associate Professor students enrolled in its courses. A nominal John J. Carlano BFA, University of Florida, Gainesville fee is required for access. Adjunct Associate Professor MFA, Tyler School of Art, Temple University Philadelphia’s professional resources have BFA, Philadelphia College of Art allowed the department to develop an Nicholas Muellner extensive internship program for advanced Connie Coleman Senior Lecturer Media Arts majors. This program allows Adjunct Professor BA, Yale University students to gain professional experience BFA, MFA, Rhode Island School of Design MFA, Tyler School of Art, Temple University while earning academic credit. Internship sponsors have included commercial John Columbus Michael O’Reilly photography studios; galleries; independent Adjunct Associate Professor Lecturer artists; animation, film, video, and BFA, Hartford Art School BS, Indiana University of Pennsylvania multimedia production houses; television MFA, Columbia University School stations; medical facilities; magazine and of the Arts Jeannie Pearce book publishers; and digital imaging studios. Adjunct Professor The Media Arts Department also offers David Deneen BFA, Rochester Institute of Technology minor concentrations in all three of its Senior Lecturer MFA, University of Delaware programs-film/video, animation, and BFA, The University of the Arts photography-which are available to students John Phillips outside of their major studio program. Those Dominic Episcopo Senior Lecturer interested in this option should consult with Lecturer Boston University both their major advisor and the Media Arts BFA, The University of the Arts Pennsylvania Academy of the Fine Arts Department. Janyce Erlich-Moss Barbara Proud Senior Lecturer Senior Lecturer BA, California State University BA, University of Delaware MFA, George Washington University Kathryn Ramey Senior Lecturer BA, Evergreen State University MFA, Temple University

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 49 Maria Rodriguez Senior Lecturer BA, University of Virginia MFA, Temple University

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

Peter Rose Professor BA, City College of New York

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

Sandy Sorlien Master Lecturer BA, Bennington College

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

Lynn Tomlinson Associate Professor BA, Cornell University MA, The University of the Arts MA, University of Pennsylvania

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

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

Jayne Wexler Lecturer BFA, Philadelphia College of Art

John Woodin Senior Lecturer BFA, University of New Orleans MFA, Tyler School of Art, Temple University

Ken Yanoviak Senior Lecturer BA, Temple University

50 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Photography Photography Bachelor of Fine Arts 123 credits This major prepares students for a wide range of careers in photography by providing Foundation Credits Junior Credits a solid grounding in traditional photography and digital imaging. In the sophomore year, Fall/Spring PF 311 A Jr. Photography Workshop I 3.0 students receive in-depth training in craft FP 100 B Drawing 3.0 PF 313 A Basic Photography Studio I 3.0 and ideas fundamental to photographic FP 120 A 2-D Design 3.0 PF 315 Digital Photography Workshop *3.0 imaging. Technical exercises emphasize FP 190 A 3-D Design 3.0 HU XXX Liberal Arts 6.0 electronic imaging as well as traditional Electives 1.5 Fall Total 15.0 HU 110 A First Year Writing I 3.0 black-and-white and color processes. The Spring HU 103 A Intro to Modernism I 3.0 curriculum covers both descriptive PF 311 B Jr. Photography Workshop II 3.0 photography and more experimental Semester Total 16.5 PF 313 B Basic Photography Studio II 3.0 manipulated image making. During the junior year, students consider Spring/Summer PF 415 A Critical Issues in Photography 3.0 photographic forms beyond the traditional Choose any 3 courses Electives 3.0 print, such as the photographic book, non- FP 100 B Drawing 3.0 HU XXX Liberal Arts 3.0 silver processes, and installation work. Large- FP 120 B 2-D Design 3.0 Spring Total 15.0 FP 190 B 3-D Design 3.0 format photography and studio practice with Junior Year Total 30.0 its control of artificial lighting are also part FP 140 Time and Motion 3.0 of the junior curriculum. In both the junior Electives 1.5 Senior and senior years, students may pursue the HU 110 B First Year Writing II 3.0 PF 411 A Sr. Photography Workshop I 3.0 study of specialized interests on an elective HU 103 B Intro to Modernism II 3.0 PF 415 B Sr. Photography Seminar 3.0 basis, including illustration and editorial Semester Total 16.5 photography, photojournalism, environ- Electives 3.0 mental portraiture, creative portfolio Freshman Year Total 33.0 HU XXX Liberal Arts 6.0 Fall Total 15.0 development, advanced digital imaging, and Sophomore professional practice. Spring Fall The senior year is primarily devoted to the PF 411 B Sr. Photography Workshop II 3.0 PF 210 A Introduction to Film I * 3.0 production of an independent body of work Select one of the following courses: PF 211 A Introduction to Photography I 3.0 of the student’s own choosing and direction. PF 323 Selected Topics: Photography 3.0 Electives 3.0 The senior thesis provides the opportunity to PF 413 Professional Practices 3.0 HU 140 A Art History Survey I 3.0 begin the process of self-definition as photog- PF 499 Internship 3.0 HU 140 A History of Photo. 3.0 rapher and artist. A required junior-level Electives 6.0 course in photographic criticism, coupled Fall Total 15.0 HU XXX Liberal Arts 3.0 with required classes in the history of Spring photography, exemplifies the strong Spring Total 15.0 PF 211 B Introduction to Photography II 3.0 emphasis that the department places on Senior Year Total 30.0 critical thinking and self-expression in words PF 217 Color Concepts * 3.0 as well as through photographs. Electives 3.0 Each spring, the Media Arts department HU 140 B Art History Survey II 3.0 * Can be taken either fall or spring semester. hosts the Paradigm Lecture Series, an HU XXX Liberal Arts 3.0 outstanding resource available to Spring Total 15.0 photography majors. Through this series, Sophomore Year Total 30.0 photographers of national and international reputation are invited by the department to visit the campus to discuss their work and meet with the students.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 51 Film/Video Film/Video Bachelor of Fine Arts 123 credits The independent film and video artist serves as the model for our program in both live-action film and animation. At the same Foundation Credits Junior Credits time, a solid preparation and foundation in Fall/Spring Fall craft has enabled an extremely high FP 100 B Drawing 3.0 PF 310 A Jr. Cinema Production I 3.0 percentage of our graduates to enter the FP 120 A 2-D Design 3.0 WM 219 Writing for Film 3.0 professional field as free-lance editors, sound FP 190 A 3-D Design 3.0 PF 320 Film Sound 3.0 recordists, cinematographers, technicians, Electives 1.5 HU XXX Liberal Arts 6.0 animators, screenwriters, and directors. HU 110 A First Year Writing I 3.0 Fall Total 15.0 The filmmaking major provides students HU 103 A Intro to Modernism I 3.0 Spring with a background in all phases of film and Semester Total 16.5 video production, including film PF 310 B Jr. Cinema Production II 3.0 cinematography, videography, film and video Spring/Summer PF 324 Film Forum: Selected Topics 3.0 editing, and sound/image manipulation. Choose any 3 courses PF 322 Media Technology 3.0 As in still photography, the filmmaking FP 100 B Drawing 3.0 Electives 3.0 students acquire a strong background in FP 120 B 2-D Design 3.0 HU XXX Liberal Arts 3.0 criticism, theory, and history of media. FP 190 B 3-D Design 3.0 Spring Total 15.0 All film/video majors pursue at least FP 140 Time and Motion 3.0 Junior Year Total 30.0 one practical internship as part of the Electives 1.5 degree requirements. HU 110 B First Year Writing II 3.0 Senior The study of film and video at the HU 103 B Intro to Modernism II 3.0 University has been supplemented by a Fall Semester Total 16.5 number of other activities, including the PF 410 A Sr. Cinema Production I 3.0 Paradigm Lecture Series. Through this series, Freshman Year Total 33.0 PF 424 Time: A Multi-disciplinary Sem. 3.00 which occurs each spring, film and video Electives 3.0 artists of national and international Sophomore HU XXX Liberal Arts 6.0 reputation visit the campus to conduct Fall Fall Total 15.0 lectures and present screenings on their PF 210 A Introduction to Film I 3.0 Spring work. PF 211 A Intro to Photography I ** 3.0 PF 410B Sr. Cinema Production II 3.0 WM 251 Narrative Cinema I * 3.0 PF 499 Internship 3.0 Electives 3.0 Electives 6.0 HU 140 A Art History Survey I 3.0 HU XXX Liberal Arts 3.0 Fall Total 15.0 Spring Total 15.0 Spring Senior Year Total 30.0 PF 210 B Introduction to Film II ** 3.0 PF 212 A Introduction to Animation I 3.0 WM 252 Narrative Cinema II * 3.0 * WM 251 and WM 252 Narrative Cinema I & II are HU 140 B Art History Survey II 3.0 required of all Film/Video majors and can be counted as Studio, Humanities or Liberal Arts HU XXX Liberal Arts 3.0 electives. Spring Total 15.0 ** Can be taken either fall or spring semester Sophomore Year Total 30.0

52 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Animation Animation Bachelor of Fine Arts 123 credits Animation is an art form that brings still drawings, inanimate objects, and digital imagery to life. The basic principles of Foundation Credits Junior Fall/Spring animation can be applied to all forms of Fall/Spring Fall image and object manipulation. The FP 100 B Drawing 3.0 PF312A Jr. Animation Workshop I 3.0 program gives its graduates a strong FP 120 A 2-D Design 3.0 PF316 Computer Animation II*** 3.0 understanding of timing and motion and a FP 190 A 3-D Design 3.0 PF325 Sound Design & Technology 3.0 grounding in the wide variety of techniques Electives 1.5 HU XXX Liberal Arts 6.0 available to the animator. Animation majors HU 110 A First Year Writing I 3.0 Fall Total 15.0 get a solid background in life drawing, HU 103 A Intro to Modernism I 3.0 Spring traditional hand-drawn animation, stop- Semester Total 16.5 motion and experimental animation, and PF312B Jr. Animation Workshop II 3.0 computer animation. Animation majors Spring/Summer PF327 Moving Art: Animation Theory 3.0 choose the area(s) on which to focus as they Choose any 3 courses and Production construct their junior and senior thesis films. FP 100 B Drawing 3.0 Electives 6.0 This broad-based approach has allowed FP 120 B 2-D Design 3.0 HU XXX Liberal Arts 3.0 graduates to obtain professional positions in FP 190 B 3-D Design 3.0 Spring Total 15.0 both the animation industry and as FP 140 Time and Motion 3.0 Junior Year Total 30.0 independent artists. Alumni become Electives 1.5 HU 110 B First Year Writing II 3.0 computer animators, directors, storyboard Senior Fall/Spring artists, production assistants, special-effects HU 103 B Intro to Modernism II 3.0 Fall animators, and character designers. Semester Total 16.5 PF412A Senior Animation Workshop I 3.0 Freshman Year Total 33.0 Select one course from the following: WM219 Writing for Film 3.0 Sophomore PF424 Time: A Multidisciplinary Sem. 3.0 Fall Electives 3.0 PF 210 A Intro. to Film I 3.0 HU XXX Liberal Arts 6.0 PF 212 A Intro. to Animation I 3.0 Fall Total 15.0 IL 205 Figure Drawing for Animators*** 3.0 Spring WM 251 Narrative Cinema I * 3.0 PF412B Senior Animation Workshop II 3.0 HU 140 A Art History Survey I 3.0 PF324 Film Forum: Selected Topics 3.0 Electives 3.0 Fall Total 15.0 HU XXX Liberal Arts 6.0 Spring Spring Total 15.0 PF 210 B Intro. to Film II 3.0 PF 212 B Intro. to Animation II 3.0 Senior Year Total 30.0 PF 216 Computer Animation I *** 3.0 WM 252 Narrative Cinema II * 3.0 * WM 251 and WM 252 Narrative Cinema I & II are HU 140 B Art History Survey II 3.0 required of all Animation majors and can be Spring Total 15.0 counted as Studio, Humanities or Liberal Arts elec- tives. Sophomore Year Total 30.0 ** IL 205 fulfills 3 credits of elective requirements. *** Can be taken either fall or spring semester.

By the end of the junior year it is strongly recom- mended that Animation majors have taken at least one of the following five advanced major electives for 3 studio elective credits: IL 202 Figure Drawing PF 326 Advanced 3D Computer Animation PF 328 Selected Topics in Animation PF 330 Clay and Puppet Animation PF 331 Image and Performance

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 53 Film/Animation Bachelor of Fine Arts 135 credits Foundation Credits Junior Fall/Spring Fall/Spring Fall FP 100 B Drawing 3.0 PF 310 A Jr. Cinema Production I 3.0 FP 120 A 2-D Design 3.0 PF 312 A Jr. Animation Workshop I 3.0 FP 190 A 3-D Design 3.0 PF 316 Computer Animation II 3.0 Electives 1.5 PF 320 Film Sound 3.0 HU 110 A First Year Writing I 3.0 HU XXX Liberal Arts 6.0 HU 103 A Intro to Modernism I 3.0 Fall Total 18.0 Semester Total 16.5 Spring Spring/Summer PF 310 B Jr. Cinema Production II 3.0 Choose any 3 courses PF 312 B Jr. Animation Workshop II 3.0 FP 100 B Drawing 3.0 PF 327 Moving Art: Animation Theory 3.0 FP 120 B 2-D Design 3.0 PF 322 Media Technology 3.0 FP 190 B 3-D Design 3.0 HU XXX Liberal Arts 6.0 FP 140 Time and Motion 3.0 Spring Total 18.0 Electives 1.5 HU 110 B First Year Writing II 3.0 Junior Year Total 36.0 HU 103 B Intro to Modernism II 3.0 Senior Fall/Spring Semester Total 16.5 Fall Freshman Year Total 33.0 PF 410 A Senior Cinema Production I 3.0 PF 412 A Sr. Animation Workshop I 3.0 Sophomore Select one course from the following: Fall WM 219 Writing for Film 3.0 PF 210 A Introduction to Film I 3.0 PF 424 Time: A Multi-disciplinary Sem. 3.0 PF 211 A Introduction to Photography I* 3.0 Electives 3.0 PF 212 A Introduction to Animation I* 3.0 HU XXX Liberal Arts 6.0 IL 205 Figure Drawing Fall Total 18.0 for Animators* 3.0 Spring PF 212 A Introduction to Animation I* 3.0 PF 410 B Senior Cinema Production II 3.0 WM 251 Narrative Cinema I** 3.0 PF 412 B Senior Animation Workshop II 3.0 HU 140 A Art History Survey I 3.0 PF 324 Film Forum: Selected Topics 3.0 Fall Total 18.0 PF 499 Internship 3.0 Spring HU XXX Liberal Arts 3.0 PF 210 B Introduction to Film II 3.0 Spring Total 15.0 PF 216 Computer Animation I* 3.0 Senior Year Total 33.0 WM 252 Narrative Cinema II** 3.0 HU 140 B Art History Survey II 3.0 Spring Total 15.0 * Can be taken either fall or spring semester ** WM 251 and WM 252 Narrative Cinema I & II Sophomore Year Total 33.0 are required of all Film/Animation majors as part of the total liberal arts distribution.

54 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Proficiency Exam” before they can student Art Education Faculty Art Education teach. Those who score below 80% may not be admitted to the Post-Baccalaureate Paul Adorno Barbara Suplee Student Teacher Program. Students may test Adjunct Assistant Professor [email protected] out of the Professional Writing Intensive AB, Georgetown University Chair, Director course by taking and passing the MSEd, University of Pennsylvania 215-717-6053 department Writing Proficiency Exam. The Art Education concentration provides Raye Cohen a strong theoretical and practical Adjunct Assistant Professor Pre-Certification foundation for teaching as a career. BA, University of Pennsylvania Concentration in Art Through field experiences starting in the MFA, The University of the Arts Education sophomore year, the student is able to The teaching of art is a profession that explore teaching in a variety of traditional Diane Foxman allows for the artist-teacher’s continued and alternative settings. Students are also Senior Lecturer growth while nurturing the aesthetic and provided with the necessary competencies in BA, Antioch College creative experience of others. Recent teaching Discipline Based Art Education; MA, Goddard College national as well as statewide attention to and in meeting the state and national education and to the role of the arts in standards through special studies in Arlene Gostin education makes this an especially good education combined with liberal arts Associate Professor time for students to consider becoming an coursework in art history, aesthetics, BA, University of Delaware art teacher and artist. In preparing students criticism, social sciences, and studies in MA, Philadelphia College of Art for careers in art education, the University is studio production. committed to the ideal of exemplary The Pre-Certification Concentration may Maria Lengauer teachers who are also able to produce their be taken in its entirety or in part to fit Lecturer own competent works. To that end, the individual plans and needs. Students who BFA, The University of the Arts University offers a flexible program of complete the program will be able to enroll MAT, The University of the Arts competency-based education at the directly in the Post-Baccalaureate Teacher undergraduate level to prepare students to Program, in which they can complete the Slavko Milekic complete a professional certification student-teaching requirement (AE 659, AE Associate Professor program after graduation or within a 552) in as little as one regular semester MSc, MD, Belgrade University, Yugoslavia four-year undergraduate program plus beyond the bachelor’s degree. In addition, PhD, University of Connecticut an additional post-baccalaureate students must successfully complete the professional semester. National Teachers Exam, PRAXIS Series, Susan Rodriguez The Pre-Certification concentration is with satisfactory scores to quality for the Adjunct Professor designed to be taken in conjunction with a Pennsylvania Instructional I Certificate to BFA, MEd, Tyler School of Art, regular studio major in the BFA program. In teach Art K-12. Temple University addition to meeting the requirements of a In another viable alternative, qualified major studio department, students enrolled graduates may enter the Master of Arts in Kenneth Sakatani in the pre-certification concentration take Teaching program, in which it is possible to Associate Professor courses in the Art Education Department, earn a master’s degree and certification in as BFA, University of Southern California, plus prescribed courses in liberal arts, little as three semesters or two semesters and Los Angeles photography, electronic media, and other two summers. MA, San Francisco State University studio areas which help fulfill the general PhD, Stanford University liberal arts and studio electives Academic Regulations requirements. As of fall 2001, all candidates Students working toward certification are Barbara Suplee seeking certification to teach K-12 in required to maintain a 3.0 cumulative Associate Professor Pennsylvania must have 6 credits of college- average in certification coursework. BFA, West Chester University level math and 6 credits of college-level Admission to the Post-Baccalaureate Student MEd, Tyler School of Art, English composition and literature. Careful Teacher Program is by permission of the Temple University advising is essential. department, based on satisfactory PhD, Pennsylvania State University Students enrolled in the Pre-Certification completion of all prerequisites, on evidence Concentration in Art Education must take of promise as a teacher demonstrated in Joanne Wright and pass the Professional Writing Intensive prior coursework, and on good academic Lecturer course in the first semester of their senior standing. Students must maintain a “B” BA, Rutgers University year, prior to student teaching in the Post- average in art education courses to be BA, Rowan University Baccalaureate Student Teacher Program. A permitted to student teach. A grade of “B” or score of 90% or higher is passing. Students better in the Student Teaching Practicum is with scores of 80-89% will be required to required for recommendation for certifi- obtain remedial tutoring, and they must cation. take and pass the department’s “Writing

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 55 Pre-Certification in Art Education

Freshman Credits Post-Baccalaureate Teacher Program Credits Fall/Spring AE 552 The Art of Teaching 3.0 FP 100 B Drawing 3.0 AE 659 Student Teaching Practicum 9.0 FP 120 A 2-D Design 3.0 Post Baccalaureate Total 12.0 FP 190 A 3-D Design 3.0 Electives 1.5 HU 110 A First Year Writing I 3.0 * These courses also count toward the liberal arts HU 103 A Intro to Modernism I 3.0 core of the bachelor’s degree.

Semester Total 16.5 ** Photography and computer competency are Spring/Summer required for certification, with a minimum require- Choose any 3 courses ment of one course in each area. FP 100 B Drawing 3.0 +These courses have a required field placement. FP 120 B 2-D Design 3.0 Required Studio Electives FP 190 B 3-D Design 3.0 Pre-Certification students should complete at least 3 FP 140 Time and Motion 3.0 credits in a two-dimensional medium if their major Electives 1.5 is in a three-dimensional area, and vice versa. HU 110 B First Year Writing II 3.0 Other studio work must include at least one course HU 103 B Intro to Modernism II 3.0 each in photography and computer graphics. Semester Total 16.5 Recommended Electives in Art Education Freshman Year Total 33.0 AE 507 Educational Media Sophomore A: Teaching & Learning 3.0 AE 200 Presentation Skills 1.0 AE 509 Educational Media B: AE 201 Intro. to Visual Arts Education 2.0 Planning & Management 3.0 *HU 162 Individual and Society 3.0 AE 530 Interactive Media 3.0 *HU 270 Introduction to Aesthetics 3.0 AE 531 Multicultural Learning-Arts 3.0 *HU 181 A Child & Adolescent Psychology 3.0 AE 532 Design for *HU 357 Modern Art (preferred) 3.0 Interdisciplinary Learning 3.0 or Discipline Art History 3.0 AE 632 Applications of Interdisciplinary Learning 3.0 Sophomore Year Total 18.0

Junior AE 547+ Program Design and Methods: Elementary 3.0 *HU 462 American Social Values 3.0 *HU 363 Modern Culture or 3.0 *HU 388 Perception or a 3.0 natural science course 3.0 *HU 323 Arts Criticism 3.0 Junior Year Total 18.0

Senior AE 599 Professional Writing Intensive 0.0 AE 533 Art and Inclusionary Education 3.0 AE 559+ Saturday Practicum 3.0 AE 548+ Program Design and Methods: Secondary 3.0 Senior Year Total 9.0

56 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 M.C.P Hahnemann University Art Therapy Concentration Art Therapy Students interested in applying to M.C.P Hahnemann University for a master’s degree Karen Clark-Schock in art therapy have the advantage of Freshman Credits [email protected] studying with faculty who teach in both Fall/Spring Director UArts and M.C.P Hahnemann programs. FP 100 B Drawing 3.0 215-717-6236 Course content and experience in the UArts FP 120 A 2-D Design 3.0 undergraduate program provides excellent FP 190 A 3-D Design 3.0 Concentration in Art Therapy credentials for graduate study and, in Electives 1.5 Art therapy, a well-respected discipline particular, educational continuity with the HU 110 A First Year Writing I 3.0 within the human services professions, offers graduate program at M.C.P Hahnemann HU 103 A Intro to Modernism I 3.0 an exciting career opportunity for the studio University. Semester Total 16.5 art major. It utilizes art as a non-verbal means of communication and self- Art Therapy Faculty Spring/Summer expression, and thereby provides a creative Choose any 3 courses vehicle through which to explore personal Karen Clark-Schock FP 100 B Drawing 3.0 problems as well as personal strengths and Adjunct Associate Professor FP 120 B 2-D Design 3.0 potentials. Art therapy recognizes that the BA, Rosemont College FP 190 B 3-D Design 3.0 entire art process, how it unfolds, the drawn MCAT, Hahnemann University FP 140 Time and Motion 3.0 forms and content, as well as the verbal PsyD, Immaculata College Electives 1.5 associations, are all reflections of the HU 110 B First Year Writing II 3.0 individual client. Nancy Gerber HU 103 B Intro to Modernism II 3.0 Art therapists work with children and Lecturer Semester Total 16.5 adults of all ages in a variety of settings. BS, Pennsylvania State University These include psychiatric and medical MS, Hahnemann University Freshman Year Total 33.0 hospitals, schools, clinics, community Sophomore centers, nursing homes, drug and alcohol Susan Kaye-Huntington treatment clinics. As members of a team, art Adjunct Assistant Professor HU 181 A Child & Adolescent Psychology 3.0 therapists may work with physicians, psychi- BA, New York University HU 181 B Adult Psychology 3.0 atrists, psychologists, social workers, and MCAT, Hahnemann University Sophomore Year Total 6.0 educators. The art therapist uses artwork for both diagnosis and treatment. Art therapy Junior Credits may also be utilized as a means of promoting creativity and wellness, and may Fall therefore be viewed as a force in the AT 300 Introduction to Art Therapy 3.0 prevention of illness. HU 384 Abnormal Psychology 3.0 While enrolled in one of the BFA Fall Total 6.0 programs within the College, students may Spring also elect a concentration in Art Therapy. AT 301 Social and Group Process 3.0 This concentration introduces them to the AT 302 Theories & Techniques of discipline on the undergraduate level. This Art Therapy with concentration gives students a chance to Children and Adolescents 3.0 explore a career option while engaged in undergraduate study. Spring Total 6.0 Students who do not wish to pursue the Junior Year Total 12.0 professional degree will nonetheless find that their study of art therapy is beneficial in Senior other fields, particularly in education, and Fall in their own personal development. AT 302 Theories & Techniques of Students who elect the Art Therapy Art Therapy with Adults 3.0 program take four designated courses in HU 483 Theories of Personality 3.0 psychology and five courses in art therapy, Fall Total 6.0 each of which meets overall requirements toward the BFA. At graduation, Art Therapy Spring Concentration students receive a certificate AT 401 Senior Practicum 3.0 of completion in Art Therapy along with the Spring Total 3.0 BFA degree. Senior Year Total: 9.0

Art Therapy Courses 15.0 Liberal Arts Courses 12.0

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 57 College of Art and Design Leave of Absence A graduate student may take a leave of absence prior to the Graduate Programs completion of all course work and with the program director’s approval. Students may take a maximum of two one-semester leaves of absence throughout their course of study, either in sequence or as Carol Moore needed. Once the thesis has begun and all course work has been [email protected] completed, students must register and pay for the thesis continuation Graduate Coordinator fee for successive semesters and are not eligible for a leave of absence. 215-717-6106 Graduate study in the College of Art and Design provides intensive Thesis Grading professional preparation in a stimulating multi-arts environment. A The grade of “IP” (“In Progress”) signifies that the student is select range of specialized graduate degrees in Fine Arts, Design, and making satisfactory progress toward completing the graduate thesis. Visual Arts Education features focused curricula, small classes, This grade will apply only to graduate thesis courses where the dedicated faculty, and access to outstanding facilities and resources. student’s thesis is still in progress. All programs address interarts and/or interdisciplinary issues This grade is available only for the following courses: through both studio activity and the University Seminars on AE 649 Graduate Project/Thesis “Structure and Metaphor,” and “Art and Society,” which bring MS 749 A/B Thesis Development students together from all graduate programs at the College of Art and ID 741 Master’s Thesis Project (MID-pre-1997) Design. Additionally, all MFA students take the University FA 795 MFA Thesis Exhibition Seminar on “Criticism.” A University of the Arts education extends beyond the classroom An “IP” grade acknowledges the fact that the final course product and studio. Through partnerships, workshops, residencies, (thesis) may require some period of time past the semester of internships, and symposia, students engage the larger art, design, registration to complete. The “IP” grade will remain on the student’s and education communities and interact with some of today’s record until a final thesis grade is submitted by the instructor. In some most important artists, designers, and educators in a broad cases, a student will be registered for thesis courses as a sequence (e.g., range of disciplines. MS 749 A/B). When the final grade is submitted by the instructor, it The College of Art and Design offers these graduate programs: will replace the “IP” grade. The “IP” grade is not computed in the Master of Fine Arts degrees in Book Arts/Printmaking, Museum grade point average. Exhibition Planning and Design; low-residency summer Master of In order to remain in good standing while the thesis is “in Fine Arts degrees in Ceramics, Painting, or Sculpture; Master of progress,” the student must register for the thesis continuation fee for Industrial Design; Master of Arts in Art Education; Master of Arts in each semester he or she is not enrolled in course work. Museum Communication; Master of Arts in Museum Education; Master of Arts in Teaching in Visual Arts. Student Classification and Course Load Graduate students must be enrolled for at least nine credits to be considered full-time. Tuition for part-time graduate students is charged on a per credit basis. Graduate student class status is determined as follows: G1 up to 17.5 credits G2 18 credits or more Graduate Thesis Continuation Fee A student who has completed all the course requirements for the master’s degree and is currently working on the graduate thesis, either on or off-campus, must register and pay a graduate thesis contin- uation fee per semester until the thesis is completed and accepted. This registration, through the Office of the Registrar, is required in each succeeding semester, excluding the summer sessions, until all degree requirements are met. Students completing a degree in the summer must pay the thesis fee in the final summer semester.

58 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Graduate Double Degree Policies Summer Graduate Electives Policy Graduate students already enrolled in a master’s degree program at Students wishing to complete studio or liberal arts electives during the University of the Arts may apply to simultaneously pursue a university summer sessions may review pre-approved summer course second master’s degree. A second degree may be added only after the offerings in the spring with their program advisor and may register for successful completion of at least one semester of graduate study, with thesis courses only after obtaining approval and the signature of the a grade point average of at least 3.0. Students who are interested in CAD Graduate Coordinator. A maximum of six credits is transferrable this option must be aware that completion of two degrees will likely to the graduate curriculum. require additional time to complete and requires intensive advising and coordination of requirements. Degree Candidacy and Completion Students currently enrolled in a master’s degree program, who wish Midway through their respective programs, graduate students’ to pursue a second master’s degree must request, in writing, that the progress in their discipline and proposal for thesis will be reviewed by Registrar forward a copy of their transcript and official file to the the appropriate Graduate Committee to formally determine whether a director of the program to which they are seeking admission. The student becomes a degree candidate, and is ready to continue toward director of the second program may require the student to submit development and completion of the thesis or graduate project. materials for portfolio review, and may require additional letters of Graduate students have up to seven years from matriculation date reference. The director of each graduate program is responsible for to complete a two-year master’s program, and up to six years, from coordinating any required portfolio review. Portfolio requirements matriculation date, to complete a one-year program. are listed on the Graduate Application or may be obtained directly from the graduate director or coordinator. Final acceptance into a double degree program must be approved by the Director of Credit Duplication Graduate Programs. No course, including graduate courses, which has satisfied 1. A student may be awarded a particular degree from the University undergraduate degree requirements, may be counted again for only once; i.e., once the student has earned an MA, he or she may not graduate credit. be awarded another MA. 2. A student may not receive two different master’s degrees from the Transfer Credit same program; i.e., cannot pursue both the MA in Art Education and A maximum of six credits of graduate credit may be transferred and MAT in Visual Arts. applied toward the graduate degree requirements upon approval of 3. A student may be awarded two different degrees from UArts; i.e., a the program director. All transfer credits must be graduate level classes student who has been awarded or is pursuing an MA may matriculate or upper-level undergraduate classes taken for graduate credit at an in an MAT, MFA, or MID program (except as noted above). accredited college or university, approved by the Registrar and the 4. A student may earn up to two master’s degrees, either simulta- Graduate Director, and must be a “B” or higher grade. neously or sequentially. Studio courses must be 300-level for graduate credit. 200 level 5. If a student is approved for a double degree, and six credits are courses may be taken with justification from the director and written shared between the two programs, the student may transfer a approval from the Graduate Coordinator. Art Education Competency maximum of six additional credits from an accredited institution. may be taken as an independent study. 6. A student who has completed one degree and wishes to matriculate in another does so by applying to the new program through the Office of Admission. 7. Students in the Summer MFA program who wish to pursue a second graduate degree will be charged the regular graduate tuition rate in the semesters in which they are pursuing two degrees. Probation and Dismissal Policies A cumulative GPA of 3.0 is required for good standing and for graduation for graduate students. If a student is unable to achieve a semester or cumulative GPA of 3.0, he or she will be placed on probation. If a 3.0 GPA and/or other conditions are not attained by the following semester, the student will be dismissed from the program. While on probation, a student will be ineligible to hold a graduate assistantship or to receive a University supplemental grant-in-aid or scholarship.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 59 Since June 1987, all applicants for certification in Pennsylvania Post-Baccalaureate Options must also take and pass all required tests in the PRAXIS Series, Professional Assessments for Beginning Teachers of the National Teachers Exam to qualify for the certificate. Crafts Studio Certificate Program Supplementary courses and activities complete the preparation of A Post-Baccalaureate Portfolio Development Program the future teacher to enter the profession.

The University’s 30-credit certificate program offers an intensely Post-Baccalaureate Teacher Program focused education in crafts. The program is designed for those students with bachelor’s degrees who wish to become proficient artists AE 552 The Art of Teaching 3.0 in one or more of the following areas: ceramics, fibers, glass, jewelry, AE 659 Student Teaching Practicum 9.0 metal-smithing, or wood. Courses dealing with technique, philosophy, and contemporary issues are aimed to develop an individual’s portfolio for further graduate study or a career as an independent studio artist or design professional. The Crafts Studio Program offers the studio component of the University’s undergraduate crafts program in a focused one-and-one- half or two-year period. Students accepted to the program take a minimum of 7.5 credits to a maximum of 12 credits per semester. Certificate students must take a minimum of 12 media-specific credits at the 300 course level. The prerequisite for 300-level courses is two 200-level courses in that same medium. However, if an applicant’s portfolio indicates enough experience in a particular medium, 200 level prerequisites may be waived at the time of acceptance. See the preceding section for a listing of media-specific Courses. Certificate students benefit from taking courses with degree candidates in a quality undergraduate program. In addition to technically oriented, media-specific courses, students take core courses involving design/theory issues, criticism, and professional/career practices. Admission is by portfolio and interview. Students with little or no formal art training will be required to take Foundation courses. The program advisor (in consultation with the student) will set the number of required prerequisites. These may be taken in advance of, or concurrently with, the certificate program. Post -Baccalaureate Teacher Program Post-Baccalaureate Non-Degree Concentration

The Post-Baccalaureate Teacher Program is an intensive one- semester experience built around a twelve-week student teaching practicum, in which the student devotes six week to teaching at the elementary school level and six weeks in teaching at the middle or secondary school level under the guidance and supervision of master teachers and Art Education Department faculty. The Post-Baccalaureate Teacher Program is only available to University of the Arts/College of Art and Design students the semester following receipt of the bachelor’s degree, which must include all pre-certification requirements except AE 552 and AE 659. Students must also have a 3.0 GPA for all art education coursework and must be recommended by the Art Education department. Prior to teaching in the Post-Baccalaureate Teacher Program, students must take the Professional Writing course or pass the Professional Writing Proficiency Exam with a score of 90% or higher. The Pre-Certification Concentration, when coupled with the Post- Baccalaureate Teacher Program, is accredited by the Pennsylvania Department of Education as an approved program to prepare students to receive the Instructional I Certificate to teach Art K-12.

60 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Designed for both established and new MA in Art Education Faculty Art Education teachers, the degree may satisfy credit Master of Arts accrual requirements for permanent certifi- Raye Cohen cation or lead to other career advancement. Adjunct Assistant Professor Graduates have also found the program BA, University of Pennsylvania Barbara Suplee relevant to positions in museum education, MFA, The University of the Arts [email protected] college (especially junior college) teaching, Chair, Director arts administration, educational media, and Anne El-Omami 215-717-6053 other related fields. Applicants must hold a Associate Professor bachelor’s degree or equivalent with no fewer BFA, BA, University of Nebraska, Lincoln The Master of Arts in Art Education than 40 credits in studio work with a “B” or MA, University of Nebraska program at The University of the Arts is better cumulative average. A teaching Nathan Knobler designed to develop the studio, intellectual, certificate is not required. Students not Professor and professional education background of holding degrees in the visual arts can BFA, Syracuse University art educators, enabling them to meet expect to complete 18 credits of foundation MFA, Florida State University advanced professional goals. studies and/or up to 40 credits of studio Coordinating professional education work, depending upon faculty review of Slavko Milekic courses with work in liberal arts, graduate their portfolio. Associate Professor research, and a concentration in studio arts The degree may also be taken in MSc, MD, Belgrade University, Yugoslavia which include emerging digital and conjunction with the Certification Program PhD, University of Connecticut alternative media, the MA in Art Education in Art Education thereby allowing the student Program offers custom-designed programs of to earn a master’s degree plus Certification. Larry Mitnick study to meet individual needs. A series of The difference between this combination and Associate Professor graduate education seminars address the MAT (Master of Arts in Teaching), is the BArch, Cooper Union historical and contemporary issues in art concentration in graduate studio work and MArch, Harvard University theory, criticism, and education. Drawing on the research and thesis required for the MA the wide range of studio departments, nearly degree. Carol Moore half of the program is reserved for work in Full-time students may complete the MA Assistant Professor one or more studio area, museum studies, or program in one academic year plus a BFA, MFA, Tyler School of Art, liberal arts depending upon the student’s summer or three semesters. Part-time Temple University particular background and career needs. The students may take coursework over as many independent thesis or graduate project, as five years. Depending on the needs of the Susan Rodriguez which is normally completed in two individual student, professional education Adjunct Assistant Professor semesters, may take the form of either an courses and selected studio arts and liberal BFA, MEd, Tyler School of Art, academic research paper or a graduate arts courses may be taken in the evenings Temple University project in an appropriate format. and summers. Kenneth Sakatani Associate Professor Art Education BFA, University of Southern California, Master of Arts 36 credits Los Angeles MA, San Francisco State University SCHEDULING OPTION FOR FULL TIME ENROLLMENT:SUMMER FALL SPRING PhD, Stanford University AE 599* Professional Writing Intensive — 0 0 AE 606 Research in Education: Methods and Trends — 3.0 — Barbara Suplee GR 691 University Seminar: Structure and Metaphor — 3.0 — Associate Professor AE 610 Graduate Studio Seminar — 3.0 — BFA, West Chester University AE 602 History of Ideas in Art and Museum Education —— 3.0 MEd, Temple University AE 649** Graduate Project/Thesis —— 6.0 PhD, Pennsylvania State University GR 692 University Seminar: Art and Design in Society —— 3.0 Educational Media, Studio Arts, Museum Studies, or Liberal Arts Concentration* 3.0 7.5 1.5 Liberal Arts Elective 3.0 —— 6 .0 16.5 13.5

* AE 599 must be taken and passed in the first semester of enrollment. Students may test out of the Professional Writing Intensive course by taking and passing the department Writing Proficiency Exam. (See course description for additional information.) ** AE 649 Graduate Project/Thesis may be taken as a 6 credit block or in two 3 credit blocks.To remain in good standing while the thesis is “in-progress,” students must register for the thesis continuation fee for each semester they are not enrolled in course work. * Including a minimum of one studio course. The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 61 Concentration in Candidates for this Concentration are Technology Competencies Educational Media students with a background and training in To acquire the following basic both technology and art who want to competencies in technology, a student may Kenneth Sakatani integrate the use of technology into the take University technology courses, [email protected] teaching of art. Students in the Master of Arts workshops, and tutorials, including those Director, Educational Media in Art Education program who complete this offered through the Continuing Studies 215-717-6054 Concentration will serve as classroom art Professional Institute for Educators. Based on teachers integrating technology into their a review of portfolio and approval by the art The Concentration in Educational Media, curriculum and practice, and as technology education department, a graduate student as part of a Master of Arts in Art Education, is leaders in their school and district. may be excused from this requirement. designed to prepare graduate students to use, • Macintosh and Windows operating plan, and manage technology in the K-12 art Requirements environments curriculum and classroom. Educational A Master of Arts in Art Education major • Navigation, menu, file management, media are those digital tools and must complete a total of 12 credits in transfer, and storage skills applications used for creative and instruc- required core and elective courses in • Productivity skills tional purposes within a K-12 classroom and technology for a Concentration in (word processing and spreadsheet) school setting. The use of educational media, Educational Media. The other remaining 6 • Navigational and information search therefore, is not solely for developing creative credits may be elective courses that the and retrieval skills expression in students, but also as a means student chooses to advance their study of (Internet and World Wide Web) to support the teaching and learning of technology. In addition to these twelve credits • Electronic presentation skills K-12 art. toward a Concentration in Educational (PowerPoint, etc.) Media, the graduate thesis/project (6 credits) • Computer graphics knowledge, will be directed toward research involving the concepts, and skills use of technology in art education. (raster, vector, and web graphics) Competencies and specific requirements for the Educational Media Concentration are the Required core courses following: Two related semester courses form the required core of the Concentration – Educational Media A: Teaching and Learning, and Educational Media B: Art Education Planning and Management. These two core Master of Arts with a Concentration in Educational Media 36 credits courses are designed to be taken together as a SCHEDULING OPTION FOR FULL TIME ENROLLMENT:FALL SPRING FALL yearlong sequence. Educational Media A: Teaching and Learning focuses on the AE 599* Professional Writing Intensive 0 0 — conceptual, curricular, and instructional AE 507 Educational Media A: Teaching and Learning 3.0 ——approaches and strategies needed to integrate GR 691 University Seminar: Structure and Metaphor 3.0 ——digital technologies into the K-12 art AE 606 Research in Art Education: Methods and Trends 3.0 ——classroom. Educational Media B: Planning and Management examines the issues and Elective (technology-based) 3.0 ——topics related to designing technology AE 509 Educational Media B: Planning and Management — 3.0 — environments for K-12 art education. AE 602 History of Ideas in Art and Museum Education — 3.0 — Elective courses GR 692 University Seminar: Art and Design in Society — 3.0 — The purpose of the elective courses is to Elective (technology-based) — 3.0 — give the student concentrating in AE 530 Interactive Media for Art and Museum Educators ——3.0 Educational Media the opportunity to explore specific interests involving AE 610 Graduate Studio Seminar ——3.0 technology. To that end, 6 credits must be AE 649** Graduate Project/Thesis ——6.0 used for further exploration in technology- 12.0 12.0 12.0 related courses from the University.

* AE 599 must be taken and passed in the first semester of enrollment. Students may test out of the Thesis/Project Professional Writing Intensive course by taking and passing the department Writing Proficiency Exam. A student in the Master of Arts in Art ** AE 649 Graduate Project/Thesis may be taken as a 6-credit block or in two 3-credit blocks. Education program with a Concentration in Educational Media will focus on a topic or idea related to technology in art education as part of his or her graduate thesis/project. The thesis/project in technology will be the culmination of study for a Concentration in Educational Media.

62 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Corequisites: Nathan Knobler Visual Arts •3 upper-division credits in a 3-D studio Professor area, if a 2-D studio major for bachelor’s BFA, Syracuse University Master of Arts in Teaching degree MFA, Florida State University Barbara Suplee •3 upper-division credits in a 2-D studio [email protected] area, if a 3-D studio major for bachelor’s Maria Lengauer Chair, Director degree Lecturer 215-717-6053 •Introduction to computers, preferably BFA, MAT, The University of the Arts including graphic applications (required The Master of Arts in Teaching in Visual competency), minimum requirement of Slavko Milekic Arts is a professional degree program one course Associate Professor incorporating preparation for the •Basic Photography (required MSc, MD, Belgrade University, Yugoslavia Pennsylvania Instructional I Certificate to competency), minimum requirement of PhD, University of Connecticut teach Art K-12, including a student teaching one course practicum. Additional coursework includes •Art History, 12 credits, including at least Larry Mitnick the history, theory, and practice of art one course in 20th Century Art Associate Professor education. Depending on the completeness of •Introduction to Psychology or BArch, Cooper Union the student’s background, the MAT Program Child and Adolescent Psychology MArch, Harvard University provides a flexible mix of professional •Sociology or Cultural Anthropology education, advanced studio, and liberal arts (may be satisfied by GR 692) Carol Moore study in a 42-credit program which may be •Aesthetics (may be satisfied by GR 691) Assistant Professor completed in three full semesters or two •Art Criticism BFA, MFA, Tyler School of Art, semesters and two summers. (may be satisfied by GR 691) Temple University Although the program normally leads to •Speech or Acting certification upon receiving the degree, all (recommended; may be satisfied by AE Susan Rodriguez candidates must, in addition, successfully 200 Presentation Skills) Adjunct Professor complete the National Teachers Exam, •6 credits college-level math BFA, MEd, Tyler School of Art, PRAXIS Series, with satisfactory scores to •6 credits college-level English Temple University qualify for State certification. This unique composition and literature degree program allows a student to obtain Kenneth Sakatani his/her certification requirements for Associate Professor teaching while also earning a master’s MA in Teaching in Visual Arts Faculty BFA, University of Southern California, degree recognized by potential employing Los Angeles school districts and educational institutions. Paul Adorno MA, San Francisco State University In many cases this enables the MAT recipient Adjunct Assistant Professor PhD, Stanford University to qualify for a higher salary and often AB, Georgetown University preferred placement. MSEd, University of Pennsylvania Barbara Suplee Applicants to the MAT Program should Associate Professor possess a BFA or BA degree in studio art with Raye Cohen BFA, West Chester University a minimum of 40 credits in studio and 12 Adjunct Assistant Professor MEd, Temple University credits in art history with a “B” or better BA, University of Pennsylvania PhD, Pennsylvania State University cumulative average. They also must have MFA, The University of the Arts satisfactorily completed the coursework Joanne Wright and/or acquired competencies in fields Anne El-Omami Lecturer relating to teacher certification described Associate Professor BA, Rutgers University below. If any deficiencies exist, up to 12 BFA, BA, University of Nebraska, Lincoln BA, Rowan University corequisite credits may be completed concur- MA, University of Nebraska rently with the degree and applied to elective requirements. Diane Foxman Senior Lecturer BA, Antioch University MA, Goddard College

Arlene Gostin Associate Professor BA, University of Delaware MA, Philadelphia College of Art

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 63 Visual Arts Master of Arts in Teaching 42 credits

RECOMMENDED SCHEDULING OPTION:SUMMER FALL SPRING AE 599* Professional Writing Intensive — 0 0 AE 550 Creative and Cognitive Development 3.0 or 3.0 or 3.0 AE 547 Program Design and Methods: Elementary 3.0 or 3.0 or 3.0 AE 548 Program Design and Methods: Middle and Secondary 3.0 or — 3.0 AE 559 Saturday Practicum — 3.0 or 3.0 AE 606 Research in Education — 3.0 — AE 552 The Art of Teaching — 3.0 or 3.0 AE 602 History of Ideas in Art and Museum Education ——3.0 AE 659 Student Teaching Practicum — 9.0 or 9.0 Studio Art, Art Education, or liberal arts electives (University Seminar GR 691 and GR 692 may be required) — 9.0 or 9.0 AE 533 Art and Inclusionary Education — 3.0 or 3.0

* AE 599 must be taken and passed in the first semester of enrollment. Students may test out of the Professional Writing Intensive course by taking and passing the department Writing Proficiency Exam. (See course description for additional information.) Note: Courses to satisfy requirements for the MAT are offered at varying times, allowing graduate students’ programs to be customized to their needs.

64 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Students frequently choose to use their Specialized Facilities Book Arts/ elective credits for internships in professional Students have individual workstations Printmaking laboratories and organizations and are where light tables, storage space, book welcome as interns in many prestigious presses, and paper cutters are available. They Master of Fine Arts conservation labs. enjoy full use of the university’s well- The MFA Program invites internationally equipped studios and specialized facilities, Patricia M. Smith recognized visiting artists and critics to give [email protected] including studios for papermaking, non- workshops, exhibit, speak about their work, silver photography, bookbinding, water-based Director address issues of entry into the profession and 215-717-6490 screenprinting, letterpress, intaglio and relief critique the work of students. Distinguished printing, stone and paper lithography, and artists are also frequently invited to produce offset lithography. Stationary vertical and The MFA Program in Book Arts/ books or prints in the Borowsky Center for Printmaking focuses on the book as a portable book presses, a board shear, tabletop Publication Arts; students are welcome to shears, and a guillotine paper cutter are conceptual departure for art making and observe or assist in the printing process. personal expression. A two-year, 60-credit available for bookbinding. Letterpress By the conclusion of the MFA program, the facilities include five Vandercook proof program built upon the University’s long student will have developed the conceptual tradition of involvement with the book and presses, a photopolymer platemaking system, and technical skills necessary to teach, print, and over 400 drawers of monotype, foundry, the printed image, it is open to qualified design, publish, curate, work in the fields of students with an undergraduate degree in and wood type. Five etching presses and four book and paper conservation, or open an lithography presses are available for printing. liberal arts, design, photography, independent studio or business. printmaking, or fine art. Besides and ATF-Davidson offset press in the Students explore the book as an art form lithography pressroom, students have access that incorporates three-dimensional as well to the Borowsky Center for Publication Arts, as two-dimensional structure, time and equipped with a Heidelberg KORS offset press sequence, text and image. It embraces both and a full darkroom for experimental and the rich history of the book and the new production printing. An imaging lab houses processes and forms created by digital a darkroom equipped with enlargers, technology. Its concept of book arts includes horizontal and vertical copy-cameras, and a fine-press printing and illustrated texts, state-of-the-art filmsetting system integrated visual and verbal narratives, and works that with the University’s Macintosh computer push the idea of a book toward expressions as labs. In the graduate Book Arts/Printmaking different as sculpture and multimedia. resource room, students can find book Important features of the program are its structure models, books, journals, and printmaking opportunities, its emphasis on newsletters relating to book arts and investigating traditional and modern printmaking, and professional materials on bookbinding, and its encouragement of book artists, presses, and programs. writing and the use of text. Its situation in an Students also have access to many of the arts university gives the students a unique University’s other extensive facilities, opportunity to draw on other art areas- including state-of-the-art computers, photography, graphic design, multimedia, galleries, and the Greenfield Library, whose crafts, and sculpture, among others. visual art collection (books, periodicals, and The course of study, which is individually slides) is one of the largest among the tailored to each student’s interests and nation’s visual art schools. Its special experience, encourages the development of collection of artists’ books provides a new concepts, while offering proficiency in valuable teaching resource. both traditional and contemporary processes. The core program of bookbinding, offset lithography, and letterpress courses is augmented by investigations into related fields of study in studio arts and colloquia and seminars on art and the book. Courses in the first semester intersect - reflecting the integration of skills and concepts integral to book arts. Through both years, students are encouraged to work on their writing. The second year concentrates on the MFA Thesis Exhibition under the supervision of an advisory committee.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 65 Academic Requirements Peter Kruty Patricia M. Smith A cumulative GPA of 3.0 is required for Master Lecturer Assistant Professor good standing and for graduation for BA, University of Chicago BA, Immaculata College graduate students. A qualifying review at the MLS, MA, University of Alabama MA, Philadelphia College of Art conclusion of the first year’s coursework is Yoshida Hanga Academy, Tokyo required to continue in the program. The Hedi Kyle final semester culminates in a MFA Thesis Adjunct Associate Professor Lori Spencer Exhibition. Please refer to CAD Graduate Diploma, Werk-Kunstschule, Wiesbaden, Adjunct Assistant Professor Programs for further information on Germany BFA, State University of New York, graduate requirements. Purchase Larry Mitnick MFA, The University of the Arts MFA in Book Arts/Printmaking Faculty Associate Professor BArch, Cooper Union Susan T. Viguers James Green MArch, Harvard University Professor Master Lecturer BA, Bryn Mawr College BFA, Oberlin College Carol Moore MA, University of North Carolina at MPh, Yale University Assistant Professor Chapel Hill MLS, Columbia University BFA, MFA, Tyler School of Art, PhD, Bryn Mawr College Temple University Lois M. Johnson Susan White Professor Mary Phelan Lecturer BSEd, University of North Dakota Associate Professor BFA, Moore College of Art MFA, University of Wisconsin-Madison BS, College of Saint Rose MFA, The University of the Arts MA, University of Wisconsin-Madison Nathan Knobler Professor Robin Rice BFA, Syracuse University Adjunct Assistant Professor MFA, Florida State University BFA, Ohio Wesleyan University MA, University of Missouri

Book Arts/Printmaking Master of Fine Arts 60 credits

YEAR ONE FALL SPRING PR 600 A/B A Colloquium: Text and Image 1.5 1.5 B Colloquium: History of the Book PR 610 A/B01 Book Arts Studio 3.0 3.0 PR 610 A/B02 Book Arts Studio 4.5 3.0 PR 623 A/B Bookbinding 1.5 1.5 PR 626 Offset Lithography 1.5 — GR 692 University Seminar: Art and Design in Society — 3.0 Free Electives 3.0 3.0 Year One Total: 30.0 15.0 15.0

YEAR TWO FALL SPRING PR 700 A/B Colloquium: Professional Practices 1.5 1.5 PR 710 A/B01 MFA Thesis Studio 3.0 3.0 PR 710 A/B02 MFA Thesis Studio 3.0 3.0 PR 723 A/B Bookbinding 1.5 1.5 GR 691 University Seminar: Structure and Metaphor 3.0 — GR 791 University Seminar: Criticism — 3.0 Free Electives 3.0 3.0 Year Two Total: 30.0 15.0 15.0

66 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Studios and Facilities MFA in Ceramics, Painting, or Ceramics, Painting, During residence at the University, Sculpture Faculty or Sculpture summer MFA students enjoy access to well- Tom Csaszar equipped studios and facilities that support Senior Lecturer Master of Fine Arts work undertaken in each discipline. These BFA, University of Pennsylvania include: dedicated painting studios, three Low Residency Program major gas kilns with 90, 40 and 30 cubic foot AP. Gorny Carol Moore capacity, numerous electric kilns, wood and Adjunct Associate Professor [email protected] metal shops, carving studios, a forge and BFA, The State University of New York Director foundry. Students are expected to locate off- at Buffalo 215-717-6106 campus studio space for work undertaken Institute dell’Arte, Siena, Italy during the fall and spring independent MFA, Yale University School of Art These studio-based Master of Fine Arts studio semesters. In addition, students have degree programs are intended to broaden access to the University’s extensive facilities Jeanne Jaffe and advance the conceptual, critical, that include the Greenfield Library, whose Associate Professor historical, and practical knowledge needed to visual arts collection ranks among the BFA, Tyler School of Art, Temple University sustain a contemporary studio. The largest of the nation’s visual art schools; MFA, New York State College of Ceramics programs have been designed to meet the state-of-the-art academic computing labora- at Alfred University needs of artists holding BFA or BA degrees tories; numerous galleries and performance who are interested in pursuing an MFA in spaces; and the more than 100 museums and Carol Moore either Ceramics, Painting, or Sculpture cultural institutions that comprise the Assistant Professor within a time frame that accommodates extended campus of the city of Philadelphia. BFA, MFA, Tyler School of Art, their employment or academic year New York and Washington, DC cultural Temple University schedule. resources are only hours away. Departing from the traditional semester Students will be challenged by the broadly Mary Murphy format, students enter this three-year diverse aesthetic and critical opinions of Adjunct Assistant Professor program in summer and complete the major distinguished studio faculty and noted BA, Barnard College, Columbia University, portion of their work during three annual visiting artists and critics who are invited to New York eight-week summer residencies of intensive, participate in the program each summer. MFA, Tyler School of Art, Temple University individually focused studio experience. In Recent visiting artists and critics have addition to exploration in the major, students included: Siah Armajani, Barry Bartlett, Jose Eileen Neff pursue interdisciplinary investigations in Bedia, Paul Bloodgood, Tom Butter, William Adjunct Professor studio topics common to each discipline Daley, Arthur Danto, Larry Day, Heidi BA, Temple University and address contemporary critical Fasnacht, Peter Gourfain, Komar, Janet BFA, Philadelphia College of Art issues and methodology in University Koplos, Melamid, Howardena Pindell, Elaine MFA, Tyler School of Art, Temple University graduate seminars. Reichek, Kathy Rose, Sandy Skoglund, Judith During the fall and spring semesters, Stein, Robert Storr, Stephen Tanis, Ursula Gerald Nichols students complete independent studios, Von Rydingsvard, Mary Ann Unger, and Professor writing and research projects, and Leslie Wayne. Diploma, Cleveland Institute of Art independent thesis preparations. Regional Summer MFA candidates are expected MFA, University of Pennsylvania students maintain contact with studio faculty to follow the curriculum as structured in and present studio work at specific intervals order to complete the program within Barry Parker throughout the off-campus semester and at four years and present a final thesis Professor final critiques held at the end of the fall and exhibition following the completion of BAE, Eastern Michigan University spring semesters. Non-regional students meet the third summer. MFA, University of Massachusetts with assigned studio mentors in their geographic region for concurrent periodic Vermont Studio Center Graduate Study Tina Reuterberg and final critiques of in-progress and Exchange Adjunct Assistant Professor completed work. Off-campus writing and The University of the Arts has a special Prepartory Studies Diploma, KVKonstkola research projects are completed via mail or e- relationship with the Vermont Studio Center MFA, The School of Design and Craft, mail communication with seminar faculty. A in Johnson, Vermont. Summer MFA University of Gotenborg final thesis review and exhibition is held candidates who have completed the first year following completion of the third summer. in the SUMFA program may apply to attend Robin Rice VSC during the off-campus fall and spring Adjunct Assistant Professor semesters by contacting the Director of the BFA, Ohio Wesleyan University Summer MFA Programs. MA, University of Missouri Scholarships received during the summer session are not transferable for tuition Jennie Shanker payment during the off-campus fall and Lecturer spring semesters. BFA, MAT, The University of the Arts MFA, Yale University The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 67 Ceramics, Painting, or Sculpture Master of Fine Arts 60 credits

SUMMER ICREDITS XX 610 Major Studio in Ceramics, Painting, or Sculpture 6 .0 FA 611 Graduate Drawing 3.0 Choose one of the following: GR 691 University Seminar: Structure and Metaphor 3.0 GR 692 University Seminar: Art and Design in Society 3.0 Semester Total: 12.0

FALL I, SPRING I FA 691, FA 692 Independent Studio I and II in Ceramics, Painting, or Sculpture 3.0 FA 695, FA 696 Independent Writing Project I and II 1.5 Semester Total: 4.5 Both semesters: x 2 = 9

SUMMER II XX 611 Major Studio in Ceramics, Painting, or Sculpture 6.0 FA 610 Studio Topic 3.0 GR 691 Structure and Metaphor or 3.0 GR 692 University Seminar: Art and Design in Society 3.0 Semester Total: 12.0

FALL II, SPRING II FA 781, FA 782 Thesis Writing Project I and II in Ceramics, Painting, or Sculpture 1.5 FA 793, FA 794 Thesis Preparation I and II 3.0 Semester Total: 4.5 Both semesters: x 2 = 9

SUMMER III XX 710 Major Studio in Ceramics, Painting, or Sculpture 6.0 FA 612 Professional Practices 3.0 GR 791 University Seminar: Art Criticism 3.0 Semester Total: 12.0

FALL III FA 795 Thesis Exhibition 6.0 Semester Total: 6.0

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

68 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 We are an interdisciplinary program, so we Master of Industrial Design Faculty Industrial Design welcome applicants from such diverse fields Master of Industrial Design such as the fine arts, architecture, sociology, Anthony Guido law, business, engineering, and information Chair ID, Associate Professor Jamer Hunt technologies. What unites the students is BSID, The Ohio State University [email protected] their enthusiasm for design and material Director culture, as well as an interest in the social Jamer Hunt 215-717-6253 impact of design on our society. All Director MID, Assistant Professor candidates must hold a bachelor’s degree (or BA, Brown University The Master’s Program in Industrial Design equivalent). In addition, in order to be PhD in Cultural Anthropology, Rice is a graduate laboratory for postindustrial accepted at the graduate level all qualified University design. Students and faculty are actively applicants must demonstrate some form of exploring how to design for new social professional involvement in a design-related Nathan Knobler conditions in which behavioral, material, field. Each candidate is then carefully Professor technological, and natural landscapes are selected to assure a comprehensive balance BFA, Syracuse University shifting. We are committed to developing of disciplines in the program. MFA, Florida State University new models of design practice that are multidisciplinary, collaborative, and team- Specialized Facilities Jonas Milder based. We stress process, with an emphasis on In the graduate design studio each student Assistant Professor research, conceptualization, communi- is provided with an Apple computer for BID, Fachhochschule für Gestaltung cation, and appropriate form-giving. his/her desktop, access to the University MID, Hochschule der Künste The program itself is a two-year, 60-credit network, and a powerful suite of software; curriculum consisting of studio, methods, there are Windows NT machines as well for Slavko Milekic and seminar courses. The curriculum is advanced 3D modeling. The department also Associate Professor project-based, which means that each provides access to digital cameras and MD, Belgrade University, Yugoslavia semester course content is integrated around projectors for process documentation and MSc, PhD, University of Connecticut studio-based projects. Projects range from presentation. the development of new urban industries to Larry Mitnick incubating independent publishing labels for Associate Professor hard and soft design. By providing research BArch, Cooper Union proposals, future studies, and case studies, we MArch, Harvard University are promoting a new, more pro-active role for design education. Carol Moore Because design is a collaborative Assistant Professor profession, most studio projects will be team- BFA, MFA, Tyler School of Art, based. During the first and third semesters of Temple University study, first-year students will work with second-year students in a shared studio. Pavel Ruzicka Semester two is more individually oriented. Lecturer The final semester of the two-year program is MME, University of Engineering, devoted to a master’s thesis in which the Czech Republic candidate will work more independently with MID, The University of the Arts a group of internal faculty and/or outside professionals to develop a thesis project that Marek Walczak must advance the candidate’s chosen field Adjunct Professor of study. RIBA I and II, Architecture Association, Like the program itself, the faculty London represent a wide range of approaches to the practice of design. This means that students have access to currently practicing design professionals with backgrounds in fields ranging from architecture, graphic design, cultural anthropology, and psychology to industrial, systems and environmental design. The industrial design department thus offers a unique core faculty group who share a common philosophy and commitment to the design process.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 69 Industrial Design Master of Industrial Design 60 credits Year 1 Credits Fall ID 600 ID Seminar: Concepts and Contexts 3.0 ID 601 Advanced Design Studio 6.0 ID 620 Advanced Design Methods 3.0 Elective 3.0 Fall Total 15.0 Spring ID 710 Advanced Project Tutorial I 6.0 ID 627 Human Factors: Interactivity 3.0 GR 692 University Seminar: Art and Design in Society 3.0 Elective 3.0 Spring Total 15.0 Year 2 Fall ID 700 ID Seminar: Career Development 3.0 ID 602 Advanced Design Studio 6.0 ID 625 Advanced Computer Applications 3.0 GR 691 University Seminar: Structure and Metaphor 3.0 Fall Total 15.0 Spring ID 711 Advanced Project Tutorial II 6.0 ID 749 Master’s Thesis Documentation 6.0 Elective 3.0 Spring Total 15.0

In addition to required courses, students take elec- tive courses that enable them to pursue their specific interest, as well as overcome deficiencies in their design preparation. In certain cases, particularly for applicants from non-design undergraduate pro- grams, it is necessary to complete specific courses in industrial design. These courses are selected from appropriate undergraduate courses and may not apply towards degree requirements.

70 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Full-time MA students undertake a three- Museum Studies Museum semester academic course of study, and a 12- Communication week (240-hour) internship placement. Master of Arts Those students studying for the MA in Jane Bedno Master of Arts Museum Communication conclude their [email protected] degree program through the submission of a 215-717-6327 Jane Bedno written thesis, thesis defense, and Anne El-Omami [email protected] examination. [email protected] 215-717-6327 During each 15-week semester, students 215-717-6051 Anne El-Omami participate in lectures, seminars, workshops Co-Chairs [email protected] and study visits to appropriate museums, 215-717-6051 historic sites, galleries, and government The Museum Studies Department provides Co-Chairs cultural agencies. All courses in the students with the skills and knowledge department welcome visiting scholars and necessary to promote and enhance the The MA in Museum Communication is a museum professionals to give lectures and relationship between museums and the course of study in the contemporary theory hold discussion groups on aspects of public. In all three graduate museum and practice of museum work. Museum museum practice. programs, students take core courses professionals seeking a graduate degree in The department of Electronic Media, the addressing the character of museums, the museum studies for professional Master of Industrial Design program, and the nature of museum audiences, current advancement, and museum volunteers who College of Media and Communication museum practice, and the theory underlying seek professional credentials to make the contribute to the graduate student’s museum practice. transition into professional museum work education through inter-departmental course Lecture courses, seminars, and studio can acquire the skills, knowledge, and work, workshops, seminars and interdisci- courses allow students to understand the practical training in dealing with the public plinary special projects. demands of museum practice, to understand sector, with responsibilities that include Applicants to the Master of Arts in Museum past and current issues in the profession, to museum publications, public relations, Communication should possess a BFA, BA, or address the future needs of museums, to membership, development, record-keeping, BS degree, demonstrated work experience in meet and talk with professionals in the field, outreach activities including Internet the museum field or in related and to acquire hands-on skills in the many presence, and visitor services. institutions/consultancies, or discipline- areas of museum practice. Organized within the traditional academic based training and the intention of utilizing Students specialize in the areas of semester framework, with some short, this specialized training in a museum museum exhibition or museum education, intensive one- and two-week-long sessions context, and basic word processing and or pursue a more general course of study during the winter and summer academic Internet research skills. focusing on the interface between the breaks, and annual international museum museum and the public. Most museum issues seminars, the Department of Museum studies courses are open to all museum Studies prepares those who seek careers as studies majors, and some are open to collections managers, exhibition developers, students from other departments who are educators, and media and public affairs interested in museum practice and specialists. International museum profes- professions. A wide range of concepts, sionals may further their careers through the experiences, and approaches are acquisition of academic credentials and encountered, including hands-on visitor through a broader perspective and studies, on-site internships and practicums, knowledge of current museum practices and computer skills are developed for use in acquired in courses, seminars, special design, publication, museum record- museum placements, internships, and thesis. keeping, interactive museum media, and Course content and design, which bridge the museum outreach via the Web. academic and the professional, recognize the Museum Studies graduates find career growing need for specialized museum opportunities as museum educators, creators training and preferences in a competitive job of museum exhibitions, museum digital market for those with both graduate degrees media specialists, program specialists, and in and museum studies training. Graduates the ranks of museum administration dealing work in museums of anthropology, with the public: directorships, collections archaeology, fine art, history, natural history, management and display, public relations, science centers, zoos, arboretums and development, and related activities in national parks. Others find employment in museums, historic sites, zoos, aquariums, government agencies, historical societies, botanic gardens, and specialist consul- historic sites and houses, and with private tancies. and corporate collections and foundations.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 71 MA in Museum Communication Barry Dornfeld Carol Moore Faculty Associate Professor Assistant Professor BA, Tufts University BFA, MFA, Tyler School of Art, Ed Bedno MA, PhD, University of Pennsylvania Temple University Adjunct Professor BFA, Art Institute of Chicago Anne El-Omami Tom Porett MS/GD, Institute of Design, Associate Professor Professor Illinois Institute of Technology BFA, BA, University of Nebraska, Lincoln BS, University of Wisconsin MA, University of Nebraska MS, Institute of Design, Jane Bedno Illinois Institute of Technology Professor Jamer Hunt BA, Roosevelt University Assistant Professor Danielle Rice JD, College of William and Mary BA, Brown University Master Lecturer PhD, Rice University BA, Wellesley College Elizabeth Bogle MPh, PhD, Yale University Adjunct Associate Professor Nathan Knobler BFA, Philadelphia College of Art Professor Robin Rice BFA, Syracuse University Adjunct Assistant Professor Allegra Burnette MFA, Florida State University BFA, Ohio Wesleyan University Senior Lecturer MA, University of Missouri BA, Dartmouth College Slavko Milekic MFA, The University of the Arts Associate Professor Portia Hamilton Sperr MSc, MD, Belgrade University Adjunct Associate Professor Eddie Chernoff PhD, University of Connecticut Diploma in Pedagogy, Assoc. Master Lecturer Montessori International BA, Rutgers University Larry Mitnick BA, Barnard College MEd, Temple University Associate Professor BArch, Cooper Union MArch, Harvard University Museum Communication Master of Arts 45 credits

YEAR ONE FALL SPRING MS 501 Museum Seminar: The Museum 3.0 — MS 508 The Museum Audience 3.0 — MS 600 Museology 3.0 — GR 691 University Seminar: Structure and Metaphor 3.0 — Elective* 3.0 — MS 601 Issues in Museums Seminar — 3.0 MS 740 Thesis Research — 3.0 MS 749 A Thesis Development — 1.5 Elective* — 3.0 Elective* — 3.0 GR 692 University Seminar: Art and Design in Society — 3.0 Year One Total: 31.5 15.0 16.5

YEAR TWO SUMMER FALL MS 759 Museum Internship 3.0 — MS 602 Museum Governance: Legal Issues, Ethics in Museums — 3.0 MS 749 B Thesis Development — 1.5 Elective* — 3.0 Elective* — 3.0 Year Two Total: 13.5 3.0 10.5

* 9 credit hours of electives must be in Museum Studies

72 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 The Museum Studies core may be taken Danielle Rice Museum Education separately or in conjunction with another Master Lecturer master’s program at The University of the BA, Wellesly College Master of Arts Arts. The core includes courses from the MPH, PhD, Yale University Anne El-Omami museum studies core and may also include [email protected] the Graduate Museum Project and Robin Rice Director Internship with special approval. This series Adjunct Assistant Professor 215-717-6051 or 717-6050 of courses may be combined with the Master BFA, Ohio Wesleyan University of Arts in Teaching in the Visual Arts, the MA, University of Missouri The Master of Arts in Museum Education Master of Arts in Art Education, or the MFA in is a concentrated program focused on the Museum Exhibition Planning and Design. Kenneth Sakatani development and implementation of Associate Professor appropriate pedagogical practices and MA in Museum Education Faculty BFA, University of Southern California, critical/interpretive skills for communicating Los Angeles to the public about culture and the arts. Paul Adorno MA, San Francisco State University Coursework comprises three distinct areas: a Adjunct Assistant Professor PhD, Stanford University broad education core addressing theory and AB, Georgetown University methods, a concentration in museum studies MSEd, University of Pennsylvania Portia Hamilton Sperr and practices, and a professional core Adjunct Associate Professor including research and an internship with a Ed Bedno Diploma in Pedagogy, Assoc. cooperating museum. Adjunct Professor Montessori International Applicants should have had a core of at BFA, Art Institute of Chicago BA, Barnard College least 40 credits in the arts, liberal arts, and/or MS/BD, Institute of Design, communications, with a minimum of 18 Illinois Institute of Technology Barbara Suplee credits in art history (or 12 credits in art Associate Professor history and 6 credits in anthropology or Jane Bedno BFA, West Chester University communications). This degree is an Professor MEd, Temple University appropriate option for those with a strong BA, Roosevelt University PhD, Pennsylvania State University commitment to providing educational JD, College of William and Mary programming within a museum context or alternative site, as well as for teachers who Anne El-Omami wish a concentration in museum education Associate Professor so they may utilize museum resources more BFA, BA, University of Nebraska, Lincoln effectively in the classroom. MA, University of Nebraska Museums and galleries worldwide are becoming more dependent upon their Nathan Knobler audiences for support. The role of museums Professor is changing to meet audience demands, BFA, Syracuse University including expectations for more relevant and MFA, Florida State University accessible public educational programming to promote cultural knowledge and interests. Slavko Milekic This growing trend has created a greater Associate Professor demand for well-trained professionals with MSc, MD, Belgrade University, Yugoslavia special knowledge and expertise in planning PhD, University of Connecticut and implementing museum programs. Additionally, current educational theory and Larry Mitnick methodology embrace the inclusion of art Associate Professor history, criticism, and aesthetics as critical BArch, Cooper Union components of the arts education MArch, Harvard University curriculum, all areas heavily dependent upon museums for exemplary resources and Carol Moore reference. The MA in Museum Education Assistant Professor focuses on a wide variety of museums and BFA, MFA, Tyler School of Art, institutions with similar missions and Temple University operations and prepares educators to function within the changing context of Tom Porett contemporary schools, museums and related Professor institutions. The MA in Museum Education BS, University of Wisconsin may be completed in two semesters and a MS, Institute of Design, summer or in three semesters. Illinois Institute of Technology

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 73 Museum Education Master of Arts 36 credits

FALL SPRING SUMMER/ EDUCATION CORE FALL AE 606 Research in Education: Methods and Trends 3.0 —— GR 691 University Seminar: Structure and Metaphor 3.0 —— AE 550 Creative and Cognitive Development 3.0 —— GR 692 University Seminar: Art and Design in Society — 3.0 —

MUSEUM STUDIES CORE MS 510 Museum Education Practicum 3.0 —— MS 508 The Museum Audience 3.0 —— Choose on of the following: MS 501 Museum Seminar: The Museum — 3.0 — MS 600 Museology AE 530 Interactive Media for Art and Museum Educators — 3.0 — MS 615 Educational Programming for — 3.0 — Museums & Alternative Sites

PROFESSIONAL CORE MS 648 Graduate Museum Project — 3.0 — MS 759 Museum Internship ——6.0 15.0 15.0 6.0

Additional elective courses are encouraged in interactive media, multicultural learning arts, design for interdisciplinary learning, history of ideas in art and museum education, and media for museum communication.

74 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Most candidates for this program will have Allegra Burnette Museum Exhibition previously completed a baccalaureate degree Senior Lecturer Planning and Design in industrial, graphic, interior, or BA, Dartmouth College architectural design and demonstrate an MFA, The University of the Arts Master of Fine Arts acceptable level of professional accomplishment through a portfolio or Eddie Chernoff Jane Bedno another appropriate means. Alternatively, Master Lecturer [email protected] they may seek admission with a BA, Rutgers University Director baccalaureate in a discipline related to a MEd, Temple University 215-717-6327 particular career direction, and take courses to develop the necessary background in Nathan Knobler Recognized formally by the American design. Students from non-design, non-art Professor Association of Museums since 1981, the field backgrounds are also encouraged to apply. BFA, Syracuse University of exhibition planning and design has The first year provides a basic under- MFA, Florida State University become a demanding, fast-growing standing of the exhibition process, with the profession as museums respond to the first semester focused on conceptual Slavko Milekic demand for exhibitions addressed to public development, planning, systems, and Associate Professor needs and interests. With the cooperation of a intellectual analysis of problems, and the MSc, MD, Belgrade University group of major regional museums, following second on the practical implementation of PhD, University of Connecticut the guidelines established by N.A.M.E. concepts and on understanding materials (National Association for Museum and methods of exhibition design and Larry Mitnick Exhibition), The University of the Arts offers production. The second year is dedicated to Associate Professor a two-year, 60-credit Master of Fine Arts practice of skills learned during the first year, BArch, Cooper Union degree which prepares students for profes- and practical exposure to actual exhibition MArch, Harvard University sional careers in the development and design development practice in museums and of exhibits for museums and other museum consultancies. Activities during the Carol Moore interpretive centers, focusing on methods of final semester are focused on thesis Assistant Professor presentation for collections, while exploring development and completion. BFA, MFA, Tyler School of Art, the full range of exhibition communication Temple University and methodology. Specialized Facilities Representatives of cooperating museums The graduate studios in Museum Exhibition Tom Porett and the University faculty offer a curriculum Planning and Design feature direct student Professor that addresses the conceptualization, access to a computer-aided design center. The BS, University of Wisconsin research, organization, design, and Computer-Aided Design facility and the MS, Institute of Design, production of museum exhibits and academic computing laboratories are Illinois Institute of Technology educational presentations, utilizing a variety completely equipped computer centers of techniques and media. It also explores dedicated to drafting, rendering, desktop Robin Rice exhibit programming, evaluation and publishing, computer-aided graphic design, Adjunct Assistant Professor management methods applicable in a wide multimedia, and illustration. Students get BFA, Ohio Wesleyan University range of museum situations. Visiting experts installation experience through the MA, University of Missouri teach many aspects of museum presentation, University galleries. education and management, and students Portia Hamilton Sperr make formal visits to design departments, MFA in Museum Exhibition Planning Adjunct Associate Professor production shops, galleries, exhibits and and Design Faculty Diploma in Pedagogy, Assoc. programs in numerous museums, service Montessori International providers and consultancies in Philadelphia, Ed Bedno BA, Barnard College the Mid-Atlantic Region, Washington, and Adjunct Professor New York. BFA, Art Institute of Chicago Students undertake a thesis project and a MS/GD, Institute of Design, supervised museum internship related to Illinois Institute of Technology their career interests during the second year of the program. To preserve the intimate Jane Bedno contact with museum professionals and to Professor guarantee participants studio facilities, the BA, Roosevelt University program is limited to nine entrants per year. JD, College of William and Mary

Elizabeth Bogle Adjunct Associate Professor BS, Philadelphia College of Art

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 75 Museum Exhibition Planning and Design Master of Fine Arts 60 credits

YEAR ONE FALL SPRING MS 501 Museum Seminar: The Museum 3.0 — MS 502 Museum Seminar: The Exhibition — 3.0 MS 610 A/B Museum Exhibition Design Studio 6 0 6 .0 MS 620 A Museum Graphics 1.5 — MS 620 B Museum Lighting and Color — 1.5 MS 623 A/B Exhibition Materials and Methods 1.5 1.5 GR 692 University Seminar: Art and Design in Society 3.0 — Elective 3.0 — Year One Total: 30 15 15

YEAR TWO SUMMER FALL SPRING MS 749 Museum Internship* 3.0 —— MS 710 Museum Exhibition Design Studio — 6 .0 — MS 508 The Museum Audience ——3.0 MS 622 Media for Museum Communication ——3.0 MS 749 A/B Thesis Development — 3.0 3.0 GR 691 University Seminar: Structure and Metaphor — 3.0 — GR 791 University Seminar: Criticism ——3.0 Elective ——3.0 Year Two Total: 30.0 3.0 15 12.0

* Students with at least six months of direct exhibition-related experience in a museum, equivalent institution, U or a museum consultancy may substitute one three-hour elective for the internship requirement.

76 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 UArts 2001 Graduate CourseCatalog Undergraduate and • 2002

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

78 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 CPA Full and Part Time Faculty LaVaughn Robinson Anthony Biancosino Adjunct Professor Adjunct Assistant Professor BA, Temple University School of Dance Pearl Schaeffer MA, College of New Jersey Adjunct Associate Professor DMA, Indiana University Lisa Bardarson BS, Drexel University DFA, University of Calgary, Canada Senior Lecturer MFA, Philadelphia College of Performing Arts John Blake Kim Bears Jon Sherman Adjunct Associate Professor Assistant Professor Adjunct Assistant Professor BM, West Virginia State University BFA, The University of the Arts BS, Temple University William Brock Ninotchka Bennahum Carole Sklaroff Lecturer Senior Lecturer Adjunct Associate Professor BM, The University of the Arts

Peter Bertini Suzanne Slenn Robert Brosh Associate Professor Adjunct Associate Professor Adjunct Assistant Professor BS, State University of New York, Brockport BA, Glassboro State College MFA, Philadelphia College of Performing Arts Faye Snow MA, DA, New York University Adjunct Associate Professor Shimon Braun BS, West Chester State College Brian Brown Visiting Artist MA, George Washington University Senior Lecturer BM, MM, Juilliard Wayne David Leah Stein Senior Lecturer Adjunct Associate Professor James Bruno BA, Wesleyan University Adjunct Assistant Professor Manfred Fischbeck Adjunct Associate Professor Lisa Sundstrom Donald Chittum BA Equivalent - Freie Universitat Berlin Adjunct Assistant Professor Professor BM,MM, DM, Philadelphia Lisa Fox Eva Szabo Conservatory of Music Senior Lecturer Adjunct Assistant Professor BFA, University of Colorado Diploma, Ballet Institute, Budapest, Hungary Gene Ciccimaro Senior Lecturer Gayanne Grossman Elise Tropea Senior Lecturer Adjunct Associate Professor Andrea Clearfield BFA, BS, University of Utah BS, Bennington College Adjunct Assistant Professor MS, Hahnemann Medical College BA, Muhlenberg College Ronen Koresh MM, Philadelphia College of Performing Arts Adjunct Assistant Professor Connie Vanderakis DMA, Temple University Assistant Professor Molly Misgalla BS, Northern Illinois University Seán Deibler Assistant Professor Doctor of Education candidate, Temple Associate Professor BA, Point Park College University BS, HDFA, Susquehanna University Graduate Diploma, Franz Liszt Academy Brie Neff of Music, Budapest, Hungary Lecturer School of Music BFA, Temple University Annette DiMedio Paul Adkins Professor R. Jeannine Osayande Senior Lecturer BA, Swarthmore College Adjunct Associate Professor BS, West Virginia University MM, Temple University Professional Certificate, PhD, Bryn Mawr College Andrew Pap Academy of Vocal Arts Associate Professor Marc Dicciani Baccalaureat Diploma, Scoala de George Akerley Adjunct Associate Professor Coreogrefie, Cluj, Romania Adjunct Assistant Professor BM, Philadelphia Musical Academy Dance Education Degree, Certificate of BM, Philadelphia Musical Academy Professor of Ballet,Ministry of Culture and MM, Philadelphia College of Performing Arts Samuel Dockery Education, Bucharest, Romania Senior Lecturer Steve Beskrone BM, Philadelphia College of Performing Arts Senior Lecturer

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 79 John Dulik Rick Hall Frank Mazzeo Lecturer Senior Lecturer Adjunct Assistant Professor BM, Philadelphia Musical Academy BS West Chester University MM, DMA, Temple University Dave Hartl MM, Temple University Assistant Professor Craig Ebner BM, West Chester State University Kelly Meashey Senior Lecturer Senior Lecturer BM, Hartt School of Music, Richard Hotchkiss BME, MM Temple University University of Hartford Senior Lecturer BM, Philadelphia Colleges of the Arts Patrick Mercuri Charles Fambrough Adjunct Assistant Professor Senior Lecturer Luke Housner BM, BME, Philadelphia Musical Academy Lecturer MM, Temple University Chris Farr BM, Oberlin College Conservatory of Music Senior Lecturer MM, University of Illinois Tony Miceli BM, MAT, The University of the Arts Senior Lecturer Joseph Jackson BM, The University of the Arts James Gallagher Lecturer Adjunct Assistant Professor BA,MA,McKendre College Howard Miller BA, Temple University Senior Lecturer Marc Johnson BS, Temple University William Garton Senior Lecturer MA, MS, University of Illinois Senior Lecturer BM, Philadelphia College of Performing Arts BA, MA, Glassboro State College Jennifer Morgo Micah Jones Senior Lecturer Richard Genovese Assistant Professor BM, Cleveland Institute of Music Adjunct Assistant Professor BM, Temple University MA, PhD, University of Pennsylvania Certificate, Curtis Institute of Music MM, The University of the Arts Joseph Nero Thomas Giacabetti Michael Kennedy Adjunct Assistant Professor Senior Lecturer Lecturer Diploma, Curtis Institute of Music BM, MM, The University of the Arts Steve Giordano Theodore Pasternak Senior Lecturer Ronald Kerber Senior Lecturer Associate Professor BM, Philadelphia Musical Academy Don Glanden BM, Philadelphia College of Performing Arts Music Ed. Certificate, Chestnut Hill College Assistant Professor BS, West Chester University Jeffrey Kern James Paxson BM, North Texas University Assistant Professor Adjunct Assistant Professor MM, Rutgers U. BS, Lebanon Valley college MM, University of Michigan Michael Pedicin Jr. Janice Goltz Senior Lecturer Assistant Professor John Knebl BME, Philadelphia College BM, Philadelphia Musical Academy Senior Lecturer of Performing Arts BME, Philadelphia College BM, BME, Philadelphia Musical Academy MS, Villanova University of Performing Arts MA, Villanova University MME, Temple University Reginald Pindell Kevin MacConnell Senior Lecturer Robert Goltz Senior Lecturer BM,MM, Peabody Conservatory of Music Senior Lecturer Diploma, Curtis Institute of Music BS, West Chester University Tony Marino MA, Beaver College Senior Lecturer Trudy Pitts Adjunct Associate Professor Theodore Greenberg Pat Martino BM, Philadelphia Musical Academy Senior Lecturer Senior Lecturer BM, Philadelphia College of Performing Arts Michael Quaile Christopher Maute Senior Lecturer Orlando Haddad Lecturer BM, Philadelphia College of Performing Arts Senior Lecturer BM, The University of the Arts MM, The University of the Arts BM, North Carolina School for the Arts MS, Drexel University

80 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 George Rabbai Dennis Wasko Neill Hartley Senior Lecturer Senior Lecturer Adjunct Assistant Professor BM, Philadelphia College of Performing Arts BA, SUNY Oneonta Thomas Rudolph MFA, Temple University Senior Lecturer Nanci Weneck BM, Philadelphia College of Performing Arts Lecturer Linda Henderson MM, West Chester University BM, The University of the Arts Senior Lecturer DME, Widener University MM, West Chester University Bill Zaccagni BFA, Indiana University Anthony Salicondro Assistant Professor Senior Lecturer Rex Henriques BM, Philadelphia Musical Academy School of Theater Arts Senior Lecturer Anne Sciolla Johnnie Hobbs, Jr. Senior Lecturer Irene Baird Chair, Acting, Associate Professor BM, Philadelphia College of Performing Arts Adjunct Associate Professor BFA, Carnegie-Mellon David Howey Marlon Simon MFA, New York University Associate Professor Senior Lecturer BFA, New School for Research Jennifer Childs Nancy Kantra Senior Lecturer Assistant Professor Suzanne Snizek BFA, The University of the Arts BA, University of Colorado Senior Lecturer MFA, Philadelphia College of Performing Arts BA, Indiana University Karen Cleighton MM, The University of the Arts Senior Lecturer Connie Koppe Senior Lecturer Evan Solot Charles Conwell BS, Indiana University of Pennsylvania Professor Professor MM, Temple University BM, BME,MM, Philadelphia Musical BS, Northwestern University Academy MFA, Brandeis University Rebecca Lisak Senior Lecturer Patricia Stasis Eric Ebbenga BFA, University of North Carolina at Adjunct Assistant Professor Senior Lecturer Greensboro Diploma, Curtis Institute BM, MM, Temple University Diploma, Munich Conservatory of Music Ernest Losso Mari Fielder Adjunct Assistant Professor Edward Stimson Adjunct Professor Carnegie-Mellon University Senior Lecturer BA, Temple University BS, West Chester University MA, Ohio State University Kip Martin PhD, University of California, Los Angeles Lecturer John Swana Senior Lecturer Manfred Fischbeck Troy Martin O’Shia Adjunct Associate Professor Lecturer Craig Thomas BA Equivalent - Freie Universitat, Berlin BFA, Webster University Adjunct Associate Professor BA, Rutgers University Charles Gilbert Drucie McDaniel BM, Philadelphia Musical Academy Chair Musical Theater, Associate Professor Adjunct Assistant Professor BA, University of Delaware David Thomas MFA, Carnegie-Mellon University Tammy Meneghini Senior Lecturer Adjunct Associate Professor BS, West Chester University Mary Ellen Grant-Kennedy MFA, Northern Illinois University MM, Peabody Conservatory of Music Senior Lecturer BM, Temple University David Newer Ron Thomas Adjunct Assistant Professor Senior Lecturer Theresa Greenland BA, University of California/Santa Barbara BM, Manhattan School of Music Senior Lecturer MFA, Rutgers University MA, C.W. Post BS, West Chester University MM, Temple University Elio Villafranca Senior Lecturer MM, University of Art, Havana, Cuba

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 81 Michael Pedretti The School of Dance Programs of Study Senior Lecturer Bachelor of Fine Arts (BFA) in Dance BS, University of Wisconsin Bachelor of Fine Arts in Dance Education MA, University of Kansas Susan B. Glazer (BFA Dance Ed) [email protected] Certificate in Dance - two-year program Aaron Posner Director Majors Adjunct Associate Professor Maria Urrutia Ballet BS, Northwestern University [email protected] Jazz/Theater Dance Assistant to the Director Modern Dance Peter Pryor 211 South Broad Street Dance Education Senior Lecturer 215-717-6577 BFA, The University of the Arts Bachelor of Fine Arts in Dance: Ballet, The School of Dance is dedicated to the Modern, or Jazz/Theater Dance Patricia Raine training of young artists for careers as profes- The Bachelor of Fine Arts (BFA) degree in Assistant Professor sional performers, dance educators, and Dance is a program designed for those BM, Arizona State University choreographers, and provides an intensive students who wish to prepare for professional MM, Northern Arizona University exploration of dance in its physical, careers in dance performance and/or intellectual, and creative aspects. The choreography. The BFA in Dance program is Owen Robbins School provides an environment in which normally completed in four years of full-time Visiting Assistant Professor students may develop an individual artistic study with a total requirement of 128 credits B.L.Arch., Virginia Polytechnic Institute vision while being exposed to a variety of (130 credits for Dance Education). MS, University of Pennsylvania artistic roles. Bachelor of Fine Arts in Dance Ed Shockley Facilities Education Adjunct Assistant Professor The Bachelor of Fine Arts (BFA) in Dance MFA, Temple University The main studios of the School of Dance are located in the Terra Building at 211 Education is a program designed specifically for students whose primary intention is to Leigh Smiley-Grace South Broad Street. These spacious, bright, and well-lighted studios are fully equipped enter the profession as a teacher of dance. Adjunct Assistant Professor Although there is currently no Pennsylvania BA, Marlboro College with barres and mirrors, huge windows, pianos, and audio consoles. Their floors are state certification for dance teachers, this constructed with four-inch, state-of-the-art program includes supervised class teaching Rick Stoppleworth in schools and/or private dance studios. The Assistant Professor suspension for the safest and most comfortable dancing surface available. BFA in Dance Education is designed as a BS, University of Wisconsin/Madison four-year program of full-time study with a MFA, Temple University Lockers, dressing rooms, showers, and lounges are found adjacent to the studios. total requirement of 130 credits. The University has completely restored its Gene Terruso Certificate in Dance Director, School of Theater Arts historic Merriam Theater, which serves as the institution’s major performance hall for The Certificate in Dance is a two-year, 55- Professor credit program intended for those students AB, MA, University of Scranton students, as well as “home” to a number of who wish to concentrate exclusively on dance MFA, Rutgers University regional performing arts organizations, including the Pennsylvania Ballet. The UArts studies. This intensive program is designed to develop the student’s familiarity with and Neal Tracy Dance Theater, a 200-seat theater, is used for student performances. The Albert M. proficiency in a broad spectrum of dance Adjunct Associate Professor styles. The Certificate in Dance is awarded in BM,MM, DM, Indiana University Greenfield Library contains books, journals, and videotapes devoted to dance, which recognition of achievement, and does not constitute an academic degree. Joan Twiss are available to students for research and coursework. Students wishing to transfer from this Adjunct Assistant Professor program to the Bachelor’s degree program MFA, Rutgers University may apply to do so and will be required to BSN, Ohio State University obtain the approval of both the Director of the School of Dance and the Director of D’Arcy Webb Liberal Arts. The Certificate in Dance is Senior Lecturer awarded only to students who are in BA, Point Park College residence and are matriculated in the Certificate program. Jiri Zizka Adjunct Professor BA, Graphic Design School, Prague MFA, MWI of Charles IV, Prague

82 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 The Curriculum School of Dance Faculty Dance Studies The curriculum in the School of Dance Lisa Bardarson has been carefully organized to allow the Ballet Ninotchka Bennehum students to grow to their maximum potential Kip Martin Peter Bertini as dancers. It has been developed over the Andrew Pap Annette DiMedio years by professionals who are experienced Jon Sherman Manfred Fischbeck with the world of dance and its demands. Carol Luppescu Sklaroff Susan B. Glazer Daily technique classes in ballet, modern Suzanne Slenn Theresa Greenland dance, and jazz dance are basic to all courses Lisa Sundstrom Nancy Kantra of study and are the heart of the program. Eva Szabo Neil Kutner One year of tap is required. Each student Barbara Weisberger Pearl Schaeffer must be familiar with all major styles of Elise Tropea dance in order to become as versatile as Jazz/Theater Dance Connie Vandarakis possible. Dance electives offered every Shimon Braun semester include African dance, Spanish Peter Bertini Accompanists dance, Brazilian dance, Character, pointe, Ronen Koresh Larissa Bell men’s class, partnering, and yoga. Molly Misgalla Hans Boman In addition to the rigorous study of Wayne St. David Asya Haykin technique, the dance curriculum includes Saine Hsu a. creative subjects such as improvisation Modern Dance Richard Iannacone and composition; Kim Bears John Levis b. academic dance subjects such as dance Joan Myers Brown Tom Lowery history, music, Labanotation, Manfred Fischbeck Tim Motzer anatomy/kinesiology, pedagogy; Nancy Kantra Valentina Slutsky c. ensembles, repertory, and other Faye Snow performing courses; Leah Stein Technical Director d. free electives including voice, acting, Stephen Welsh Jay Madara and visual arts courses. Tap Dance Costumer Joan Lanning Clyde Michael Hayes Declaration of Major LaVaughn Robinson In March of the sophomore year, the student must take an upper-divisional exam, African Dance at which time the student will be evaluated R. Jeanine Osayande with respect to his or her requested major. The student is evaluated for future success Brazilian Dance and, if appropriate, invited to continue the program for the junior and senior years. The Peter Bertini student must complete a Declaration of Major form, obtain approval for the major Spanish Dance from the School of Dance, and submit the Nancy Heller completed form to the Office of the Registrar.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 83 Dance Core Curriculum Ballet Major 128 credits The Core Curriculum is common to all The final two years of the Ballet major emphasize Bachelor of Fine Arts programs in the School of advanced technique in Ballet, including Pointe or Dance for the first two years. These required Men’s Ballet class. In addition, Ballet majors continue non-major studies in either Modern or Jazz Dance. courses develop a solid foundation from which students pursue their specific areas of interest.

Freshman Year Credits Sophomore Year Junior Year Credits Fall Fall Fall DA 100 Rhythm for Dancers 1.0 DA 201 A Ballet III 2.0 DA 301 A Ballet V 4.0 DA 101 A Ballet I 2.0 DA 203 A Modern Dance III 2.0 DA 308 A Dance Pedagogy I 2.0 DA 103 A Modern Dance I 2.0 DA 213 A Jazz Dance III 1.0 DA 307 A Ballet Repertory I 1.0 DA 113 A Jazz Dance I 1.0 DA 205 A Notation I 2.0 DA 309 A Partnering I 1.0 DA 123 A Tap I 1.0 DA 211 A Dance History I** 3.0 DA 326 A Modern Dance DA 116 A Fundamentals of Dance I 1.0 DA 216 Music for Dancers 1.0 for Non-Majors V 1.0 DA 190 Language of Music 1.0 DA 77X Dance Ensemble 1.0 DA 321 A Pointe I or 1.0 Electives 1.0 HU 281 Dynamic Anatomy* 3.0 DA 327 A Men’s Class I 1.0 HU 110 A First Year Writing I 3.0 Electives 2.0 DA 77X Dance Ensemble 1.0 HU 103 A Intro. to Modernism I 3.0 17.0 Electives 2.0 HU XXX Liberal Arts 3.0 16.0 Spring Spring DA 201 B Ballet IV 2.0 17.0 DA 101 B Ballet II 2.0 DA 203 B Modern Dance IV 2.0 Spring DA 103 B Modern Dance II 2.0 DA 213 B Jazz Dance IV 1.0 DA 301 B Ballet VI 4.0 HU 103 B Intro. to Modernism I 3.0 DA 211 B Dance History II** 3.0 DA 308 B Dance Pedagogy II 2.0 DA 113 B Jazz Dance II 1.0 DA 217 Dance Composition I 1.0 DA 307 B Ballet Repertory II 1.0 DA 123 B Tap II 1.0 DA 77X Dance Ensemble 1.0 DA 309 B Partnering II 1.0 DA 109 Improvisation I 1.0 Electives 2.0 DA 319 Theater Functions 1.0 DA 116 B Fundamentals of Dance II 1.0 HU xxx Liberal Arts 3.0 DA 324 Character Dance 1.0 DA 117 Survey of Music** 3.0 15.0 DA 326 B Modern Dance Electives 1.0 for Non-Majors VI 1.0 Sophomore Year Total: 32.0 HU 110 B First Year Writing II 3.0 DA 321 B Pointe II or 1.0 18.0 DA 327 B Men’s Class II DA 77X Dance Ensemble 1.0 Freshman Year Total: 34.0 * May be taken either term, and fulfills the Liberal Arts science requirement. Electives 1.0 HU XXX Liberal Arts 3.0 ** Fulfills Liberal Arts discipline history require- ment. 17.0 Junior Year Total: 34.0

84 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Jazz/Theater Dance Major 128 credits The Jazz/Theater Dance major emphasizes acting, music, and voice in addition to the technical study of jazz dance, and prepares students for dance careers related to theatrical performance.

Senior Year Junior Year Credits Senior Year Fall Fall Fall DA 401 A Ballet Major VII 4.0 DA 311 A Jazz V 4.0 DA 411 A Jazz VII 4.0 DA 419 A Dance Production I 2.0 DA 308 A Dance Pedagogy I 2.0 DA 419 A Dance Production I 2.0 DA 426 A Modern Dance 1.0 DA 317 A Dance Composition II 2.0 DA 425 A Ballet for Non-Majors VII 1.0 for Non-Majors. VII DA 323 A Tap III 1.0 DA 77X Dance Ensemble 1.0 DA 77X Dance Ensemble 1.0 DA 325 A Ballet for Non-Majors V1 1.0 Electives 1.0 Electives 1.0 Choose one of the following: HU XXX Liberal Arts 6.0 HU XXX Liberal Arts 6.0 DA 345 A Voice I 1.0 15.0 TH 100 A Acting I 1.0 15.0 Spring DA 77X Dance Ensemble 1.0 Spring DA 411 B Jazz VIII 4.0 DA 401 B Ballet Major VIII 4.0 Electives 2.0 DA 419 B Dance Production II 2.0 DA 419 B Dance Production II 2.0 HU XXX Liberal Arts 3.0 DA 425 B Ballet for Non-Majors VIII 1.0 DA 426 B Modern Dance 1.0 17.0 DA 77X Dance Ensemble 1.0 for Non-Majors VIII Spring Electives 2.0 DA 77X Dance Ensembles 1.0 DA 311 B Jazz VI 4.0 HU XXX Liberal Arts 3.0 Electives 2.0 DA 308 B Dance Pedagogy I 2.0 13.0 HU XXX Liberal Arts 3.0 DA 317 B Dance Composition III 2.0 Senior Year Total: 28.0 13.0 DA 319 Theater Functions 1.0 Senior Year Total: 28.0 DA 323 B Tap IV 1.0 DA 325 B Ballet for Non-Majors VI 1.0 Note: DA 326 and DA 426 may substitute for Choose one of the following: DA 325 and DA 425. Note: DA 328 and DA 428 may substitute for DA 345 B Voice II 1.0 DA 326 and DA 426. TH 100 B Acting II 1.0 DA 77X Dance Ensemble 1.0 Electives 1.0 HU XXX Liberal Arts 3.0 17.0 Junior Year Total: 34.0

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 85 Modern Dance Major Dance Education Major Certificate in Dance 55 credits 128 credits 130 credits Modern Dance majors further develop technique, Students choosing to pursue the Bachelor of Fine Arts repertoire, and composition in the area of Modern in Dance Education continue dance technique studies Dance. In addition, Modern Dance Majors also pursue in one major area and one non-major area of concen- non-major studies in either Ballet or Jazz Dance. tration. The culmination of the program is an intern- ship as a student teacher. Junior Year Credits Junior Year Credits First Year Credits Fall Fall Fall DA 303 A Modern Dance V 4.0 DA 3XX A Major Technique 4.0 DA 100 Rhythm for Dancers 1.0 DA 305 A Modern Repertory I 1.0 DA 3XX A Non-Major Dance 1.0 DA 101 A Ballet I 2.0 DA 308 A Dance Pedagogy I 2.0 DA 308 A Dance Pedagogy I 2.0 DA 103 A Modern Dance I 2.0 DA 317 A Dance Composition II 2.0 DA 317 A Dance Composition II 2.0 DA 190 Language of Music 1.0 DA 322 A Improvisation II 1.0 DA 77X Dance Ensemble 1.0 DA 113 A Jazz Dance I 1.0 DA 325 A Ballet for Non-Majors V 1.0 Electives 1.0 DA 116 A Fundamentals of Dance I 1.0 DA 77X Dance Ensemble 1.0 HU XXX Liberal Arts 6.0 DA 123 A Tap I 1.0 Electives 1.0 17.0 Elective 3.0 HU XXX Liberal Arts 3.0 Spring 12.0 16.0 DA 3XX B Major Technique 4.0 Spring Spring DA 3XX B Non-Major Dance 1.0 DA 101 B Ballet II 2.0 DA 303 B Modern Dance VI 4.0 DA 308 B Dance Pedagogy II 2.0 DA 103 B Modern Dance II 2.0 DA 305 B Modern Repertory II 1.0 DA 317 B Dance Composition III 2.0 DA 109 Improvisation I 1.0 DA 308 B Dance Pedagogy II 2.0 DA 319 Theater Functions 1.0 DA 113 B Jazz Dance II 1.0 DA 317 B Dance Composition III 2.0 DA 77X Dance Ensemble 1.0 DA 116 B Fundamentals of Dance II 1.0 DA 319 Theater Functions 1.0 Electives 3.0 DA 117 Survey of Music 3.0 DA 322 B Improvisation III 1.0 HU XXX Liberal Arts 3.0 DA 123 B Tap II 1.0 DA 32B Ballet for Non-Majors VI 1.0 17.0 DA 319 Theater Functions 1.0 DA 77X Dance Ensemble 1.0 Elective 1.0 Junior Year Total: 34.0 Electives 1.0 13.0 HU XXX Liberal Arts 3.0 Senior Year First Year Total: 25.0 17.0 Fall Junior Year Total: 33.0 DA 4XX A Major Technique 4.0 Second Year DA 4XX Non-Major Dance 1.0 Fall Senior Year DA 408 A Dance Symposium I 3.0 DA 201 A Ballet III 2.0 Fall DA 419 A Dance Production I 2.0 DA 203 A Modern Dance III 2.0 DA 403 A Modern Dance VII 4.0 Electives 1.0 DA 211 A Dance History I 3.0 DA 419 A Dance Production I 2.0 HU XXX Liberal Arts 6.0 DA 213 A Jazz Dance III 1.0 DA 425 A Ballet for Non-Majors VII 1.0 17.0 DA 216 Music for Dancers 1.0 DA 308 A Dance Pedagogy I 2.0 DA 77X Dance Ensemble 1.0 Spring DA 77X Dance Ensemble 1.0 Electives 2.0 DA 408 B Dance Symposium II 3.0 Elective 3.0 HU XXX Liberal Arts 6.0 DA 410 Student Teaching 7.0 16.0 DA 419 B Dance Production II 2.0 15.0 Spring Electives 1.0 Spring DA 403 B Modern Dance VIII 4.0 13.0 DA 201 B Ballet IV 2.0 DA 419 B Dance Production II 2.0 DA 203 B Modern Dance IV 2.0 Senior Year Total: 30.0 DA 425 B Ballet for Non-Majors VIII 1.0 DA 211 B Dance History II 3.0 DA 77X Dance Ensemble 1.0 DA 213 B Jazz Dance IV 1.0 Electives 2.0 DA 308 B Dance Pedagogy II 2.0 HU XXX Liberal Arts 3.0 DA 77X Dance Ensemble 1.0 13.0 DA 217 Dance Composition I 1.0 Elective 3.0 Senior Year Total: 29.0 15.0 Second Year Total: 30.0 Note: DA 328 and DA 428 may substitute for DA 325 and DA 425.

86 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Special Regulations/ Ensemble Requirements Responsibilities Sophomores are required to take a The University provides the theater, a Requirements maximum of one ensemble per semester. technical director, and the basic technical Junior Modern Majors are required to take facilities. Any additional support, special Dance Technique Class one ensemble plus Modern Repertory. lighting, or sound needs must be provided by Regular, consistent presence in dance Junior Jazz Majors may take a maximum the student. All programs, flyers, and technique classes is essential to the student’s of two ensembles per semester. promotional materials can be duplicated by professional development. Dance technique Junior Ballet Majors may take Ballet the dance office if presented well in advance classes meet up to five times per week, Ensemble and an optional ensemble for a of the production in a finished state. depending upon the course and level. maximum of two ensembles per semester. Unexcused absences must not exceed the Seniors may take a maximum of three Evaluation number of credits per semester for the ensembles per semester. Dance students view their senior concert as particular course, i.e., in a two-credit course, the culmination of their four years at The no more than two absences are permitted. If a student wishes to drop the assigned University of the Arts and an extremely Extensive absences, whether ‘excused’ or ensemble, he/she will not be able to register important aspect of their college experience. ‘unexcused,’ will adversely affect the course (or take for noncredit) another ensemble, The faculty, too, judge this performance as a grade. If, after warnings, a student persists in unless there is a class schedule conflict. serious demonstration of the student’s ability not attending or participating in class, as a dance artist. All senior dance students he/she will fail the course and be placed on Ensemble Electives must present their finished choreography on departmental probation. All students are placed in one required a date scheduled by the School to a jury ensemble by audition. Juniors (except for consisting of three faculty members and the Physical Demands of the Program Modern Majors) and seniors may add an Director of the School of Dance. Evaluations It is essential that the dancer be fully additional ensemble for credit. of the content of the performance are offered prepared for a physically demanding career. by at least three faculty members after the Should a student experience an illness or Senior Dance Concert performance. injury that requires abstaining from the One of the School’s most important The production aspect of the concert is rigors of the class, he/she must present requirements for graduation is the creation graded by the faculty in charge of the course. documentation of such illness/injury to the of a senior dance concert, which includes The final grade thus reflects both the process director of the School of Dance. Each case responsibility for choreography, rehearsals, and the choreographic end result. will be evaluated individually. It may be lighting, costume and sound design, and necessary for the student to take a leave of advertising. Student Evaluations absence or to leave the program permanently Preparation for the senior concert takes Juried examinations in each technique if the student is unable to physically place during the two-semester Dance take place at the end of each semester. In participate in the program. Production course. A faculty advisor will addition, individual conferences are In cases of long-term injury or illness, it is assist in the choreographic and technical scheduled in December and May. At this time, necessary for the student to present medical production of the concert. Performance dates the faculty and student explore the progress documentation to be considered for are chosen in September. Concerts are shared made in the program and review the readmission. by several seniors. student’s potential for future success. The School of Dance recognizes that it is Extra-Curricular Activities Requirements possible for a student to earn a passing grade All students are expected to attend all a. Choreography - All majors must in a course yet not truly be able to perform classes and rehearsals for which they are choreograph at least one group piece. In on a professional level in the art form. In this registered. Outside commitments must never addition, students may choreograph either a instance, the faculty and Director will advise interfere with school work. If a student has second group work or a solo; however, the the student of this lack of promise for a an outside professional performance, he/she total must not exceed 16 minutes. All music future career and make suggestions for must ask the Director for special permission must be approved by the faculty advisors. alternative career options. to be absent from school. b. Performance - All students must Performance Requirements perform in at least one work. c. Technical Assistance - Each student To fulfill the curricular requirement in must fulfill a crew requirement either as performance, every sophomore, junior, and stage manager; lighting, sound, or video senior dance major is required to participate technician; or backstage assistant in another in at least one performance each semester in student’s performance. either faculty-directed ensembles or a senior student’s work. Scheduled concerts include end-of- semester performances in the Merriam Theater; senior concerts; freshman, sophomore, and junior composition concerts in the UArts Dance Theater.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 87 Academic Progress Students will receive Academic Censure, as determined by the Academic Review Committee, for the following reasons: 1. Semester GPA below 2.0. 2. Grade below “B-” (2.67) in the following major courses: Years 3 and 4 - Major Studios: Ballet, Modern or Jazz Year 4 - Dance Ed Majors: Dance Symposium (DA 408 A/B); Student Teaching (DA 410) 3. Failure to meet the stipulation for removal of Academic Censure by the end of the specified period will result in dismissal. Professional Standards and Behavior Students are expected to maintain high standards of professionalism in studio, classroom, rehearsal, and performance commitments. Failure to follow directions, and absence from or lateness to rehearsals, performances, and related activities may result in Academic Censure including lowering of grade or course failure.

88 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 The School of Music select a special Music Education or Jazz Facilities Studies track that may enable them to earn The School of Music is located in the both a bachelor’s and master’s degree in five Merriam Theater building at 250 South Marc Dicciani years. Broad Street. Facilities include fully equipped [email protected] The School of Music faculty is made up of music studios, practice rooms, a class piano Director experienced and practicing professionals, laboratory, and classrooms. The school’s 250 South Broad Street many of whom have attained international MARS (MIDI and Recording Studios) is a 215-717-6342 stature as performing and recording artists. modern recording and music technology This professional faculty is supplemented by facility, with a complete 32-input recording The School of Music is dedicated to the a long list of guest artists and a regular series studio, MIDI and computer labs, computer preparation and training of musicians for a of workshops, master classes, and and synthesizer workstation labs, and an career in music performance, composition, performances with greats that includes audio-for-video dubbing and editing lab. and music education. The student’s growth Wynton Marsalis, Randy and Michael Most practice rooms are equipped with grand as a musician is the primary goal of Brecker, Arturo Sandoval, Dave Weckl, Joshua pianos. A suite of fully equipped percussion the program. Redman, Jack DeJohnette, Terence studios is available for student practice. The music program is distinguished by its Blanchard, Danilo Perez, Bill Stewart, Peter The University’s historic Merriam Theater emphasis on American music idioms, such Nero, Ernie Watts, Mike Stern, Bob Berg, and the Arts Bank are used for student and as jazz and contemporary music, and Chris Potter, Adam Nussbaum, Dave faculty performances. The music library, includes study in European and World Liebman, Mike Mainieri, Gonzalo located in the Merriam building, contains traditions. The School’s mission of training Rubalcaba, Dennis Rowland, Gregg Field, books, manuscripts, journals, scores, records, professional musicians and educators of the Grover Washington, Jr., Max Roach, Eddie tapes, and compact discs as well as listening highest caliber is maintained through a Gomez, Phil Woods, Yo-Yo Ma, Ray Brown, and viewing facilities, a music education conservatory atmosphere, which stresses Scott Henderson, John Fedchock, Pat information center, and online access to the individualized training, and a compre- Martino, Phil Ramone, Bill Watrous, Bob Internet for students. hensive curriculum that includes private Mintzer, Billy Joel, Peter Erskine, Jon Faddis, lessons with master faculty and an James Moody, Marvin “Smitty” Smith, Dave abundance and diversity of ensembles. Samuels, Rob McConnell, Dennis Chambers, Performance Course work for instrumental, vocal, and and McCoy Tyner. Opportunities/Ensembles composition majors includes jazz improvi- Founded in 1870 as the Philadelphia sation, jazz theory and ear training, Musical Academy, which later merged with Big Band arranging, orchestration, basic piano and the Philadelphia Conservatory of Music, the “Blue Note” Ensemble jazz piano, music and computer technology, School counts among its alumni some of the Brass Ensemble MIDI, recording engineering, music nation’s most accomplished musicians, Brazilian Jazz Ensemble business, music histories (classical, jazz, including bassist Stanley Clarke, pianists “Brecker Brothers” Ensemble American, rock, and World music. Kenny Barron, Andre Watts, and Sumi Chamber Singers Performance opportunities play an Tonooka, vocalists Florence Quivar and “Charles Mingus” Ensemble important part in the student’s education by Osceola Davis, drummer Gerry Brown, Chorus sharpening technical skills and increasing saxophonist Lew Tabackin, trombonist Drumset Ensemble the student’s command of repertoire and Robin Eubanks, composer Vincent Fusion Ensemble styles. The School’s numerous performance Persichetti, and TV/film composers John “GRP” Ensemble ensembles represent a wide range of styles Davis and Edd Kalehoff. Handbell Choir and categories of jazz and American music. “Horace Silver” Ensemble Students are involved in a rigorous schedule Jazz Guitar Ensemble of performances, with over 150 concerts and “Jazz Messengers” Ensemble recitals presented each year. Jazz Lab Band This contemporary curriculum is Latin Jazz Ensemble organized in three degree programs: the “Maynard Ferguson” Ensemble Bachelor of Music in Performance, which “Miles Davis” Ensemble prepares students for careers as music profes- Musical Theater Ensemble sionals in vocal or instrumental New Music Ensemble performance, or composition; the Master of Percussion Ensemble Arts in Teaching in Music Education, which Saxophone Ensemble prepares students for certification as music Trombone Ensemble teachers for kindergarten through 12th Vocal Jazz Ensemble grade; and the Master of Music in Jazz “Yellowjackets” Ensemble Studies, which is a finishing program for highly advanced students preparing for Faculty Recitals careers as performers or college-level Guest Artist Concerts instructors. A unique aspect of the Opera Scenes undergraduate program allows students to Small Jazz Ensemble Concerts Student Recitals

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 89 Programs of Study Styles, Piano Accompaniment for Vocal MATPREP Major Areas of Concentration Majors, Music Technology, and Careers in Master of Arts in Teaching -Corequisite Music. Additionally, vocal majors select Program Flute classes and ensembles which most accurately MATPREP is a seventeen-credit course of Clarinet reflect performance and study interests, study designed to satisfy corequisite Saxophone including Jazz Vocal Ensembles, Chorus, and requirements for entrance into the Master of Woodwinds Chamber Singers; and classroom activities Arts in Teaching in Music Education Trumpet such as Jazz, American, Western, and Musical program. Open to all undergraduate music Trombone Theater Music History, Vocal Workshops; and majors, classes include an Introduction to Tuba an ongoing series of master classes. Music Education, Basic Conducting, Lab Guitar Teaching, Psychology of Music Teaching, Bass (Electric and/or Upright) Bachelor of Music in Composition and Orchestration. Completion of the Percussion Students enrolled in this program take MATPREP program with an average of 3.0 or Drums private instruction in composition in higher in these courses and an overall Piano addition to course work in orchestration, cumulative GPA of 2.9 or higher satisfies Violin MIDI and synthesis, jazz arranging, and most MAT entrance requirements. Composition conducting. Wherever possible, student Voice compositions are read by an ensemble or Graduate Programs Cello performed, and frequent performances of students’ music highlight the school’s concert schedule. Student composers are also Master of Arts in Teaching in Music Undergraduate Programs encouraged to collaborate with dancers, Education (MAT) choreographers, filmmakers, animators, and The Master of Arts in Teaching in Music Bachelor of Music in Instrumental actors, taking full advantage of the creative Education is a 36 credit program designed Performance in Jazz/Contemporary environment of the University. for students who have completed bachelor’s Music degrees in applied music, music The Jazz/Contemporary instrumental Diploma Program theory/composition, music history/literature, curriculum provides a direct and pragmatic This four-year program is designed or other non-education, music-related education for students interested in primarily for students who wish to take the curricula. The MAT can be completed in a establishing a career as a performer, entire musical portion of the undergraduate summer-plus-one academic year format, arranger, or composer in jazz and/or curriculum without liberal arts courses. provided that corequisite requirements have contemporary music. Students receive Students wishing to transfer from this been met and placement testing does not weekly, one-hour private lessons in their program to the bachelor’s degree program indicate the need for supplementary studies. major area with renowned artist teachers. may apply to do so in any year of their Undergraduate students in music at the Performance opportunities are plentiful in matriculation and will be required to obtain University may take advantage of the the school’s award-winning jazz ensembles. the approval of both the Director of the preparatory program known as MATPREP, a Special courses include Jazz Improvisation, School of Music and the Director of Liberal 17 credit course of studies which satisfies all Jazz Theory, Jazz Ear-Training, Basic Piano, Arts. The Diploma program is ideal for corequisites. The MAT in Music Education Jazz Piano, Jazz Arranging, History of Jazz, students who have already earned a degree in leads to teaching certification in the The Business of Music, MIDI Synthesis, a field other than music, but want the benefit Commonwealth of Pennsylvania. Recording Engineering, Transcription and of a complete undergraduate training and Analysis, Orchestration, World Music, 20th education in music. Master of Music in Jazz Studies Century Music, Advanced Rhythmic Theory, The Master of Music in Jazz Studies is a 32 and Advanced Improvisation. Certificate in Music credit program designed for students who Woodwind majors may elect to enroll in a The two-year Certificate in Music program have completed a bachelor’s degree in jazz woodwind specialist program which includes consists of the musical studies normally performance or other applied music with the study of various woodwind instruments. taken during the first two years of the significant experience in jazz/contemporary Bachelor of Music program. No liberal arts music studies. The MM can be completed in Bachelor of Music in Vocal courses are required. a one-year, two-semester schedule, providing Performance The Certificate in Music is awarded only to that all prerequisite skills are satisfied prior The vocal program in the School of Music students who are in residence and are to beginning the program. The entrance is a unique curriculum which provides matriculated in the certificate program. requirements include advanced technical strong training in traditional vocal and stylistic facility on the major instrument technique, and combines skills and or voice, and skills in improvisation, jazz knowledge in a range of vocal styles and theory and ear training, and jazz history. The literature including jazz/contemporary, MM program is intended to dramatically classical and musical theater. Vocalists select increase the student’s performance abilities, a jazz or a traditional track. Students receive as well as provide a diversity of other profes- private instruction in voice, and take a core sional-level competencies, preparing the of course work in Music Skills, Sight Singing, student for a career as a music professional Diction, Theory, Basic Piano, Jazz Piano, or college-level teacher.

90 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 School of Music Faculty Upright Jazz Bass/Electric Bass Music History and Literature Steve Beskrone Robert Brosh Applied and Ensemble Studies Charles Fambrough Donald Chittum Composition Kevin MacConnell Annette DiMedio Tony Marino Bill Zaccagni George Akerley Craig Thomas, Chair Andrea Clearfield Gerald Veasley Recording Don Glanden James Gallagher Jennifer Morgo Percussion/Drums Theodore Greenberg Chair Evan Solot, Robert Brosh Voice Marc Dicciani Music Business Tony Miceli Marc Dicciani Paul Adkins Joseph Nero, Chair Seán Deibler James Paxson Music Education - Undergraduate Jeffrey Kern, Chair Marlon Simon and Graduate Studies Kelly Meashey Reginald Pindell Vocal Ensembles and Conducting Marc Dicciani Patricia Raine Chorus and Chamber Singers Annette DiMedio Anne Sciolla Seán Deibler William. Garton Patricia Stasis Jeffrey Kern Janice Goltz Marc Johnson Robert Goltz Strings Jeffrey Kern John Blake Large Jazz Ensembles John Knebl Theodore Pasternak Richard Hotchkiss Frank Mazzeo Thomas Rudolph Evan Solot Saxophone Anthony Salicondro Bill Zaccagni Chris Farr Dennis Wasko Ronald Kerber, Chair Small Jazz Ensembles Latin/American Music Frank Mazzeo All Jazz faculty Michael Pedicin, Jr. Orlando Haddad Anthony Salicondro Music Studies Edward Simon Bill Zaccagni Marlon Simon Theory Trumpet Donald Chittum, Chair Class Piano George Rabbai Andrea Clearfield Annette DiMedio John Swana Don Glanden Don Glanden Dennis Wasko, Chair Dave Hartl Dave Hartl Evan Solot Jeffrey Kern Trombone Craig Thomas David Thomas Robin Eubanks David Thomas Richard Genovese Bill Zaccagni Music Librarian Mark Germer Keyboards Computer and Electronic Music Annette DiMedio George Akerley Jazz Improvisation Samuel Dockery Dave Hartl Jimmy Bruno Don Glanden, Chair Thomas Rudolph Don Glanden Dave Hartl Ronald Kerber Trudy Pitts Conducting Pat Martino Edward Simon Seán Deibler Tony Miceli Ron Thomas Jeffrey Kern John Swana Elio Villafranca Theodore Pasternak Craig Thomas Guitar Musicianship Special Adjunct Faculty Jimmy Bruno, Chair Seán Deibler Carl Allen, Drums Craig Ebner Chris Farr Kenny Barron, Piano Thomas Giacabetti Don Glanden Randy Brecker, Trumpet Pat Martino Micah Jones Robin Eubanks, Trombone Patrick Mercuri Ronald Kerber Jeff Jarvis, Trumpet Michael Quaile Jeffrey Kern Mike Stern, Guitar Evan Solot

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 91 Special Regulations/ Faculty Advisors examination of a second year student may All students are assigned to a faculty include requirements from the first year. Requirements advisor. Lists are posted in the Merriam It is possible for a student to pass the jury Lobby during the first week of the academic examination and yet receive a failing grade Attendance year. Appointments can be made at the in the major, due to the different grading and The number of hours of “Unexcused mutual convenience of the student and the evaluation criteria for each. However, a Absences” permitted per semester in the faculty advisor. student who fails the jury will receive a School of Music may not exceed the number Students should feel free to see their failure in the major. of credits per course; i.e., in a three-credit advisor at any time concerning problems course no more than three hours of that they may encounter. Jury Recital Requirements unexcused absences are permitted, in a two- Regulations regarding jury examinations credit course, no more that two hours of Jury Examinations and Senior Recitals are available in the office unexcused absences are permitted, etc. All 1st, 2nd, and 3rd-year music majors of the School of Music. must take a jury examination in their Attendance at Lessons applied area upon the completion of the 2nd, Academic Progress Students must attend all private lessons as 4th, and 6th semesters of study. This usually Students will receive Academic Censure, as scheduled except in the case of illness or occurs in May during the week immediately determined by the Academic Review emergency. It is the student’s responsibility to following classroom examinations. However, Committee, for the following reasons: notify the teacher if he/she is unable to keep students who began their matriculation in 1. Semester GPA below 2.0. the appointment time. Failure to give at least midyear, transferred from another 2. Grade below “B-” (2.67) in the 24 hours prior notice may mean forfeiture of institution, or have failed their jury in a prior following major courses: Major Lessons the lesson. A maximum of three lessons per year may be scheduled to take the (MU 192-692 A/B) semester will be made up in the case of examination in December. 3. Failure to meet the stipulation for excused absences. Students are evaluated in comparison to removal of Academic Censure by the Lessons missed because of unexcused the Minimum Applied Jury Requirements in end of the specified period will result absences will not be made up. their major. A list of these requirements is in dismissal. Lessons missed due to the teacher’s given to each student by his/her major absence will be rescheduled and made up by teacher at the beginning of each year. The “First Wednesday” the teacher. jury consists of at least two faculty members The first Wednesday of each month is Unless circumstances render it impossible, in addition to the major teacher (who may devoted to faculty and guest recitals, lectures, “make-up” lessons for the Fall semester are be present but may not grade). The jury master classes, and workshops, as well as to be completed prior to the Spring semester; examination is graded “Pass/Fail”, but also student performances. “make-up” lessons for the Spring must be includes areas of optional letter grading Music majors should not schedule other completed by June 15. evaluation. commitments during the time designated as Normally, students are entitled to twenty- Failure in any single “Pass/Fail” aspect of First Wednesday. In addition, all music eight, one-hour lessons during the academic the jury examination constitutes an “F” students are encouraged to attend student year (fourteen per semester). (Failure) in the entire jury examination. A and professional performances on a regular student who fails the jury fails the entire basis. Change of Major Teacher semester in the applied major; the Students who wish to petition for a change examination may not be retaken. A grade of Professional Standards and Behavior of major teacher must: “F” will appear on the student’s transcript for Students are expected to maintain high 1. Secure “Request for Change of Major both the major lessons and the jury exam, standards of professionalism in studio, Teacher” form from the Director of the and the student will receive no credit for the classroom, rehearsal, and performance School of Music. semester’s work. The student must repeat the commitments. Failure to follow directions, 2. State reasons for requesting a change of failed semester of applied study and retake and absence from or lateness to rehearsals, teacher. the jury examination at the completion of performances, and related activities may 3. Obtain the approval of the present and the next semester. A student who fails the result in Academic Censure, including the requested teacher. same semester jury examination more than lowering of grade or course failure. 4. Obtain the approval of the once, or who fails a total of more than one department chair. jury examination during his/her matricu- Applied Workshops 5. Obtain the approval of the Director of lation at the University will be recommended Workshops in each applied the School of Music. for dismissal. major/department are scheduled during Such changes are not usually effected in The requirements which are tested in the school-wide open time, four times each mid-semester. If the change is approved jury examination are those which have been semester. Faculty and guests teach an array during the semester, in addition to the established, by a departmental faculty of topics that are supplemental and process stated above, the student must also committee, to be the minimum set of skills supportive to the major lesson. Attendance complete a drop/add form to correct the and knowledge necessary for successful and participation are required as part of the current major teacher designation. The completion of applied study. Requirements grade in the major. drop/add form must be signed by the Director are established for each year of study and are of the School of Music and submitted to the considered cumulative: e.g., a jury Office of the Registrar.

92 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Graduation Requirements Bachelor of Music - In addition to the general CPA Instrumental Performance requirements for graduation, the following must be fulfilled: Jazz/Contemporary 126 credits 1ST YEAR 1ST 2ND Undergraduate Requirements MU 192 A/B Applied Major Instruction 3.0 3.0 1. Performance majors must present a MU 107 A/B Music Theory I, II 3.0 3.0 satisfactory graduation recital before the MU 103 A/B Musicianship I, II 3.0 3.0 public (“satisfactory” performance to be MU 100 Major Workshop 1.0 determined by majority vote of a faculty MU 113 Freshman Improvisation 1.0 jury). MU 131 A/B Class Piano I, II 1.0 1.0 2. Composition majors must submit a MU 115/116 Music Technology Survey 1.0 1.0 satisfactory substantial work in the senior HU 110 A/B First Year Writing I, II 3.0 3.0 year, to be publicly performed, adjudicated by the Composition faculty. MU 010 Jury Examination 0 3. The recital must include musical First Year Total: 15.0 15.0 selections as stipulated by the faculty, and must conform to School of Music recital 2ND YEAR 1ST 2ND requirements. MU 292 A/B Applied Major Instruction 3.0 3.0 MU 208 A/B Jazz Theory I, II 3.0 3.0 Exit Requirements for the MAT in MU 209 A/B Jazz Ear Training I, II 3.0 3.0 Music Education MU 7XX Ensemble 1.0 1.0 Successful completion of all course and MU 232 A/B Class Jazz Piano I, II 1.0 1.0 related requirements shall lead to the MU 213 A/B Jazz Improvisation I, II 2.0 2.0 granting of the Master of Arts in Teaching HU 103 A/B Introduction to Modernism I, II 3.0 3.0 with a major in Music Education, provided MU 020 Jury Examination 0 that an overall GPA of 3.0 or higher is maintained. However, approval of the MAT in Second Year Total: 16.0 16.0 Music Education Committee is required for 3RD YEAR 1ST 2ND recommendation for teacher certification. It should be noted also that the initial MU 392 A/B Applied Major Instruction 3.0 3.0 Instructional I Certificate cannot be issued by MU 7XX Ensemble 1.0 1.0 the Commonwealth of Pennsylvania MU 310/311 Transcription and Analysis 1.0 1.0 Department of Education unless PDE testing Electives 3.0 3.0 requirements have been met. MU XXX Music Elective 3.0 MU 030 Jury Examination 0 Exit Requirements for the Master of MU 401 A Jazz History ** 3.0 Music in Jazz Studies HU XXX Liberal Arts 6.0 6.0 All MM students must complete a Third Year Total: 17.0 17.0 satisfactory graduate project and a graduate recital in order to meet the degree 4TH YEAR 1ST 2ND requirements for completion of the Master of Music. MU 492 A/B Applied Major Instruction 3.0 3.0 The recital must include musical MU 301 A/B Music History I, II ** 3.0 3.0 selections as stipulated by the major teacher MU 7XX Ensemble 2.0 2.0 and department, and must conform to the Electives 3.0 guidelines as stated in the school policy HU XXX Liberal Arts 3.0 6.0 governing recitals. MU 040† Senior Recital 0 All MM candidates are required to Select one of the following: maintain a cumulative GPA of at least a 3.0. MU 420A Business of Music * 2.0 MU420 B Careers in Music Fourth Year Total: 14.0 16.0 N.B. All instrumental majors are required to successfully complete 1 year of Chorus and 1 semester of New Music Ensemble, which may be taken as ensemble or elective credits. Piano (MU 131 A/B) and Jazz Piano (MU 232 A/B) are not required for piano majors. Instead, substitute 4 elective credits. * All undergraduate music students must take either Business of Music (MU420A) or Careers in Music (MU 420B). Students who take both may apply one toward elective credits. † Senior Recital may be completed either semester. ** Also fulfills Liberal Arts discipline history requirement.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 93 Bachelor of Music - Vocal Performance Bachelor of Music - Vocal Performance Jazz/Contemporary Track 126 credits Traditional Track 126 credits

1ST YEAR FALL SPRING 1ST YEAR FALL SPRING MU 191 A/B Applied Major Instruction 3.0 3.0 MU 191 A/B Applied Major Instruction 3.0 3.0 MU 107 A/B Music Theory I, II 3.0 3.0 MU 107 A/B Music Theory I, II 3.0 3.0 MU 103 A/B Musicianship I, II 3.0 3.0 MU 103 A/B Musicianship I, II 3.0 3.0 MU 139/140 Vocal Styles and Diction I, II 1.0 1.0 MU 139/140 Vocal Styles and Diction I, II 1.0 1.0 MU 772 Chorus 1.0 1.0 MU 772 Chorus 1.0 1.0 MU 131 A/B Class Piano I, II 1.0 1.0 MU 131 A/B Class Piano I, II 1.0 1.0 MU 115/116 Music Technology Survey 1.0 1.0 MU 115/116 Music Technology Survey 1.0 1.0 HU 110 A/B First Year Writing I, II 3.0 3.0 MU 010 Jury Examination 0 MU 010 Jury Examination 0 HU 110 A/B First Year Writing I, II 3.0 3.0 First Year Total: 16.0 16.0 First Year Total: 16.0 16.0

2ND YEAR FALL SPRING 2ND YEAR FALL SPRING MU 291 A/B Applied Major Instruction 3.0 3.0 MU 291 A/B Applied Major Instruction 3.0 3.0 MU 208 A/B Jazz Theory I, II 3.0 3.0 MU 208 A/B Jazz Theory I, II 3.0 3.0 MU 209 A/B Jazz Ear Training I, II 3.0 3.0 MU 209 A/B Jazz Ear Training I, II 3.0 3.0 MU 772 Chorus 1.0 1.0 MU 772 Chorus 1.0 1.0 MU 232 A/B Class Jazz Piano I, II 1.0 1.0 MU 232 A/B Class Jazz Piano I, II 1.0 1.0 MU 213 A/B Jazz Improvisation I, II 2.0 2.0 MU241 A/B Vocal Styles & Diction III, IV 1.0 1.0 HU 103 A/B Introduction to Modernism I, II 3.0 3.0 MU 7XX Small Jazz Ensemble 1.0 1.0 MU 020 Jury Examination 0 HU 103 A/B Introduction to Modernism I, II 3.0 3.0 Second Year Total: 16.0 16.0 MU 020 Jury Examination 0 Second Year Total: 16.0 16.0 3RD YEAR FALL SPRING MU 391 A/B Applied Major Instruction 3.0 3.0 3RD YEAR FALL SPRING MU 7XX Ensemble 1.0 1.0 MU 391 A/B Applied Major Instruction 3.0 3.0 MU 772 Chorus 1.0 1.0 MU 7XX Ensemble 1.0 1.0 MU 331 A/B Advanced Piano & Accompanying 1.0 1.0 MU 772 Chorus 1.0 1.0 MU 030 Jury Examination 0 MU 331 A/B Advanced Piano & Accompanying 1.0 1.0 MU 401 A Jazz History ** 3.0 MU 030 Jury Examination 0 0 Electives 3.0 3.0 MU 401 A Jazz History ** 3.0 HU XXX Liberal Arts 6.0 6.0 Electives 3.0 3.0 Third Year Total: 18.0 15.0 HU XXX Liberal Arts 6.0 6.0 Third Year Total: 18.0 15.0 4TH YEAR FALL SPRING MU 491 A/B Applied Major Instruction 3.0 3.0 4TH YEAR FALL SPRING MU 772 Chorus 1.0 1.0 MU 491 A/B Applied Major Instruction 3.0 3.0 MU 7XX Ensemble 1.0 MU 772 Chorus 1.0 1.0 Select one of the following: Select one of the following: MU 420 A Business of Music 2.0 MU 420 A Business of Music 2.0 MU 420 B Careers in Music MU 420 B Careers in Music MU 040† Senior Recital 0 MU 435 Advanced Piano 1.0 MU 301 A/B Music History I, II ** 3.0 3.0 MU 040† Senior Recital 0 0 Electives 3.0 MU 301 A Music History I, II** 3.0 3.0 HU XXX Liberal Arts 3.0 6.0 Electives 3.0 HU XXX Liberal Arts 3.0 6.0 Fourth Year Total: 16.0 13.0 Fourth Year Total: 16.0 13.0 N.B. All vocal majors are required to successfully complete 1 semester of New Music Ensemble, which may be taken as ensemble or elective credits (MU 765). N.B. All vocal majors are required to successfully complete one semester of New Music Ensemble, which may be taken as ensemble or elective credits (MU 765). All undergraduate Music students must take either Business of Music (MU420A) or Careers All undergraduate Music students must take either Business of Music (MU420A) or Careers in Music (MU 420B). Students who take both may apply one toward elective credits. in Music (MU 420B). Students who take both may apply one toward elective credits. † Senior Recital may be completed either term. † Senior Recital may be completed either term. ** Also fulfills liberal arts discipline history requirement. ** Also fulfills liberal arts discipline history requirement.

94 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Bachelor of Music - Composition Diploma in Music - Jazz/Contemporary 126 credits Instrumental Performance Jazz/Contemporary 104 credits 1ST YEAR FALL SPRING 1ST YEAR FALL SPRING MU 193 A/B Applied Major Instruction 3.0 3.0 MU 192 A/B Applied Major Instruction 3.0 3.0 MU 107 A/B Music Theory I, II 3.0 3.0 MU 107 A/B Music Theory I, II 3.0 3.0 MU 103 A/B Musicianship I, II 3.0 3.0 MU 103 A/B Musicianship I, II 3.0 3.0 MU 7XX Ensemble 1.0 1.0 MU 100 Major Workshop 1.0 MU 131 A/B Class Piano I, II 1.0 1.0 MU 113 Freshman Improvisation 1.0 MU 115/116 Music Technology Survey 1.0 1.0 MU 7XX Ensemble 1.0 1.0 MU 010 Jury Examination 0 MU 131 A/B Class Piano I, II 1.0 1.0 HU 110 A/B First Year Writing I, II 3.0 3.0 MU 115/116 Music Technology Survey 1.0 1.0 First Year Total: 15.0 15.0 MU 010 Jury Examination 0 First Year Total: 13.0 13.0 2ND YEAR FALL SPRING

MU 293 A/B Applied Major Instruction 3.0 3.0 2ND YEAR FALL SPRING MU 208 A/B Jazz Theory I, II 3.0 3.0 MU 292 A/B Applied Major Instruction 3.0 3.0 MU 209 A/B Jazz Ear Training I, II 3.0 3.0 MU 208 A/B Jazz Theory I, II 3.0 3.0 MU 7XX Ensemble 1.0 1.0 MU 209 A/B Jazz Ear Training I, II 3.0 3.0 MU 232 A/B Class Jazz Piano I, II 1.0 1.0 MU 7XX Ensemble 2.0 2.0 MU 315 A Jazz Arranging I 2.0 MU 232 A/B Class Jazz Piano I, II 1.0 1.0 MU 020 Jury Examination 0 MU 213 A/B Jazz Improvisation 2.0 2.0 HU 103 A/B Intro to Modernism I, II 3.0 3.0 MU 020 Jury Examination 0 Second Year Total: 16.0 14.0 Second Year Total: 14.0 14.0

3RD YEAR FALL SPRING 3RD YEAR FALL SPRING MU 393 A/B Applied Major Instruction 3.0 3.0 MU 392 A/B Applied Major Instruction 3.0 3.0 MU 401 A Jazz History** 3.0 MU 7XX Ensemble 2.0 2.0 MU 7XX Ensemble 1.0 1.0 MU 310/311 Transcription and Analysis 1.0 1.0 MU 317 A Orchestration I+ 3.0 MU XXX Music Elective 3.0 MU 415 A Intro. to MIDI and Electronic Technology 3.0 MU 030 Jury Examination 0 MU XXX Music Elective 3.0 MU 401 A Jazz History 3.0 MU 030 Jury Examination 0 Electives 3.0 3.0 Elective 3.0 Third Year Total: 12.0 12.0 HU XXX Liberal Arts 3.0 6.0

Third Year Total: 16.0 16.0 4TH YEAR FALL SPRING MU 492 A/B Applied Major Instruction 3.0 3.0 4TH YEAR FALL SPRING MU 7XX Ensemble 2.0 2.0 MU 493 A/B Applied Major Instruction 3.0 3.0 MU 420 A Business of Music 2.0 MU 301 A/B Music History I, II** 3.0 3.0 MU 420 B Careers in Music 2.0 MU 7XX Ensemble 1.0 1.0 MU 040† Senior Recital 0 Select one of the following: MU 301 A/B Music History I, II 3.0 3.0 MU 420 A Business in Music* 2.0 Electives 3.0 3.0 MU 420 B Careers in Music Fourth Year Total: 13.0 13.0 MU 040† Senior Recital 0 Elective 3.0 3.0 N.B. All instrumental majors are required to successfully complete 1 year of Chorus (MU 772) and 1 semester of New Music Ensemble (MU 765), which may be taken as ensemble HU XXX Liberal Arts 6.0 6.0 or elective credits. Fourth Year Total: 18.0 16.0 Piano (MU 131 A/B) and Jazz Piano (MU 232 A/B) are not required for piano majors. Instead, substitute 4 elective credits. N.B. All composition majors are required to successfully complete 1 year of Chorus † Senior Recital may be completed either term. and 1 year of New Music Ensemble (MU 765), which may be taken as ensemble or elective credits. * All undergraduate music students must take either Business of Music (MU 420 A) or Careers in Music (MU 420 B). Students who take both may apply one toward elective credits. † Senior Recital may be completed either term. ** Also fulfills liberal arts discipline history requirement. + Orchestration may be taken either term.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 95 Diploma in Music - Vocal Performance Diploma in Music - Vocal Performance Jazz/Contemporary Track 104 credits Traditional Track 104 credits

1ST YEAR FALL SPRING 1ST YEAR FALL SPRING MU 191 A/B Applied Major Instruction 3.0 3.0 MU 191 A/B Applied Major Instruction 3.0 3.0 MU 107 A/B Music Theory I, II 3.0 3.0 MU 107 A/B Music Theory I, II 3.0 3.0 MU 103 A/B Musicianship I, II 3.0 3.0 MU 103 A/B Musicianship I, II 3.0 3.0 MU 139/140 Vocal Styles and Diction I, II 1.0 1.0 MU 139/140 Vocal Styles and Diction I, II 1.0 1.0 MU 772 Chorus 1.0 1.0 MU 772 Chorus 1.0 1.0 MU 131 A/B Class Piano I, II 1.0 1.0 MU 131 A/B Class Piano I, II 1.0 1.0 MU 115/116 Music Technology Survey 1.0 1.0 MU 115/116 Music Technology Survey 1.0 1.0 MU 010 Jury Examination 0 MU 010 Jury Examination 0 First Year Total: 13.0 13.0 First Year Total: 13.0 13.0

2ND YEAR FALL SPRING 2ND YEAR FALL SPRING MU 291 A/B Applied Major Instruction 3.0 3.0 MU 291 A/B Applied Major Instruction 3.0 3.0 MU 208 A/B Jazz Theory I, II 3.0 3.0 MU 208 A/B Jazz Theory I, II 3.0 3.0 MU 209 A/B Jazz Ear Training I, II 3.0 3.0 MU 209 A/B Musicianship III, IV 3.0 3.0 MU 772 Chorus 1.0 1.0 MU 772 Chorus 1.0 1.0 MU 7XX Ensemble 1.0 1.0 MU 232 A/B Class Jazz Piano I, II 1.0 1.0 MU 232 A/B Class Jazz Piano I, II 1.0 1.0 MU 241 A/B Vocal Styles and Diction III, IV 1.0 1.0 MU 213 A/B Jazz Improvisation I, II 2.0 2.0 MU 7XX Ensembles 2.0 2.0 MU 020 Jury Examination 0 MU 020 Jury Examination 0 Second Year Total: 14.0 14.0 Second Year Total: 14.0 14.0

3RD YEAR FALL SPRING 3RD YEAR FALL SPRING MU 391 A/B Applied Major Instruction 3.0 3.0 MU 391 A/B Applied Major Instruction 3.0 3.0 MU 7XX Ensemble 1.0 1.0 MU 7XX Ensemble 1.0 1.0 MU 772 Chorus 1.0 1.0 MU 772 Chorus 1.0 1.0 MU XXX Music Elective 3.0 MU 331 A/B Advanced Piano & Accompanying 1.0 1.0 MU 331 A/B Advanced Piano & Accompanying 1.0 1.0 MU 030 Jury Examination 0 MU 030 Jury Examination 0 MU 401 A Jazz History 3.0 MU 401 A Jazz History 3.0 Electives 3.0 6.0 Electives 3.0 3.0 Third Year Total: 12.0 12.0 Third Year Total: 12.0 12.0 4TH YEAR FALL SPRING 4TH YEAR FALL SPRING MU 491 A/B Applied Major Instruction 3.0 3.0 MU 491 A/B Applied Major Instruction 3.0 3.0 MU 7XX Ensemble 1.0 MU 772 Chorus 1.0 1.0 MU 772 Chorus 1.0 1.0 MU 7XX Ensemble 1.0 1.0 MU 435 Advanced Piano and Applications 1.0 MU 420 A Business of Music 2.0 MU 420 A Business of Music 2.0 MU 420 B Careers in Music 2.0 MU 420 B Careers in Music 2.0 MU 040† Senior Recital 0 MU 040† Senior Recital 0 MU 301 A/B Music History I, II 3.0 3.0 MU 301 A/B Music History I, II 3.0 3.0 Electives 3.0 3.0 Electives 3.0 3.0 Fourth Year Total: 13.0 13.0 Fourth Year Total: 14.0 12.0

N.B. All vocal majors are required to successfully complete 1 semester of New N.B. All vocal majors are required to successfully complete 1 semester of New Music Ensemble (MU 765), which may be taken as ensemble or elective credits. Music Ensemble (MU 765), which may be taken as ensemble or elective credits.

† Senior Recital may be completed either term. † Senior Recital may be completed either term.

96 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Diploma in Music - Composition Certificate in Music - Jazz/Contemporary 104 credits Instrumental Performance Jazz/Contemporary 54 credits

1ST YEAR FALL SPRING MU 193 A/B Applied Major Instruction 3.0 3.0 1ST YEAR FALL SPRING MU 107 A/B Music Theory 3.0 3.0 MU 192 A/B Applied Major Instruction 3.0 3.0 MU 103 A/B Musicianship I, II 3.0 3.0 MU 107 A/B Music Theory I, II 3.0 3.0 MU 7XX Ensemble 1.0 1.0 MU 103 A/B Musicianship 3.0 3.0 MU 131 A/B Class Piano 1.0 1.0 MU 100 Major Workshop 1.0 MU 115/116 Music Technology Survey 1.0 1.0 MU 113 Freshman Improvisation 1.0 MU 010 Jury Examination 0 MU 7XX Ensemble 1.0 1.0 First Year Total: 12.0 12.0 MU 131 A/B Class Piano 1.0 1.0 MU 115/116 Music Technology Survey 1.0 1.0 2ND YEAR FALL SPRING MU 010 Jury Examination 0 MU 293 A/B Applied Major Instruction 3.0 3.0 First Year Total: 13.0 13.0 MU 208 A/B Jazz Theory I, II 3.0 3.0 MU 209 A/B Jazz Ear Training I, II 3.0 3.0 2ND YEAR FALL SPRING MU 7XX Ensemble 1.0 1.0 MU 292 A/B Applied Major Instruction 3.0 3.0 MU 232 A/B Class Jazz Piano 1.0 1.0 MU 208 A/B Jazz Theory I, II 3.0 3.0 MU 315 A/B Jazz Arranging I, II 2.0 MU 209 A/B Jazz Ear Training I, II 3.0 3.0 MU XXX Music Elective 3.0 MU 7XX Ensemble 2.0 2.0 MU 020 Jury Examination 0 MU 232 A/B Class Jazz Piano I, II 1.0 1.0 Second Year Total: 13.0 14.0 MU 213 A/B Jazz Improvisation I, II 2.0 2.0 MU 020 Jury Examination 0 3RD YEAR FALL SPRING Second Year Total: 14.0 14.0 MU 393 A/B Applied Major Instruction 3.0 3.0 MU 311 Transcription and Analysis 1.0 N.B. Piano (MU 131 A/B) and Jazz Piano (MU 232 A/B) are not required for MU 7XX Ensemble 2.0 2.0 piano majors. Instead, substitute 4 elective credits. MU 317 A Orchestration I 3.0 MU415 A Intro. to MIDI and Electronic Technology 3.0 MU XXX Music Elective 3.0 MU 030 Jury Examination 0 Certificate in Music - Vocal Performance MU 401 A Jazz History 3.0 Jazz/Contemporary 54 credits Electives 3.0 Third Year Total: 14.0 12.0 1ST YEAR FALL SPRING MU 191 A/B Applied Major Instruction 3.0 3.0 4TH YEAR FALL SPRING MU 107 A/B Music Theory I, II 3.0 3.0 MU 493 A/B Applied Major Instruction 3.0 3.0 MU 103 A/B Musicianship I, II 3.0 3.0 MU 7XX Ensemble 2.0 2.0 MU 139/140 Vocal Styles and Diction I, II 1.0 1.0 MU 420 A Business of Music 2.0 MU 7XX Ensemble 1.0 1.0 MU 420 B Careers in Music 2.0 MU 131 A/B Class Piano I, II 1.0 1.0 MU 040† Senior Recital 0 MU 115/116 Music Technology Survey 1.0 1.0 MU 301 A/B Music History 3.0 3.0 MU 010 Jury Examination 0 Electives 3.0 3.0 First Year Total: 13.0 13.0 Fourth Year Total: 13.0 13.0 2ND YEAR FALL SPRING MU 291 A/B Applied Major Instruction 3.0 3.0 N.B. All composition majors are required to successfully complete 1 year of Chorus and 1 semester of New Music Ensemble, which may be taken as MU 208 A/B Jazz Theory I, II 3.0 3.0 ensemble or elective credits. MU 209 A/B Jazz Ear Training I, II 3.0 3.0 MU 7XX Ensemble 2.0 2.0 † Senior Recital may be completed either semester. MU 232 A/B Class Jazz Piano 1.0 1.0 MU 213 A/B Jazz Improvisation I, II 2.0 2.0 MU 020 Jury Examination 0 Second Year Total: 14.0 14.0

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 97 Certificate in Music - Vocal Performance Music Education Traditional 54 credits Preparatory Program For the Master of Arts in Teaching All undergraduate degree students in 1ST YEAR FALL SPRING music at The University of the Arts may MU 191 A/B Applied Major Lesson 3.0 3.0 enroll in, and take advantage of, the MAT in MU 107 A/B Music Theory I, II 3.0 3.0 Music Education Preparatory Program MU 103 A/B Musicianship I, II 3.0 3.0 (MATPREP). Completion of this program MU 139, 140 Vocal Styles and Diction I, II 1.0 1.0 allows students to satisfy all corequisite MU 7XX Ensemble 1.0 1.0 requirements for admission to the MAT in MU 131 A/B Class Piano I, II 1.0 1.0 Music program. MATPREP is also an MU 115, 116 Music Technology Survey 1.0 1.0 important means for maintaining continuity MU 010 Jury Exam 0 between undergraduate and graduate experiences and for fostering communi- First Year Total: 13.0 13.0 cation between students and faculty in Music Education. 2ND YEAR FALL SPRING Admission to the University as a BM/MAT MU 291 A/B Applied Major Lesson 3.0 3.0 student in Music indicates acceptance into MU 208 A/B Jazz Theory I, II 3.0 3.0 the Bachelor of Music program and into the MU 209 A/B Jazz Ear Training I, II 3.0 3.0 MATPREP program. Full admission to the MU 772 Chorus 2.0 2.0 MAT in Music Education program must be MU 7XX Ensemble 1.0 1.0 granted prior to the beginning of graduate- MU 232 A/B Class Jazz Piano I, II 1.0 1.0 level instruction on the same basis as other MU 241 A/B Vocal Styles and Diction III, IV 1.0 1.0 MAT candidates. MU 020 Jury Exam 0 Second Year Total: 14.0 14.0 A minimum grade point average of 3.0 in MATPREP courses and a minimum overall cumulative grade point average of 2.90 must be achieved in order to be considered as a candidate for admission into the MAT in Music Education Program.

MATPREP 17 credits Course Credit MU 151 A Intro. to Music Education I 1.0 MU 151 B Intro. to Music Education II 1.0 MU 257 A Lab Teaching/Practicum I 2.0 MU 257 B Lab Teaching/Practicum II 2.0 MU 254 Basic Conducting 2.0 MU 356 A Music Teaching Skills I 1.0 MU 356 B Music Teaching Skills II 1.0 MU 451 A Psychology of Music Teaching I 2.0 MU 451 B Psychology of Music Teaching II 2.0 MU 317 A Orchestration I 3.0 Total Credits 17.0

98 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Music Education graduates of The MAT in Music Education Faculty Music Education University of the Arts are currently serving Master of Arts in Teaching successfully as teachers, supervisors, school Seán Deibler administrators, and in education-related Marc Dicciani Janice Goltz fields such as computer software Annette DiMedio Division Head development, broadcasting, law and the arts, William Garton 215-717-6356 private studio teaching, and as professional Janice Goltz performers, composers, and arrangers. Robert Goltz The Master of Arts in Teaching in Music The MAT curriculum in music education Regina Gordon Education is an advanced teacher certifi- comprises 36 credits and may be completed Jeffrey Kern cation program designed to prepare in a summer plus one academic year John Knebl individuals with established musical skills schedule, if all prerequisites are satisfied Theodore Pasternak and subject-matter mastery for successful prior to matriculation. Prerequisite Thomas Rudolph careers in teaching and education-related requirements may be satisfied in a number of Anthony Salicondro fields. It is a unique program in that ways, including taking courses in the under- Dennis Wasko candidates for the MAT in Music Education graduate MATPREP program. Professionals typically will have completed undergraduate in the field may choose to complete the MAT studies in applied music, composition, in Music Education over an extended period theory, history/literature, or other profes- of time on a part-time basis. The following sional areas. After satisfying Pennsylvania listing presents the normal sequence of standardized testing requirements, MAT courses if completed within one year: graduates will be eligible to receive K-12 certification in music from the Commonwealth of Pennsylvania Department of Education. In addition, completion of the MAT program fulfills continuing studies requirements, so that after three years of full- time teaching service, graduates may apply for permanent certification without taking additional courses.

Music Education Master of Arts in Teaching 36 credits

SUMMER FALL SPRING MU 554 A Elementary Methods and Materials — 3.0 — MU 554 B Secondary Methods and Materials — 3.0 — MU 551 Education in American Society — 3.0 — MU 550 Advanced Conducting - Choral or Instrumental — 3.0 — MU 560 A Workshop in Instrumental Methods I 2.0 —— MU 560 B Workshop in Instrumental Methods II — 2.0 — MU 552 Workshop in Vocal Methods 2.0 —— MU 553 Music and Special Children —— 2 MU 557 Music Administration and Supervision — 3.0 — MU 559 Research, Evaluation, and Technology in Music Education ——3.0 MU 555 Elementary Student Teaching ——4.0 MU 556 Secondary Student Teaching ——4.0 MU 558 Student Teaching Seminar and Major Project ——2.0 4.0 17.0 15.0 Total Credits 36.0

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 99 MM in Jazz Studies Faculty Small Jazz Ensembles Jazz Studies All Jazz Faculty Master of Music Strings John Blake Composition and Arranging Don Glanden Evan Solot, Professor [email protected] Saxophone Bill Zaccagni Chair, Graduate Jazz Studies Chris Farr 215-717-6353 Ronald Kerber Recording Frank Mazzeo James Gallagher The Master of Music in Jazz Studies degree Michael Pedicin, Jr. Theodore Greenberg has its roots in three decades of University of Anthony Salicondro the Arts’ leadership in the field of jazz Bill Zaccagni Latin American Music education, carefully balancing aesthetic Orlando Haddad goals and a pragmatic approach to Trumpet Edward Simon vocational responsibility in the context of George Rabbai Marlon Simon this American music idiom. Open to a small John Swana and highly advanced group of students who Dennis Wasko Music Technology have an undergraduate degree in jazz studies George Akerley or an undergraduate degree in music with Trombone Thomas Rudolph significant experience in jazz and contem- Richard Genovese porary music, or the equivalent thereof, the Jazz Improvisation and Transcription program-while providing a solid foundation Keyboards Jimmy Bruno in contemporary music-encourages a Don Glanden Thomas Giacabetti primary focus on individual career goals. Dave Hartl Don Glanden Trudy Pitts Ronald Kerber Curriculum Edward Simon Pat Martino Among the one-year, 32 credit program’s Elio Villafranca Tony Miceli unique curricular components are advanced John Swana private instruction in the major area to Guitar develop professional-level artistry and skills; Jimmy Bruno Special Adjunct Faculty hands-on internships and pedagogy study; Thomas Giacabetti Carl Allen, Drums ensemble performances; arranging, Pat Martino Kenny Barron, Piano composing, transcribing and analyzing jazz Patrick Mercuri Robin Eubanks, Trombone and contemporary music; study of MIDI and Michael Quaile Jeff Jarvis, Trumpet music technology; and a final Mike Stern, Guitar thesis/project/recital which integrates in- Upright Jazz Bass/Electric Bass depth research on a topic of special relevance Charles Fambrough into personal instrumental growth, Kevin MacConnell culminating in a public performance. Tony Marino Graduate Applied Studies are the core of the Craig Thomas Master of Music in Jazz Studies. Additionally, Gerald Veasley applied study at the graduate level includes a pedagogy component. Teaching is a facet of Percussion/Drums almost every performer’s and composer’s Robert Brosh career; coursework in the major applied area Marc Dicciani acknowledges this importance. Joseph Nero Students, in addition to completion of the James Paxson requisite 32 credits, must take or have taken two corequisite courses of two credit hours Voice each: Recording and The Business of Music. Marc Johnson Kelly Meashey Anne Sciolla Large Jazz Ensembles Frank Mazzeo Evan Solot Bill Zaccagni

100 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 MM in Jazz Studies 36.0 credits

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

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

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 101 The School of Facilities analysis of the student’s commitment, Most facilities for the School of Theater discipline, and professionalism. The second Theater Arts Arts are located in UArts’ new Terra Building year is devoted to technique training, in at 211 South Broad Street. These include which actors develop a sense of conversa- tional reality and strengthen their Gene Terruso seminar and classroom spaces and studios for individual voice instruction, speech, imagination, responsiveness and spontaneity. [email protected] This level of training also addresses an Director dance movement, and acting. The studios are well-lit and individually equipped with actor’s skill for evoking a full and accessible Nan Gilbert inner life. [email protected] prop storage and audio-visual capabilities. Lockers and lounges are located adjacent to The third year is dedicated to giving shape Assistant Director and specificity to the actor’s behavior and Sigmund Washington the studios. Performances are held at three sites: the ArtsBank, a technically up-to-date, aims to refine technique and deepen charac- [email protected] terization. Advanced scene study and an Administrative Assistant 240 seat theater at 601 South Broad Street that also houses additional instructional introduction to style work are also integral to 211 S Broad Street this level of training. The focus of the fourth 215-717-6450 spaces; the University’s historic Merriam Theater at 250 South Broad Street; and a year is on classical performance and preparing the student to enter the profession. The School of Theater Arts of The new flexible black box space at the Gershman Y, 401 South Broad Street, where Students are given instruction in audition University of the Arts is committed to and camera techniques, resumé preparation, developing the skills and professionalism stage combat classes are also held. Design and technical support is provided by a how to work with agents, etc. The fourth year of its students to prepare them for careers in culminates with an audition clinic given by a the theater and related fields, or for advanced production shop, areas for both property and costume stock, and a video editing studio selected panel of agents, directors, and study in graduate or conservatory programs. casting representatives. The goal of the theater school is to inside the ArtsBank. The Albert M. Greenfield Library contains books, journals and cultivate practitioners for the live theater Bachelor of Fine Arts (BFA) Musical entertainment media, communications and videotapes devoted to the theater arts, which Theater Program production. This is achieved by developing a are available to students for research and coursework. The four-year BFA Musical Theater practical knowledge and competence that Program prepares students for professional include sensitivity to technique, artistry and careers as performers in the musical theater style, as well as an insight into the role of the Programs of Study or for continued study in graduate school. theater arts. The curriculum is conservatory-based, The program defines the term “musical All of the School’s degree programs acknowledging that the focal point of theater” in a way that embraces the richness employ a professional approach to training training in both the BFA Acting and BFA and diversity of this challenging interdisci- and highly rigorous standards for evaluation Musical Theater programs is the acting plinary art form, which includes musical and retention. As with any theater program, instruction, and that vocal and physical comedy, the musical play (in the production work may serve as an important training are the principal support areas for Hammerstein-Sondheim tradition), new and means of gauging a student’s growth in this instruction. The first responsibility of the alternative music theater, “Broadway opera,” his/her respective program. It is in the studio, faculty is to invest the student with a cabaret and revue. Students receive the same however, where the primary efforts of both foundation technique—a rehearsal/ technique training as do acting majors student and faculty are concentrated. The performance process–with which they will through their first five semesters. This highly focused and demanding training is continue to refine and personalize as their training is complemented by training in enhanced by appropriate courses in the creative development evolves. vocal technique, musicianship and dance, liberal arts. These are of particular Opportunities for master classes, guest and the study of the repertoire of the musical importance to the theater artist, who is speakers, internships, and apprenticeships theater in print, recordings, and in rehearsal charged with commenting on the human with many professional companies in the city and performance. condition. The effectiveness of that and region are among the experiences open commentary is dependent upon a sincere to students in all School of Theater Arts Bachelor of Fine Arts (BFA) in Applied commitment to excellence in liberal arts. programs. Theater Arts All programs within the School of Theater The BFA in Applied Theater Arts allows Arts require 123 credits for graduation. Bachelor of Fine Arts (BFA) Acting student artists to focus on theatrical Program disciplines such as mask, stage combat, The four-year BFA-Acting program stage management, playwriting, prepares students for careers in the profes- directing, dramaturgy, production, and sional theater or for continued study at the arts administration. graduate level. In the first year, students The program permits students with a concentrate on finding the “core of the range of theatrical interests to shape their actor” through the study of improvisation, own individualized course of study. It is monologue, emotional discovery, speech, designed to give students the practical, and movement. In addition to fostering these artistic and intellectual foundation necessary acting skills, the first year of training is also for a successful professional life in live designed to encourage an in-depth self- theater and allied disciplines. Practical

102 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 studio and production training, received in a School of Theater Arts Faculty BFA Applied Theater Arts Program* student’s first two years, is enriched by an Jennifer Childs understanding of the theater as an art, an BFA Acting Program Kali Colton industry, and an institution, with a history Acting Studios Charles Conwell and a vital role in society. Irene Baird Mari Fielder This foundation training will prepare the Jennifer Childs Nan Gilbert student to emphasize one or more of the Johnnie Hobbs, Jr Johnnie Hobbs, Jr. abovementioned disciplines at the upper- Ernest Losso Aaron Posner division levels and shape her/his own Drucie McDaniel Ed Shockley curriculum. Much of the senior year in the David Newer Gene Terruso ATA program is shaped by production Mike Pedretti Clista Townsend projects, independent study, and internships Peter Pryor Jiri Zizka arranged through the School’s close Rick Stoppleworth * The BFA program in Applied Theater Arts association with professional companies in Gene Terruso draws instructors from all areas of the School the area. Joan Twiss of Theater Arts. This program may prove a good choice for Helena White students who are drawn to the collaborative Design and Production nature of theater. It is an ideal program of Voice/Speech Studios Edward Johnson study for the student who has a profound Neill Hartley Anna Michelle Oldham passion for theater and/or the entertainment Connie Koppe Troy Martin-O’Shia field, but whose long-term interest may lay Leigh Smiley-Grace outside performing. At the same time, it is a D’Arcy Webb curriculum that places that student at the heart of the production process. The program Movement Studios is also well suited to students who may have Karen Cleighton an interest in advanced or graduate study. Manfred Fischbeck Nancy Kantra Stage Combat Program Rebecca Lisak The School of Theater Arts is home to one Tammy Meneghini of the nation’s most renowned stage combat programs, serving as host to the annual BFA Musical Theater Program Philadelphia Stage Combat Workshop. It is Performance Training one of only a handful of institutions that Charles Gilbert offers the option of an eight-semester Patricia Raine sequence of combat training. One semester Owen Robbins of combat is required for all BFA Acting Neal Tracy majors. Although not a degree program in itself, students completing the requisite Voice Instruction course of study are tested on campus each Eric Ebbenga year and, if found proficient, certified by the Mary Ellen Grant-Kennedy Society of American Fight Directors. Last year Theresa Greenland the program was ranked third in the country, Patricia Raine based on the number of certified stage Neal Tracy combatants that emerged from its ranks. Dance Instruction Karen Cleighton Rex Henriques Nancy Kantra Kip Martin

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 103 Acting Applied Theater Arts Bachelor of Fine Arts 123 credits Bachelor of Fine Arts 123 credits

SEMESTERS FALL SPRING SEMESTERS FALL SPRING Freshmen Year Freshman TH 103 A/B Acting Studio I, II 3.0 3.0 TH 103 A/B Acting Studio I, II 3.0 3.0 TH 103 L Crew 0 TH 120/121 Stagecraft I, II 2.0 2.0 TH 109 A/B Speech for Actors I, II 2.0 2.0 TH 120 L/121L Stagecraft Lab 1.0 1.0 TH 105 Stage Combat 2.0 TH 113 Encounters with Theater Arts 3.0 TH 115 A Movement for Actors I 1.0 TH 105 A Stage Combat I 2.0 TH XXX Movement Elective 1.0 TH 213 Script Analysis 3.0 TH 120/121 Stagecraft I, II 2.0 2.0 TH 101 Neutral Mask 1.0 TH 113 Encounters with Theater Arts 3.0 HU 110 A/B First Year Writing I, II 3.0 3.0 TH 213 Script Analysis 3.0 Electives 3.0 HU 110 A/B First Year Writing I, II 3.0 3.0 Freshman Year Total: 14.0 16.0 Freshman Year Total: 16.0 14.0 Sophomore Year Sophomore Year TH 203 A Acting Studio III 3.0 TH 223/224 Acting Studio: Technique I, II 4.0 4.0 TH 103 L Crew 0 0 TH 103 L Crew 0 0 HU XXX Liberal Arts 3.0 3.0 TH 209 A/B Voice and Speech for Actors III, IV 2.0 2.0 TH 2XXB Playwriting 3.0 TH 215 A/B Movement for Actors III, IV 2.0 2.0 TH 227 Fundamentals of Stage Management 3.0 TH 311 A/B Theater History I, II 3.0 3.0 TH 351 Production Practicum 1.0 HU 103 A/B Intro. to Modernism I, II 3.0 3.0 TH 311 A/B Theater History I, II 3.0 3.0 HU XXX Liberal Arts 3.0 3.0 HU XXX Arts Criticism (or equivalent) 3.0 Sophomore Year Total: 17.0 17.0 HU 103 A/B Introduction to Modernism I, II 3.0 3.0 Sophomore Year Total: 15.0 16.0 Junior Year TH 323 Acting Studio: Technique III 3.0 Junior Year TH 324 Advanced Scene Study 3.0 TH 351 Production Practicum 1.0 1.0 TH 103 L Crew 0 TH 103 L Crew 0 TH 309 A/B Voice and Speech for Actors V, VI 2.0 2.0 TH 327 Advanced Stage Management 3.0 TH 326 Audition Techniques 2.0 TH XXX Film Workshop 2.0 TH 315 A/B Movement for Actors V, VI 2.0 2.0 TH 317 The Fundamentals of Directing 3.0 TH 317 Fundamentals of Directing 3.0 Electives 3.0 3.0 TH 400 Acting for Film I 1.0 HU XXX Liberal Arts 6.0 3.0 HU XXX Liberal Arts 3.0 3.0 HU XXX Dramatic Literature Elective 3.0 3.0 Electives 3.0 3.0 Junior Year Total: 16.0 15.0 Junior Year Total: 16.0 16.0 Senior Year Senior Year TH 351 Production Practicum 3.0 3.0 TH 423 Acting Studio: Verse Drama I 4.0 TH 419 A Business of Theater 1.0 TH 415 A Movement for Actors VII 2.0 TH 451 Senior Project 3.0 TH 419 A Business of Theater 1.0 TH 326 Audition Techniques 2.0 Studio Elective Cluster 8.0 TH 449 Internship 6.0 Electives 3.0 Studio Electives 2.0 2.0 HU XXX Liberal Arts 6 3.0 HU XXX Dramatic Literature Elective 3.0 HU XXX Liberal Arts 6.0 Senior Year Total: 13.0 14.0 Electives 6.0 Senior Year Total: 15.0 16.0

104 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Musical Theater Bachelor of Fine Arts 123 credits

SEMESTERS FALL SPRING Freshman TH 103 A/B Acting Studio I, II 3.0 3.0 TH 103 L Crew 0 TH 141 A/B Voice for Musical Theater I, II 1.0 1.0 TH 141 L Voice for Musical Theater Lab 0 0 TH 122 A/B Music Skills I, II 2.0 2.0 TH 142 A/B Voice Lesson 1.0 1.0 TH 150 A/B Dance for Musical Theater I, II 1.0 1.0 TH 120/121 Stagecraft I, II 2.0 2.0 HU 110 A/B First Year Writing I, II 3.0 3.0 TH 113 Encounters with Theater Arts 3.0 0 TH 213 Script Analysis 0 3.0 Freshman Year Total: 16.0 16.0

Sophomore Year TH 223/224 Acting Studio: Technique I, II 4.0 4.0 TH 103 L Crew 0 0 TH 242 Voice Lesson 1.0 1.0 TH 209 A/B Voice and Speech for Actors III, IV 2.0 2.0 TH 250 A/B Dance for Musical Theater 2.0 2.0 TH 222 A/B Music Skills III, IV 2.0 2.0 TH 241 Foundation of Singing Acting 2.0 HU 103 A/B Introduction to Modernism I, II 3.0 3.0 Sophomore Year Total: 14.0 16.0

Junior Year TH 323 Acting Studio: Technique III 3.0 3.0 TH 103 L Crew 0 TH 315 A Movement for Actors V 2.0 TH 318 A/B Musical Theater Repertory 2.0 2.0 TH 341 A/B Voice for Musical Theater 1.0 1.0 TH 342 A/B Voice Lesson 1.0 1.0 TH 350 A/B Dance for Musical Theater 1.0 1.0 TH 312 A/B Musical Theater History I, II 3.0 3.0 HU XXX Liberal Arts 3.0 6.0 Junior Year Total: 16.0 17.0

Senior Year TH 441 A/B Voice for Musical Theater: Cabaret 1.0 1.0 TH 442 A/B Voice Lesson 1.0 1.0 TH XXX Movement Elective 1.0 1.0 TH 419 B Business of Theater 1.0 HU XXX Liberal Arts 6.0 6.0 Electives 4.0 5.0 Senior Year Total: 13.0 15.0

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 105 The Curriculum BFA Program in Applied Theater Arts Absences BFA Programs in Acting and Musical A theater artist must be well versed in a Students in the School of Theater Arts are Theater variety of disciplines, each vital in itself and expected to attend all classes, studios, Actor training in the School of Theater Arts intimately related to all that occurs in a workshops, rehearsals and crews for which lies at the heart of the two performance production effort. The student majoring in they are registered or otherwise committed. curricula. The training is designed to the BFA in Applied Theater Arts is called upon The School of Theater Arts does not make cultivate the actor’s ability to ‘live truthfully to develop competencies across a spectrum of a distinction between an excused and under imaginary circumstances.’ Students these disciplines. As such, they will study unexcused absence. Rather it recognizes that develop an understanding that such truth acting, combat, mask, stage management, in the course of a student’s studies, circum- begins with a shared interconnectedness directing, administration, theater history, stances may arise that, in the student’s between actors onstage. and dramatic literature — all in a context judgment, may require absence or lateness. Early technique studies, for majors in both that supports theatrical production. This The general policy of the School of Theater is acting and musical theater, emphasize the program is designed to provide practical that any number of absences that result in ‘reality of doing’ as it is rooted in a full training for the student/artist who possesses a the student missing more than the emotional life, driven by action and collaborative perspective. The BFA in Applied equivalent of two weeks work will result in expressed with meaning, clarity and theatri- Theater Arts (ATA) allows the student/artist, failure for the course in question. This cality. To this end, students are challenged to in his/her junior year, to move toward a standard is somewhat more severe for cultivate a fuller understanding of concentration in a particular area of acting studios. themselves, and to continually exercise their emphasis, such as many of those Students should consult the syllabi for any skills as analysts of text and as observers of mentioned here. given course to see how this policy applies to human behavior. Upon declaring a concentration in one of the course’s number of weekly meetings and The program introduces students to a these fields, a student will complete his/her contact hours. Please refer to the “Absences” range of approaches (Linklater, Meisner, course of study via a series of production section of Academic Regulations in this LeCoq, Williamson, Fitzmaurice, Laban) as a practica and independent study projects. catalog for more information, and to the part of their training. The successful student Internships, arranged through the School’s Theater Arts Student Handbook. should emerge from the program with a outstanding relationship with area profes- practicable performance technique in place, sional theaters, will further strengthen the Advisors which enables her/him to develop and student’s skills and enhance his/her profes- Students are assigned advisors when they sustain a role from first rehearsal to closing sional viability. The student completing this enter the School of Theater Arts. Advisory lists night. program will be prepared to enter the are posted in the theater lounge during the Students completing these programs are industry on either the production or the first week of the academic year. The advisor also expected to be knowledgeable about a administrative end, and may pursue a range conveys information from the faculty to the variety of styles and types of drama and the of career options or choose to pursue further students and counsels the student in artistic challenges presented by each; to work in a study in dramaturgy, directing, or several of and academic matters. The student, however, vocally and physically free and efficient the above fields. is wholly responsible for fulfilling his or her manner; to be able to identify their character artistic and academic obligations and for type and its potential range within the Production Season meeting the requirements for graduation. casting conventions of the industry; to have a The School of Theater Arts presents at least sense of how to begin to establish a career as ten major productions a year – six in our Call Boards a performer; and to possess a work ethic that subscription series, and four more in our All Theater students must check the call will support the collaborative nature of studio series. These include both musicals boards daily and will be responsible for all theatrical production. and straight plays. Plays are selected based official notices posted there within 24 hours. Additionally, the Musical Theater program on the educational and competitive needs of The call boards are used for the posting of seeks to train students who the current casting pool, and on a four-year all rehearsal and crew notices, as well as •use the singing voice in a vibrant, cycle representing styles and genres to which School and professional audition notices. healthy, and dramatically effective the faculty feels students should be exposed. manner All students in performance majors are Crew Assignments •understand music as the singing actor’s required to audition for all School-sponsored All students are required to serve on second text and clearly present it’s shows and to accept roles as cast, unless production crews in their second through expressive intentions excused as provided for in the School of fifth semesters. Crew assignments and calls •have a solid dance technique and a Theater Arts Student Handbook. Students are are scheduled and monitored by the command of the language of dance and also required to attend each production. Production Office, located in the main movement Starting with Fall term 2001, these audition School of Theater office. •integrate all component skills of musical and attendance requirements will be part of All crew members are expected to be theater performance to create consis- all acting studio syllabi. Failure to comply prompt for crew calls. Lateness will not be tently honest and expressive behavior with these requirements will have a direct tolerated. Attendance at all crew calls is impact upon one’s grade in acting studio. mandatory. There are no unexcused absences permitted. A student who misses a crew call without prior permission from the Production Office will receive an ‘F’ for the semester.

106 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Extra-Curricular Activities “C-” (1.67) or less. Such courses must In all degree programs, both the student Students in the School of Theater Arts be repeated and may prevent the student and the Director’s Office will be provided with sometimes accept jobs or participate in from moving forward in his/her copies of the written summation of the extracurricular projects. At no time should a program until the course is repeated. student’s evaluation. A student who has not student accept an activity that conflicts with 4. Failure to meet the stipulation for shown satisfactory improvement may be a class, rehearsal, crew assignment, etc., or removal of Academic Censure by the asked to leave the program. that prevents the student from being fully end of the specified period will result In the BFA Acting program, in-depth prepared for class, rehearsal, and/or in dismissal. evaluations will be conducted in semesters performance. Starting with academic year 5. Starting with Spring term 2002, two through six. These in-person evaluations 2001-02, students will not be permitted to students on academic probation may will be held with the student’s acting, audition for outside work prior to completion not perform in School of Theater movement, and speech teacher present and of their Fall term junior year. Even students productions. will focus specifically on the student’s work who have reached that level of training and progress through the program. Ideally, must be approved for casting exemption The School recognizes that in this art form these sessions should recap the ongoing as described in the Theater Arts it is possible for a student to receive an input the student has received throughout Student Handbook. adequate grade for a specific course, but not the term in studio. show promise for a future career in the As a follow-up to these sessions, the Physical Demands of the Program theater as an actor. The School’s obligation student will receive a written evaluation The Theater Arts program is physically to its students, therefore, is to keep them reviewing the points covered in-person and demanding. Good health and its abreast of their progress by personal contact including a statement on the student’s status maintenance are of paramount importance and review. in the program (i.e., reinvitation assured, to an actor. It is expected that the student’s contingent upon further improvement, or Occasional illness or injuries are, of commitment to professional training will be in jeopardy). course, justification for short-term absences. clearly reflected in the quality of work in The BFA in Musical Theater employs a jury Specific chronic physical or emotional each studio and class. system by which students are evaluated. disorders that impair attendance or ability to Musical Theater jury exams are held at the function within the program over a longer Warnings - A student will be warned if end of semesters 1-7 to evaluate students’ period of time should be covered by a formal his/her performance in class is below par as progress. Each student is required to prepare leave-of-absence. defined by the instructor’s expectations a minimum of five songs (three for first-year In either case, the student should confer expressed in the class syllabus, rules, etc. students) to be presented before a panel of with his or her advisor as soon as a potential Such warning will be issued as a part of Musical Theater faculty. It is expected that health problem arises. ongoing studio critiques, in a formal verbal these songs be fully developed musically and fashion at the student’s in-person evaluation dramatically. After completion of the jury, the Professional Standards and Behavior (or jury), and in writing as a follow-up to student receives a written evaluation from Students are expected to maintain high that evaluation. A student may also receive each member of the panel. standards of professionalism in studio, such warning if he/she lacks seriousness of Initial evaluations in the BFA for Applied classroom, rehearsal and performance purpose, demonstrates attitudinal behavior Theater Arts are conducted at the conclusion commitments. Professionalism in rehearsal which proves disruptive to the ensemble or of the first year and throughout the second and production is a factor in the grading for educational process, is excessively tardy, is year. The student will convene with her/his Acting studio. Failure to follow directions, not prepared to work in class, or is not advisor and head of program. During these and absence from or lateness to rehearsals, seriously committed to professional training. first evaluations, the primary issues dealt performances and related activities may with will be the student’s satisfactory result in Academic Censure including Evaluations performance in production lab assignments lowering of grade or course failure. In the School of Theater Arts, progress and aptitude in the areas of stage from one semester to the next is based not management and dramaturgy. The first Academic Progress only on successful completion of course evaluation in a student’s third year will focus Students will receive Academic Censure, as work, but also on the faculty’s positive on the student’s progress and a statement determined by the Academic Review assessment of the student’s potential for a submitted by the student discussing the areas Committee, for the following reasons: career in the professional theater. of emphasis that have drawn his/her primary 1. Semester GPA below 2.0. This assessment is recorded through a interest. Evaluators will consider how 2. Grade below “B-” (2.67) in the process of in-person and written evaluation. effectively the student has demonstrated following major core courses: Students whose grade in core classes (see skills in those areas. By the end of the third Acting majors: “Academic Progress”) is less than ‘C’ may year, evaluations will focus on the student’s Acting, Speech and Movement Studios not be permitted to move on to the next level declared area of emphasis. Musical Theatre majors: of training in that area. Because the Acting and/or Singing Acting classes, curriculum is frequently integrated (i.e., Dance for Musical Theater, what is being taught in speech or dance may Voice lesson directly parallel what is being taught in 3. No credit will be granted for major core acting studio) the student may be prevented courses (listed above) with grades of from moving forward in those disciplines as well.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 107 U

108 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 UArts 2001 Graduate CourseCatalog Undergraduate and • 2002

College of Media and Communication Information Architecture Minor College of Media and This minor focuses on the information architecture component of Communication multimedia. Students will develop an understanding of user workflow and interactivity. They learn to create easy-to-use interfaces and information spaces. The program of study is designed for students Neil Kleinman mostly interested in developing Web sites and CD-ROMs that deliver [email protected] information clearly and efficiently. Dean 215-717-6466 MM 130 Information Concepts 3.0 credits MM 121 Intro to Interface Design 3.0 The College of Media and Communication has approval of the MM 221, 222 Interactive Studio I, II 6.0 Commonwealth of Pennsylvania to grant Bachelor of Fine Arts and MM 320 Advanced Interface Seminar 3.0 Bachelor of Science degrees as part of The University of the Arts. Total credits required 15 Programs of Study New Media Center The College of Media and Communication is dedicated to the Christopher P. Garvin integration of art, technology, and communication. In recognition of Director the new artistic opportunities that have recently emerged, and of the importance of technology in many aspects of artistic endeavor, The University of the Arts is proud to be a member of the New Media programs in the College of Media and Communication are charac- Centers, a group of the nation’s leading academic institutions and terized by their interdisciplinary nature, reliance on text, the use of technology corporations dedicated to the advancement of technology appropriate technologies, and on collaboration and other strategies in education. The University of the Arts is one of the few art schools that take advantage of the potential of individual expertise and world-wide to be welcomed into this organization, whose members creative vision in a cooperative setting. include New York University, Cornell, MIT, and UCLA. The programs offered in this new college are a BFA degree in The University of the Arts’ New Media Center (NMC) is a state-of- Writing for Film and Television, a BFA degree in Multimedia, and a BS the-art digital laboratory that provides Internet access and permits the degree in Communication. Each program is designed as a rigorous integration of text, graphics, imagery, animation, music, and sound. sequential course of study, balancing major requirements with studio While these labs are used by the entire University community, the electives and a 42-credit liberal arts core. In addition, the College NMC is the primary classroom for students in the Multimedia offers a minor in Information Architecture. program. A distinctive aspect of the College is its interdisciplinary nature. Specialized courses that are unique and essential to the field are augmented by major courses drawn from various programs throughout the university. Students are encouraged to explore the University’s vast artistic and academic offerings through electives and minor courses of study. Currently available minors Please note the following guidelines: 1. A multimedia major may not take a minor in Information Architecture. 2. Courses applied to the minor may not be used for the major, but students may include the minor coursework as part of their elective credits. 3. Students must declare their intent to complete a minor by filling out the Minor Declaration Form in the Office of the Registrar. This form must be signed by the student’s major and minor advisors. 4. Minors are available to undergraduate students only. 5. A portfolio review and interview are required before a student is accepted in the minor.

110 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 College of Media and Communication Craig J. Saper Faculty Associate Professor BA, MA, PhD, University of Florida Geoff DiMasi Senior Lecturer Elizabeth Saperstein BA, Rutgers College, Rutgers University Adjunct Assistant Professor MFA, The University of the Arts BS, Emerson College

Barry Dornfeld Steven Saylor Director, Communications Assistant Professor Associate Professor BA, Franklin and Marshall College BA, Tufts University MA, MFA, Temple University MA, PhD, University of Pennsylvania Sloan Seale De Angela Duff Senior Lecturer Senior Lecturer BA, Arizona State University BFA, Georgia State University MA, The Ohio State University BS, Georgia Institute of Technology MFA, Temple University

Louis Fuiano Katherine Sender Senior Lecturer Assistant Professor BA, Tyler School of Art, Temple University BA, University of Sussex MA, University of Massachusetts, Amherst Christopher P. Garvin Director, Multimedia Diane M. Walsh Assistant Professor Associate Professor BFA, State University of New York at Buffalo BA, San Jose State University MFA, The Ohio State University

Dave Hartl Assistant Professor BM, WestChester University

K. Lynne Koval-Bauer Assistant Professor BA, University of Texas at Austin BA, University of Akron

Sharon Lefevre Adjunct Assistant Professor BA, Princeton University MA, MPhil, Columbia University

Larry Loebell Assistant Professor BA, Temple University MA, Colorado State University MFA, Temple University

Camille A. Paglia University Professor BA, SUNY Binghamton MPhil, PhD, Yale University

Jeff Ryder Director, Writing for Film and Television Associate Professor BA, Rider College

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 111 Freshmen take courses that offer both an Communication Communication historical and a social perspective to communication, while they learn visual and Core Curriculum Barry Dornfeld sound fundamentals through introductory The core curriculum is common to all majors in the [email protected] studio courses. They are introduced to field- Communication program. These required courses Director based imaging equipment and post- develop a solid foundation from which students pursue 215-717-6470 production studios, and begin to produce their choice of concentration. Students formally select and critique their own work. their concentration during the advising period in the Media makers occupy a place of great The year-long Media Forms and Contexts fall of the junior year. influence and importance in our course in the sophomore year acts as a Freshman Year Credits increasingly mediated world. This studio- keystone to the Communication curriculum Fall based Communication program is designed by integrating production work, the to reflect the changing nature of the media development of an analytical framework for CM 120 Sound Communication 3.0 industries due to new technologies, understanding media, and intensive CM 250* History of Communication 3.0 demographic diversity, and the increase in screening of mainstream and alternative MM 110 Visual Concepts I 3.0 global flows of ideas, images, and products. media forms. The course gives students HU 110A First Year Writing I 3.0 Upon their graduation, we expect our exposure to and experience in producing in a HU 103A Intro to Modernism I 3.0 students to be able to work in a variety of broad range of media genres. The Interactive Fall Total 15.0 media forms, to be broadly knowledgeable Studio and Writing for Media courses round about the media industry, and able to think out this year. Spring critically about media making and the In the junior year, students work more CM 101 Communication, media’s impact on culture and society. intensively in each of the program concen- Culture and Process 6.0 Students learn how to create work in one trations — Documentary Media Production, MM 130 Information Concepts 3.0 or more of three principal concentrations: Digital Journalism, and Advertising and HU 110B First Year Writing II 3.0 documentary production, digital journalism, Social Marketing. Media Industries and HU 103B Intro to Modernism II 3.0 and advertising and social marketing using Communication Theory and Culture in the the digital tools of the trade. While 20th Century deepen students’ understanding Spring Total 15.0 developing professional skills in these areas, of the changing landscape of media they are exposed to theory in communication industries and their cultural impact. Freshman Year Total: 30 .0 and media studies, grounding their For their senior year, students choose one Sophomore Year production work in an understanding of how of the three concentrations as the focus of their studio work, taking a year-long team- Fall to think about media and its place in CM 201 Media Forms & Contexts I 4.5 contemporary culture. Students learn about based studio course. Through this intensive CM 211 Writing for Media 3.0 the connections between aesthetic training, students develop a portfolio of approaches and communicated meaning, media work, pulling together their previous PF 220 Documentary Photography 3.0 about the history of communication, and experiences and interests into a project that Electives 3.0 about cultural context and organizational can represent their abilities to the profes- HU 261** Observing Humans 3.0 constraints, and grapple with the ethical sional world. Additional courses, including or a Sociology course considerations that arise in professional two internships, prepare students for profes- Fall Total 16.5 practice. sional life beyond the University. Throughout their undergraduate training, Spring students take a range of courses in the liberal CM 202 Media Forms & Contexts II 4.5 arts and choose electives throughout the CM 271 Advertising: Creative Concepts I 3.0 University. Students’ production work builds MM 221 Interactive Studio I 3.0 on this intellectual base, beginning with Electives 3.0 exercises and growing to intensive projects in HU 272 Money Matters 3.0** the selected area of concentration. The program stresses digital media production Spring Total 16.5 across platforms and an understanding of what these new tools make possible and what Sophomore Year Total: 33.0 they limit.

112 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Advertising and Social Marketing Digital Journalism Concentration Documentary Media Production Concentration 123 credits 123 credits Concentration 123 credits The Advertising and Social Marketing concentration Students in this concentration learn to combine Students in the documentary concentration learn to prepares students to work in the creative sectors of the research, reporting, writing, editorial, and interactive use video and audio technologies to capture real world advertising industry by developing creative skills design skills in developing news-based material for on- stories in moving images. Courses emphasize tech- linking strategy to advertising ideas across multiple line publications. nique, project management, and moving from concept media. through research to execution of documentary projects.

Junior Year Credits Junior Year Credits Junior Year Cresits Fall Fall Fall CM 371 Advertising Strategy Develop. 3.0 CM 381 Digital Journalism I 3.0 CM 381 Digital Journalism I 3.0 CM 381 Digital Journalism I 3.0 CM 391 Documentary Media 3.0 CM 391 Documentary Media Prod. I 3.0 CM 391 Documentary Media Prod. I 3.0 Production I CM 260 * Media Industries 3.0 CM 260 * Media Industries 3.0 CM 260 * Media Industries 3.0 Elective 3.0 HU XXX Liberal Arts 3.0 Elective 3.0 HU XXX Liberal Arts 3.0 HU XXX Liberal Arts 3.0 Fall Total 15.0 Fall Total 15.0 Fall Total 15.0 Spring Spring CM 372 Adv: Creative Concepts II 3.0 Spring CM 392 Documentary Media Prod. II 3.0 CM 373 Intro. to Public Relations 3.0 CM 382 Digital Journalism II 3.0 CM 393 History of Documentary 3.0 CM 251* Communication Theory & CM 383 Journalism and Culture 3.0 CM 251* Communication Theory & 3.0 Culture of the 20th Century 3.0 CM 251* Communication Theory & 3.0 Culture in the 20th Century Electives 3.0 Culture of the 20th Century Elective 3.0 HU XXX Liberal Arts 3.0 Elective 3.0 HU XXX Liberal Arts 3.0 HU XXX Liberal Arts 3.0 Spring Total 15.0 Spring Total 15.0 Spring Total 15.0 Junior Year Total: 30.0 Junior Year Total: 30.0 Junior Year Total: 30.0 Senior Year Senior Year Fall Senior Year Fall CM 461 Senior Studio I 4.5 Fall CM 461 Senior Studio I 4.5 CM 499 Internship 1.5 CM 461 Senior Studio I 4.5 CM 499 Internship 1.5 Electives 3.0 CM 499 Internship 1.5 Elective 3.0 HU XXX Liberal Arts 6.0 Elective 3.0 HU XXX Liberal Arts 6.0 Fall Total 15.0 HU XXX Liberal Arts 6.0 Fall Total 15.0 Fall Total 15.0 Spring Spring CM 462 Senior Studio II 3.0 Spring CM 462 Senior Studio II 4.5 CM 435 Current Issues in 3.0 CM 462 Senior Studio II 4.5 CM 435 Current Issues in 3.0 Communication: Ethics 3.0 CM 435 Current Issues in 3.0 Communication and Policy Communication: Ethics 3.0 CM 499 Internship 1.5 CM 499 Internship 1.5 and Policy Elective 3.0 Electives 4.5 CM 499 Internship 1.5 HU XXX Liberal Arts 3.0 HU XXX Liberal Arts 3.0 Elective 3.0 Spring Total 15.0 Spring Total 15.0 HU XXX Liberal Arts 3.0 Spring Total 15.0 Senior Year Total: 30.0 Senior Year Total: 30.0 Senior Year Total: 30.0 * Indicates discipline history requirements. * Indicates discipline history requirements.

** Fulfills 3 credits of the social science distribution ** Fulfills 3 credits of the social science distribution requirement. requirement.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 113 As a means of expanding their Multimedia understanding of the arts, developing a sensitivity to the traditional media, and Christopher P. Garvin beginning or advancing a skill in a [email protected] particular art discipline that they can bring Director to their collaborative projects, freshmen 215-717-6322 select an elective course from any department in the University. Presentation of The comprehensive nature of its academic a portfolio and/or audition and permission programs makes The University of the Arts an of the instructor may be required for entry to ideal setting for an education in the these classes. Among the courses that may be emerging fields of multimedia. Our goal is to chosen for this elective are: develop the cultural producers of the next FP 100 A Drawing millennium-not merely participants, but the FP 190 A 3D Design avant-garde of the many industries affected TH 213 Script Analysis by the advent of our knowledge-based WM 111 Traditions of Narrative economy. Internet, communications, DA 107 Eurythmics publishing, software and entertainment, in DA 210 Kinesiology addition to the fine arts, are the most notable MU 107 A Music Theory of the industries ready to incorporate Built on the foundation of the first year, multimedia into their core endeavors. the sophomore curriculum addresses in The major in multimedia at The greater depth components of multimedia University of the Arts focuses on the such as the moving image, writing and integration of image, sound, text and content, and interactivity. A discipline history interactivity into communicative works, course reviews the development of whether they be for commercial or fine arts multimedia and analyzes its historical audiences. In our holistic approach to the influences. Multimedia students are creation of these works, we stress crafts- encouraged to develop a secondary concen- manship, collaboration, seamless integration tration in another art form as a specialty of diverse media, and artistic excellence. within multimedia. The electives fulfill that Working with today’s technology, students function as well as encourage a diversity of create a variety of multimedia works in a interests among the multimedia students. collaborative studio environment, while they Students in their junior year refine their develop a conceptual and social perspective craft with advanced work in multimedia that on the work they and others create. focuses on completion, presentation, and The curriculum consists of a four-year collaboration in a project-based studio sequence accompanied by a environment. Thus they are prepared both corresponding intellectual sequence that conceptually and technically for the includes a generous amount of liberal arts integrated work required in the senior year. and elective courses. Freshmen are The senior-year curriculum enables introduced to the basic aesthetic and students to synthesize the concepts and technical issues essential to multimedia; techniques learned during the first three these are approached visually, aurally and years while preparing them for entry into the textually. Students develop an understanding profession. In the Senior Studio, full-length of the history and evolution of multimedia; projects with self-directed themes allow the ability to work collaboratively; basic students to explore the art of multimedia and design skills; facility in the use of digital its potential for personal expression and tools; sensitivity to general communication communication. In the Business Seminar concepts; and an understanding of the and the Special Projects courses, multimedia principles of music and of information professionals address professional practice, management for multimedia design. essential business skills, and current industry issues in order to prepare graduates to pursue satisfying careers in multimedia.

114 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Multimedia Bachelor of Fine Arts 123 credits

Freshman Year Credits Junior Year Credits Fall Fall MM 110 Visual Concepts I 3.0 MM 310 Multimedia Studio I 3.0 MM 130 Information Concepts 3.0 MM 320 Advanced Interface Seminar 3.0 MU 149 A Aural Concepts I 3.0 Electives 3.0 HU 103 A Intro. to Modernism I 3.0 HU XXX Liberal Arts 6.0 HU 110 A First Year Writing I 3.0 Fall Total 15.0 Fall Total 15.0 Spring Spring MM 311 Multimedia Studio II 3.0 MM 111 Visual Concepts II 3.0 MM 350 Business Seminar 2.0 MM 121 Intro. to Interface Design 3.0 Electives 3.0 MU 149 B Aural Concepts II 3.0 HU XXX Liberal Arts 6.0 Electives 2.0 Spring Total 14.0 HU 103 B Intro. to Modernism II 3.0 HU 110 B First Year Writing II 3.0 Junior Year Total: 29.0 Spring Total 17.0 Senior Year Fall Freshman Year Total: 32.0 MM 410 Senior Studio I 4.0 Sophomore Year MM 472 Special Projects in Multimedia 3.0 Fall Electives 3.0 MM 221 Interactive Studio I 3.0 HU XXX Liberal Arts 6 .0 MM 271 * Survey of Multimedia 3.0 Fall Total 16.0 CM 211 Writing for Media 3.0 Electives 3.0 Spring HU XXX Liberal Arts ** 3.0 MM 411 Senior Studio II 4.0 Fall Total 15.0 Electives 6.0 HU XXX Liberal Arts 3.0 Spring Spring Total 13.0 MM 150 Collab. & Spontaneity Seminar 3.0 PF 332 Video & Animation Tech. 3.0 Senior Year Total: 29.0 MM 223 Interactive Narrative 3.0 MM 222 Interactive Studio II 3.0 * Fulfills 3 credits of the discipline history Electives 3.0 requirement. HU XXX Liberal Arts ** 3.0 Spring Total 18.0 ** The choice of electives will influence the selection recommended by the faculty advisor for the addi- tional six credits of discipline history, required as Sophomore Year Total: 33.0 part of the University’s core. Discipline history options include: HU l40 A/B Survey of Art History; DA ll7 Survey of Music; DA 2ll A/B Dance History; TH 3ll A/B Theater History; WM 251, 252 Narrative Cinema I, II; WM 253 History of Television.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 115 Writing for Film Writing for Film and Television and Television Bachelor of Fine Arts 123 credits Jeff Ryder [email protected] Freshman Credits Junior Year Credits Director Fall Fall 215-717-6465 WM 113 Dramatic Structure I 3.0 WM 321 Advanced Screenwriting I 3.0 WM 253 History of Television* 3.0 WM 341 Acting/Directing for Writers 3.0 Writing for Film and Television is an WM 251 Narrative Cinema I 3.0 Electives 6 .0 undergraduate program dedicated to the art HU 110 A First Year Writing I 3.0 HU XXX Liberal Arts 3.0 of dramatic writing for film and television. HU 103 A Intro to Modernism I 3.0 Choose one of the following: The dramatic script serves as the creative HU 411 B Shakespeare:*** Fall Total: 15.0 blueprint for the collaborative creation in HU 413 02 Literature and Film: 3.0 film and television. The curriculum for the Shakespeare *** program aims to educate and prepare Spring students for the professional world in this WM 114 Dramatic Structure II 3.0 Fall Total: 18.0 unique genre of writing. WM 252 Narrative Cinema II 3.0 A four-year sequence of studio writing HU 110 B First Year Writing II 3.0 Spring courses act as the cornerstone of the HU 103 B Intro. to Modernism II 3.0 WM 322 Advanced Screenwriting II 3.0 curriculum. Starting with Dramatic HU 264 Mod. American History** 3.0 WM 317 Episodic TV Writing 3.0 WM 315 Adaptation from Fiction 3.0 Structure in the first year, students will create Spring Total: 15.0 their own written work in an intensive Electives 3.0 HU XXX Liberal Arts 3.0 workshop environment. In the second year, Freshman Year Total: 30.0 Scriptwriting is introduced, along with script Spring Total: 15.0 analysis. In the third and fourth years, Sophomore Year Fall students will be writing full-length scripts for Junior Total: 33.0 film and television. Adaptation from fiction WM 214 Screenwriting I 3.0 and nonfiction sources complements WM 343 Film Story Analysis 3.0 Senior Year students’ original written work. To appreciate WM 241 Arts of the Media 3.0 Fall the art form, as well as the collaborative HU 320 A Found. of Western Lit. I* 3.0 WM 411 Senior Thesis I 3.0 spirit of film and television, there are courses HU XXX Liberal Arts 3.0 WM 316 Adaptation from Non Fiction 3.0 in film and video production, as well as Electives 6 .0 Fall Total: 15.0 survey courses in the history of film and HU 390 Mass Media & the Arts 3.0 television. A strong liberal arts experience in Spring drama, literature, and history gives students Fall Total: 15.0 WM 215 Screenwriting II 3.0 the breadth of knowledge required of the professional writer. Internships in the senior WM 243 Screenplay Analysis 3.0 Spring year will provide students with an exposure to CM 290 Video Production Workshop 3.0 WM 412 Senior Thesis II 3.0 a professional work setting. HU 320 B Found of Western Lit. II* 3.0 WM 421 Business of the Writer 3.0 HU XXX Liberal Arts 3.0 WM 499 Internship 3.0 Electives 6.0 Spring Total: 15.0 Spring Total: 15.0 Sophomore Year Total: 30.0 Senior Year Total: 30.0

* Fulfills 3 credits of the discipline history requirement. ** Fulfills 3 credits of the social science requirement. *** Fulfills 3 credits of the literature requirement.

116 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 UArts 2001 •2002 Graduate CourseCatalog Undergraduate and

Course Descriptions AE 509 AE 533 Art Education Educational Media B: Art and Inclusionary Education Planning and Management 3 credits, 3 hours AE 200 3 credits, 3 hours This course is designed to provide the full scope of Presentation Skills The design, planning, and management of methodologies, techniques, and innovative 1 credit, 2 hours (undergraduate) educational media in the L-12 classroom and strategies needed to teach special education A component of the Introduction to Visual Arts school. Topics of study include developing a students effectively. Using the arts as a means for Education, this course addresses effective speech technology plan; software and hardware adapting to diverse learning methods, the K-12 and presentation skills for the teacher, artist, and acquisition and assessment; care, maintenance, classroom will be regarded as a dynamic setting administrator communicating with groups, and security of classroom and lab computer for inclusionary learning. The impact of special- classes, or clients. technologies; networking concepts, design and needs art education will be further realized Open to non-majors. protocols; internet basics and issues; and, through direct school and community managing technological and human resources. engagement: programs and national as well as AE 201 Guest speakers support the study of theses topics. local organizations will be made available to Introduction to Visual Arts Education Independent visitations to either K-12 assist in developing field placements. Arranged 2 credits, 3 hours (undergraduate) educational settings, technology fairs, field placement opportunities will include a broad A theoretical and practical introduction to the conferences, or businesses will expand student range of community resources. entire field of art education. A survey of various knowledge and understanding of the planning Open to non-majors. aspects of teaching in a variety of situations and and management of technology. environments, through field observations and Prerequisite: permission of the instructor. AE 547 classroom lecture-discussions, including public Program Design and Methods: and private schools K-12, as well as specialized AE 530 Elementary and alternative settings in museum education, Interactive Media for Art and 3 credits, 3 hours lecture-discussion, early childhood education, special education Museum Educators 3 hours field work(8 weeks) (for handicapped and gifted children), and 3 credits, 3 hours Through review of current literature, lecture, adult education. This course acquaints students with existing discussion, field observation, and mini-teaching, Open to non-majors. technology and media available for instruction to students explore various educational philosophies art and museum educators. Students learn to and develop and implement effective classroom AE 507 design and create interactive multimedia projects curricula based on prevailing theories of learning Educational Media A: using a variety of multimedia authoring tools. and child development. Teaching and Learning Open to non-majors. Prerequisite: AE 201. May be taken by classroom 3 credits, 3 hours teachers or artists who wish to have a broader Provides students with the knowledge, skills, and AE 531 knowledge of methodology and content for teaching strategies to successfully integrate educational Multicultural Learning-Arts elementary art. media into the teaching and learning of K-12 art. 3 credits, 3 hours Areas of study include the theoretical and The artistic expressions of Africa, Asia, and the AE 548 conceptual basis for educational technology into Americas, the Near and Middle East, and related Program Design and Methods: Secondary the curriculum, training and development of societies are examined for their aesthetic and 3 credits, 3 hours lecture-discussion, technology skills, such as computer graphics, web contextual meanings. Cross-cultural contri- 3 hours field work(8 weeks) page design, and electronic presentations; and , butions to world art history are recognized Continuation of AE 547 with emphasis on middle issues and problems related to technology use in through the study of characteristic styles and and secondary school. education. Filed trips to local K-12 technology techniques, dynastic periods of art and artists, Prerequisites: AE 201 and either AE 547 or AE 559. arts programs further student understanding of as well as the relationship of art to varied systems technology use and integration in educational of belief. AE 550 settings. Open to non-majors. Creative and Cognitive Development Prerequisite: permission of the instructor. 3 credits, 3 hours AE 532 This course is designed to develop skills in Design for Interdisciplinary Learning recognizing the developmental stages of children, 3 credits, 3 hours adolescents, and adults according to the theories An introduction and curricular model for of Jean Piaget, Lawrence Kohlberg, Viktor integrated learning in which design and the Lowenfeld, and Erik Erikson. In addition, the visual arts, music, theater, and dance are the course will explore the learning theories of central means of integrating all disciplines to Jerome Bruner, B.F. Skinner, Howard Gardner, provide a more holistic approach to learning. An Madeline Hunter, and Bernice McCarthy toward approach to arts-centered learning through a understanding individual differences in creative design-based problem-solving model is and cognitive development and learning styles. emphasized to address issues in all subjects and Open to non-majors. at all levels of education. Open to non-majors with an interest in intergrated arts.

118 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 AE 552 AE 606 AE 649 The Art of Teaching Research in Education: Methods and Graduate Project/Thesis 3 credits, 3 hours Trends 6 credits (or 3 credits per semester for two Teacher preparation and knowledge of instruc- 3 credits, 3 hours semesters) tional techniques and curricula development will A graduate education seminar on the principal A culminating independent project supervised by be addressed, including development of presen- approaches to research for art and museum a faculty advisor. The project or thesis may take tation and speaking skills, professional image, education. The course examines types of research, either of two distinct forms: a) an academic thesis teachers’ rights and responsibilities, and aspects applications, and recent studies for their method- presenting original research on a significant of group processes. The course will explore ologies and findings, grant writing, and historical, theoretical, or pedagogical question cultural and family factors that influence assessment techniques. relating to visual arts education, or b) a studio or learning, expectations conveyed by teachers and curriculum project intended for use as a peer behavior, and techniques of instruction and AE 610 pedagogical tool. creativity. A retrospective analysis of each Graduate Studio Seminar Prerequisites: AE 602, AE 606, and AE 610. student’s individual education experience and 3 credits, 3 hours Other conditions: Students must also complete a his/her perceptions of teaching will be explored A one-semester interdisciplinary seminar University seminar, and be approved by the Chair through interactive simulation of classroom exclusively for arts educators. Topics of broad of Art Education to enroll for the Thesis Project. situations and teaching styles. concern to artists will be addressed in response to Prerequisite: AE 201 students’ work, assigned readings, and occasional AE 659 Open to non-majors. public lectures or other art events in the Student Teaching Practicum University and the community. 4.5 to 9 credits, AE 559 Corequisite: Student should be currently enrolled in Five full days a week for twelve weeks, 2 hour Saturday Practicum studio work while taking this course. lecture discussions. 3 credits, 3 hours lecture-discussion, An intensive experience built around a twelve- 3 hours field work(10 weeks) AE 632 week student teaching practicum, in which the Students are involved in various aspects of the Applications of Interdisciplinary Learning student devotes six weeks to teaching at the Saturday Lab School. They observe classroom 3 credits, 3 hours elementary school level and six weeks at the instruction, plan and teach lessons, and exhibit This course practically applies the knowledge middle or secondary-school level under the student work under the supervision of gained in Design for Interdisciplinary Learning guidance and supervision of master teachers and cooperating master teachers and through the by offering a variety of curriculum frameworks Art Education Department faculty. Educational instruction of a professor in the seminar portion through which elementary and secondary school issues and concerns are addressed in the seminar of the course. teachers can implement this curriculum. portion of the course. Prerequisite: AE 201 and AE 547. Students use a variety of models and thematic Prerequisites: AE 201, AE 533, AE 547, AE 548, approaches to develop integrated arts curricula and AE 559. AE599 that relate the arts to other disciplines. In keeping Professional Writing Intensive with interdisciplinarity in a postmodern aesthetic, 0 credits, 2 hours students use a variety of interactive media. This course addresses the use of effective and Class sessions include lectures, media presen- cogent written communication for the teacher, tations, discussions, interactive group activities, artist, and administrator to classes, groups, or guest presenters, and workshops in the university clients. Students may test out of the Professional and the community. Writing Intensive course by taking and passing This graduate-level course is available for the Writing Proficiency Exam. advanced undergraduates with an interest in Open to non-majors. integrated arts. Prerequisite: AE 532 AE 602 History of Ideas in Art and Museum Education 3 credits, 3 hours Seminar on major issues and trends in the history of art and museum education, with an emphasis on child-centered and content-centered theories and the theoretical antecedents of the Discipline Based Art Education movement and outcome- based education.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 119 AT 401 Art Therapy Senior Practicum Communication 3 credits, 3 hours AT 300 A field placement provides an opportunity for the CM 101 Introduction to Art Therapy student to apply classroom knowledge to work Communication, Culture, and Process 3 credits, 3 hours within a specific clinical setting. A research paper, 6 credits, 7.5 hours Introduces students to key concepts and based on the experience, enables students to Grounds students in an exploration of communi- dimensions of the profession of art therapy. integrate theory with observation and practice. cation as a social and cultural process by Course content addresses the different This practicum includes on site individual integrating theory and analysis with practical orientations and approaches that comprise this supervision by an art therapist, as well as a small production projects. The course draws on theory discipline, as well as the diverse populations that group supervision on campus with the Art and research in communication, linguistics, are served. Art Therapists that work within a wide Therapy faculty. anthropology, and sociology, applied across range of settings are invited to present to the class Prerequisite: HU 181A, HU 181B, HU 384, HU 483, cultural settings. Student work includes reading, to balance the theoretical with the practical. AT300, AT 301, AT 304, AT 305. writing of reaction papers, and projects Prerequisite: HU 181A, HU 181B, or permission of Open to Art Therapy Concentration students only. combining observations and analysis of instructor. communication processes with digital media production. The studio component of the course AT 301 begins with basic instruction in the use of digital Social and Group Process video camera and audio equipment and covers 3 credits, 3 hours logging, organizing, importing, editing, and Introduces students to a basic understanding of presenting digital material. Projects employ video social groups, group behaviors, group therapy to document observations of nonverbal and group art therapy. The class helps students to communication, visual communication, better identify their own role as well as that of interviews and speech events, and performances. others within a group setting. Experiential art Studio time will be linked to course projects. tasks are used to underscore course material and exemplify group dynamics. CM 120 Prerequisites: HU 181 B, AT 300, or permission of Sound Communication instructor. 3 credits, 4.5 hours This introduction to the field of sound communi- AT 304 cation enables students to conceptualize the Theories and Techniques of Art Therapy importance of sound in cultural life and prepares with Children and Adolescents them in practical approaches to field recording 3 credits, 3 hours and working with various types of sound. The Introduces students to the use of art therapy with course surveys approaches to sound as a critical children and adolescents, including the different dimension of social communication through arenas where art therapists work with children, as readings and a broad range of audio examples, well as the various approaches that are utilized. including documentary, journalistic, theatrical, Normal child development, as evidenced in and experimental approaches. Students receive artwork, will serve as the foundation for training in digital audio field and post- understanding key concepts. Indicators of production equipment and complete practical emotional, cognitive and behavioral difficulties, field exercises and an intensive sound project. as seen in art productions, are also presented. Prerequisite: HU 181A, HU 181B, HU 384, AT300, or permission of instructor.

AT 305 Theories and Techniques of Art Therapy with Adults 3 credits, 3 hours The practice of art therapy with adults as demonstrated through the use of case material from a variety of clinical populations. Overviews of diagnostic indicators, as seen in artwork, are presented. Issues of long and short term treatment are addressed, as well as a rich variety of interventions at the art therapist’s disposal. Prerequisite: AT 300, AT 304, or permission of instructor.

120 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 CM 201, CM 202 CM 251 CM 271 Media Forms and Contexts I, II Communication Theory and Culture in the Advertising: Creative Concepts I 4.5 credits, 7 hours 20th Century 3 credits, 6 hours A two-semester exploration of a range of media 3 credits, 3 hours Whether an advertisement appears in print, on forms through the perspectives of genre, An intellectual history of influential twentieth television or radio or on the Internet, it is built structure, and representation, and combines century theories of communication, with a focus around an idea. Students learn to recognize and analysis and media production. Students are on the relationships between media and culture. create strong advertising ideas that are relevant to exposed to mainstream and alternative media in This course will intertwine critical intellectual the product and the audience. Emphasis is placed weekly screenings, focusing on formal issues (i.e., developments in the field with public events and on print advertising. After students grasp what time, space, point of view) and social issues of social movements, seen in the context of the constitutes a strong idea by studying and creating how media forms create cultural meanings (i.e., changing daily lives of people in diverse places. print advertisements, they translate that cross-cultural representation, stereotyping, the We emphasize how communication systems understanding into other media. Students learn portrayal of gender and sexuality, the represen- shaped the course of public and private lives how to allow their creativity to be guided by tation of violence). Students develop an during this century, and how changes in strategy. Students are exposed to outstanding analytical and practical language for talking communication reshaped the way we theorize creative work and readings, from which they about media genres and an understanding of how about the world and the field. Students read learn essential principles for developing strong production practices and audience expectations primary material in its original form, view media ideas. They apply these principles as they create combine to affect the structure of media forms. In material illustrating critical concepts, write short advertising of their own. the studio component of the course, exercises position papers reflecting on communication approach the topics in media representation theory and culture, and complete a term paper on CM 290 through creative work in documentary, electronic one of the course modules. Video Production Workshop journalism, and advertising using digital video, Discipline History/Social Science 3 credits, 6 hours audio, and still images, and the Web. Acquaints students with the fundamentals of Prerequisite: CM 101. CM 260 visual storytelling by providing hands-on Media Industries experience translating the written word into CM 211 3 credits, 3 hours images and sounds. Areas of study will include Writing for Media Investigates the range of organizations and framing images, lighting, using off-screen space 3 credits, 4 hours economic forces involved in media production. It and sound, editing, and post production sound. A studio writing course developing skills in covers diverse production models, from Students will integrate their own writing to effective, clear, and persuasive writing in the areas mainstream and corporate to public sector to produce some of these projects. of media and communication. Students work alternative and draws comparisons with media from a variety of source materials, including industries in other cultural settings. The course CM 293 secondary research and primary interviews, to focuses on issues such as: market structure, History of Documentary craft pieces in several formats. Projects include a government regulation, media conglomeration 3 credits, 4.5 hours research paper from secondary research sources, and linkages, production organization, audience Introduces the historical and aesthetic sweep of a project proposal, a treatment for a media work, measurement and behavior, and globalization. approaches to documentary film and video. a newspaper article, and a life narrative from Students will view examples from broadcast and Through extensive screenings and readings, this interview material. Emphasis is on writing cable news, advertising, Hollywood and survey begins to expose students to the range of structure and style, editing and revising, independent cinema, public broadcasting, public choices and creative possibilities of communi- suitability to specific audiences, and delivering access and community-based media, and new cating information and emotion through this material on time and at prescribed lengths. Class media industries. The course includes a research form. These works are seen through the aesthetic meets two times per week, with original writing or component in which students conduct a small choices, technological limitations, and social revisions due each class. original research project, using interviews, setting. In addition to attending screenings and Prerequisite: HU 110 B. fieldwork observations, and/or library research. discussion, students write two short papers and Discipline History/Social Science one longer term paper. CM 250 History of Communication CM350 3 credits, 3 hours Gender Images in Media Examines how major developments and techno- 3 credits, 3 hours logical changes in communication have The representation of gender and sexuality in the influenced social and cultural history and how media over the past century. How images of male major historical and social changes have had an and female both follow and create social change. impact on communication. Draws connections Prerequisite: HU 103 B. between historically specific and contemporary modes of communication in a variety of times and cultures, and the present. Discipline History/Social Science

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 121 CM 371 CM 373 CM 383 Advertising Strategy Development Introduction to Public Relations News and Culture in the Digital Age 3 credits, 4.5 hours 3 credits, 4.5 hours 3 credits, 3 hours Grounds students in the business side of creative Introduces students to the fundamentals of public Surveys both the impact of social issues and advertising. Examines the functions of the relations, viewed as a marketing communications concerns on journalism and the social impact of various departments within an advertising tool, and pays special attention to its role in the journalism on society. Working between readings agency, focusing on strategic development, and non-profit sphere. Reviews the functions of a wide about journalism and society, and case studies, introducing students to the three key steps in that range of marketing communications tools and both past and current, of how journalism development- market segmentation, brand explores how PR can be used in conjunction with operates within our region and nation, students positioning and research that leads to a consumer them to achieve an organization’s objectives, learn about how issues such as race, gender, insight and the product benefit the advertising helping students to come to understand the role ethics, technology, and the changing nature of emphasizes. A variety of qualitative and quanti- of public relations in the overall marketing the news business effect the work of journalists. tative research methods and analytical methods communications plan. Students learn how to Required of students in the Digital Journalism are included. They then apply what they have coordinate messages in order to allow the Concentration. learned by developing and presenting an company to speak with one voice and reinforce advertising strategy for an actual product. one overall corporate identity, with special CM 391 attention to social marketing and the public. Documentary Media Production I CM 372 Students apply what they have learned by working 3 credits, 6 hours Advertising: Creative Concepts II on a series of projects which culminate in their Develops an understanding of the conceptual, 3 credits, 6 hours developing a public relations proposal for a non- aesthetic and pragmatic dimensions of making Having learned during the fall of their junior year profit organization using the principles and documentary video and audio. Early in the how to create strong individual concepts, students practices defined and discussed in this course. semester, students are exposed to examples of a learn how to create broader and deeper concepts Prerequisite: HU 110B or permission of instructor. variety of documentary approaches through that can form the basis for a number of ads and partial screenings and readings, to illustrate the they learn how to execute an idea in more than CM 381 range of choices and creative possibilities of one medium. The course first examines award- Digital Journalism I communicating information and emotion winning print campaigns in order to help 3 credits, 6 hours through this form. They are also introduced to students recognize ideas with sufficient depth and The primary skills and practices involved in more sophisticated digital video technologies breadth to be the basis of multi-ad campaigns, constructing news for the on-line environment. than they have employed in the curriculum identify elements and themes, and understand Begins with an exploration of the evolution of previously. Students simultaneously work how campaign themes are grounded in research journalism from print to on-line and digital through a series of structured exercises, and later and an -in-depth understanding of the consumer. forms. By looking critically at a range of work in teams to develop small-scale The course then examines how interactive media journalistic examples, and reading about the documentary projects. Project work includes pre- are being used to build customer relationships changing work of reporting, students grapple production research, interviews, original shooting and brand identities, and explore the strategic with the differences between traditional and new in small-crews, and editing and presenting functions of these new media. Students apply media forms of journalism and begin to learn the finished work. what they have learned by developing storyboards practice of reporting for the World Wide Web. Prerequisite: CM 202, CM 290 or permission of for a product or service that reinforce that They work through a set of exercises researching instructor. product’s existing brand personality. story ideas, pitching them to the class, conducting Prerequisite: Sophomore standing. interviews, gathering images, and writing, CM 392 designing and posting short pieces for the web, Documentary Media Production II introducing them to the possibilities and 3 credits, 6 hours constraints of working in this medium. Develops a deeper understanding of the Prerequisite: CM 202 or permission of instructor. pragmatic, conceptual, and aesthetic dimensions of producing documentary video and audio. CM 382 Exposure to contemporary issues and approaches Digital Journalism II in documentary media making through 3 credits, 6 hours screenings and readings. Students achieve A more intensive course in digital journalism, increased mastery of more sophisticated digital building on CM 381: Digital Journalism I, in video technologies than they have employed in which students explore the present state and the curriculum previously, and work through a future possibilities for journalism in the on-line series of project stages in the development of a environment. Here students work in teams and on medium-length documentary. Each student is their own to complete a more complex set of on- responsible for taking their own project through line journalism projects, researching story ideas, to completion and presenting this project to their pitching them to the class, conducting interviews, colleagues, and they collaborate on these projects and writing and designing story sites for the web. in teams. Prerequisite: CM 381. Prerequisite: CM 391

122 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 CM 435 CR 200 A/B Current Issues in Communication: Ethics Crafts Projects I and Policy 3 credits/semester: fall and spring, 6 hours 3 credits, 3 hours CR 111 Art making dealing with crafts issues and Explores the changing landscape of ethical and Freshman Ceramics concepts. Individual project consultations are policy issues in communication from a critical 1.5 credits, 3 hours supplemented by lectures, visiting artists, and and intellectual perspective, with a focus on Through lecture and demonstrations, basic skills group critiques. As this course is content-based, emerging issues driven by the shift to digital such as handbuilding, throwing, and press students use any/all crafts studios during in-class media (image ethics and manipulation, molding are addressed, with an introduction to work time and open studio hours. (Students have intellectual property, changing nature of distri- loading and firing kilns and mixing clay and access to crafts studios where they have completed bution, etc.). Building on previous coursework glazes. Problems are given with an emphasis on or are currently taking a media-specific course.) and studio experiences, students read material developing each student’s potential for personal Non-crafts majors taking this course may also from current literature and write reflective and expression and artistic invention. Freshman work in their accustomed media. research-based papers on selected issues. students are encouraged to participate in the Corequisite: Enrollment in a studio course. Presentations from guest speakers in the various departmental guest lecture series and field trips. industries and independent sectors provide a real- CR 211 A/B world perspective on how these issues affect CR 121 Introduction to Throwing professional practice. Freshman Fibers and Mixed Media 3 credits, 6 hours Prerequisite: CM 260. 1.5 credits, 3 hours Beginning studio work with clay using the Provides foundation students with a hands-on throwing process and related glazing and firing CM 461, CM 462 studio experience grounded in fabric processes techniques. Problems are given with an emphasis Senior Studio I, II and materials as a means of personal expression. on developing each student’s potential for 4.5 credits, 7 hours The student receives an introduction to stamp personal expression and artistic invention. In this intensive project-based two-semester printing and direct painting on fabric, collage, studio, students work in multifunctional teams three-dimensional off-loom structures, as well as CR 212 A/B on a common theme, collaborating on the tapestry weaving on frame loom. Guidance is Introduction to Handbuilding development of their own presentation-quality offered in the form of demonstrations, slide 3 credits, 6 hours work in their medium of choice and concen- presentations, field trips, informal discussions, Beginning studio work with clay using the tration (documentary, social marketing, or on- and intensive group critiques. handbuilding processes of slab, coil pinch, and line journalism). They research and develop their pressing form molds, plus related glazing and project proposals in the fall semester, collabo- CR 131 firing techniques. Problems are given with an rating with individuals and institutions in the Freshman Glass emphasis on developing each student’s potential region, and begin production work, resulting in a 1.5 credits, 3 hours for personal expression and artistic invention. short piece in video, audio, and/or on-line form. Explores glass as an expressive and creative They continue this project work in the spring medium. Students work with flat glass in stained CR 221 A semester. This studio work is supplemented by glass techniques. Introduction to Fibers Mixed Media additional readings about relevant historical, 3 credits, 6 hours critical, and practical issues and screenings of CR 141 An introduction to both traditional and experi- contemporary work. Students write reflective Freshman Jewelry and Metalsmithing mental uses of materials and structural processes pieces about their production experiences in light 1.5 credits, 3 hours in the fabric media. Assignments focus on the of these historical and contemporary issues, and An introduction to metalwork through several exploration of two- and three-dimensional forms complete the year-long course with a portfolio of beginning jewelry projects. Students learn basic in preparation for versatile approaches to the their own creative work. fabrication techniques through simple hollow fibers media. A range of off-loom mixed media Prerequisite: CM 372, CM 382, or CM 392. construction; movement is approached through techniques is covered. aspects of linkage and chainmaking; forming CM 499 and fabrication are covered as well. CR 221 B Internship Introduction to Color and the Loom 1.5 credits CR 161 3 credits, 6 hours Professional internship with a media organi- Freshman Furniture and Wood An introduction to both traditional and experi- zation or producer. Student needs to gain 1.5 credits, 3 hours mental uses of materials and structural processes approval for internship from advisor, meet period- The introduction of wood as a material, basic in the fabric media. Students explore the ically for supervisory discussions, and complete a joinery theory, and the ability to manipulate the potential of two- and three-dimensional forms in short, reflective essay at the end of the internship. material safely with both hand and power tools. preparation for versatile approaches to the fibers Lecture and demonstration of the properties of media. Loom-woven structures, tapestry, and wood, the proper use of the bandsaw and shaping woven color are covered. tools, including rasps, chisels, small hand planes, and gouges.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 123 CR 222 CR 232 CR 245 Introduction to Dyeing and Off Loom Stained Glass Art for the Body Construction 3 credits, 6 hours 3 credits, 6 hours 3 credits, 6 hours Students work with transparent and Introductory mixed-media course focuses on the Through a series of developmental assignments, opaque glass sheet to produce both two- and body as the site-specific locus for a variety of art students are provided with a solid technical and three-dimensional artwork. Techniques include forms. Looking at a range of cultural and conceptual base in the fabric media. Non-loom glass cutting and grinding, use of caming and historical examples, students gain an constructions, color, and multifiber dye copper foil, soldering, enameling, sandblasting appreciation for the many personal and social techniques are covered. and carving, and kilnfiring. Typical projects influences that underlie our conception of the include stained glass windows or panels, human body and how we construct for it. CR 223 A/B containers, and shallow bowls. Students work in an array of media, with specific Papermaking emphasis on the use of metal, paper, fabric and 1.5 credits, 3 hours CR 241 A/B leather. Technical information includes flat Through slide lecture/demonstrations and films, Introduction to Jewelry pattern making, piecing, and sewing; forming this studio course introduces students to all 3 credits, 6 hours and fabrication; mixed media construction; aspects of traditional Western and Japanese The student is asked to explore notions of jewelry systems of attachment, linkage, and closure. papermaking techniques including pulp and body adornment as means of personal Emphasis on the students’ ability to generate preparation, sheet formation, pressing, and expression. Projects range from precious jewelry unique solutions to the physical challenges drying sheets. Students learn refined, professional making to adornment that extends into imposed by the human body on the content methods as well as explore the creative versatility performance. Basic goldsmith skills are taught as of attire. of pulp. Classes include: casting three- essential, while three-dimensional sketching and dimensional objects and bowls, building subtle experimentation in mixed media are encouraged. CR 249 relief images in colored pulp, and painting with Successful integration of design, material, and Enameling pulp. Various fibers explored throughout the process is the goal. Projects are designed to 3 credits, 6 hours semester include unique ones made from garden provide students with broad exposure to the many Enameling is the art of firing colored glass onto vegetables and indigenous plants. possibilities inherent in jewelry and ornament as metal. The transparent, opaque, and opalescent related to the human form. enamel colors are layered to produce richness, CR 227 detail, depth, and brilliance in this durable and Experimental Costume Design CR 242 painterly medium. Traditional techniques such as 1.5 credits, 3 hours Introduction to Metalsmithing cloisonné, grisaille, Limoges, basse taille, pliqué- An introductory mixed media fibers 3 credits, 6 hours à-jour, and champlevé, as well as contemporary studio where students transform the body into a Metal is an extremely versatile material; though and experimental processes are explored. fantastical art form through hat, mask, and hard and durable, it is quite malleable and easily Once they have gained facility with the unconventional garment construction. Students worked. This course covers direct working of medium, students produce jewelry or small are introduced to a wide range of soft materials metal. Sheet, wire, bar, and rod are given form by jewel-like paintings. including fabrics, plastics, net, gauze, rugger hammering, seaming, bending, etc. The majority yarns, paper, etc., and to simple printing/dyeing of work is done in bronze, brass, and copper, CR 251 fabric embellishment processes. though steel, stainless steel, aluminum, and Introduction to Molding and Casting precious metals may be used as well. Emphasis is 3 credits, 6 hours CR 231 A/B on basic hand and machine processes conveyed A course in modelmaking, moldmaking and Introduction to Glass Blowing through organized, comprehensive, and technical casting techniques, using plaster and synthetic 3 credits, 6 hours information. The focus is on the possibilities of compounds. Emphasis is given to developing Through demonstrations, assignments, and metal for the contemporary artist. Contemporary proficiency in slip casting for use in the artist’s tutoring by the instructor, the students are guided issues include the object as sculpture, process as a studio and in industry for serial production. toward mastery in offhand blowing. Blowing of source material, the importance of surface and well-balanced functional and nonfunctional detail, and functional objects made by artists. CR 252 forms is emphasized. The aesthetics of contem- Plaster Workshop porary and historical glass are introduced. CR 243 1.5 credits, 3 hours Demonstrations and tutoring guide the students Jewelry Rendering and Design An introductory course in modelmaking, in exploring the use of color in glass, two- and 3 credits, 6 hours moldmaking, and casting techniques using three-dimensional surface treatment, the Students explore two-dimensional pencil and plaster and synthetic compounds. This course relationship between volume and skin of forms, gouache techniques effective in creating the emphasizes the usefulness of these media to blowing into molds, and working in a variety of illusion of finished pieces of jewelry. Emphasis is designers and artists. scales. The aesthetics of contemporary and placed on the skill development necessary to historical glass are investigated as they relate to communicate and evaluate ideas prior to the students’ work. making. Presentation and development of a portfolio are an integral part of the course.

124 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 CR 253 CR 278 CR 282 Ceramic Technology Fabric Printing Metal Furniture 1.5 credits, 3 hours 1.5 credits, 3 hours 3 credits, 6 hours A lecture and laboratory course designed to Focuses on the fundamental principles of Questions our cultural assumptions about initiate investigation of basic clay and glaze translating drawings and photographs into furniture. Are common furniture forms dictated materials. The primary intent is for the student to designs and images for screen-printed fabric, by functional requirements or arbitrary choices, gain an intuitive understanding of ceramic using a fine art approach. Exploration of myriad which have become traditional? Metal (steel, materials, their practical and aesthetic properties, possibilities in creating fabric using silkscreen aluminum, bronze) is used for its strength and and to develop a series of personal glazes ranging and fabric pigments. versatility; other materials are combined with from bright gloss to matt. Additionally, the nature metal according to student ideas and interests. of clays and the relationship among clay bodies, CR 279 Techniques include bending/forming of rod, slips, sigallatas, and glazes is explored. Paper Casting tube, and plate, oxyacetylene welding, brazing, 1.5 credits, 3 hours mechanical fasteners/tap and die, riveting, CR 255 Students use paper pulp to build up three- and light blacksmithing. Typical student Large Scale Handbuilding dimensional forms. Molds are made of plaster projects include small tables, lamps, 1.5 credits, 3 hours and other materials. The emphasis is on paper as chairs, outdoor/public furnishings, and Fundamentals of large scale handbuilding in a material for the craftsperson and sculptor. experimental forms. clay. It will address two specific areas: a) building a three-dimensional form, students learn to use CR 280 CR 283 proper clay bodies, how to build interior support Introduction to Metal Casting Small Scale Steelworking systems, building and drying methods for large 3 credits, 6 hours 3 credits, 6 hours work, and moving, loading, and firing Wax working for jewelry and sculpture, rubber Steel is a metal with unique properties. This techniques; b) phase addresses modular form. molding processes, and lost wax/centrifugal course covers light blacksmithing, thin-sheet Students learn how to cover large areas with casting of bronze and (optional) sterling silver welding, and other techniques suitable for smaller parts and explore fitting and interlocking and karat golds. Extensive technical information working steel at tabletop size. Aluminum and systems of wall relief or free-standing form. for students who are design-oriented. Assignments other metals may also be used where appropriate. Problems are given with an emphasis on allow projects in all formats (design, one-of-a- The focus is on the possibilities of metal for the developing potential for personal expression and kind jewelry, fine art, etc.) and students are contemporary craftsperson. Contemporary issues artistic invention. encouraged to use the techniques demonstrated include the functional object, the decorative innovatively and expressively. Students taking the impulse, process as a source of inspiration, and CR 256 course a second time choose one aspect of the the importance of surface detail. Ceramics course (wax carving, wax modeling, wax 1.5 credits, 3 hours impressions, vulcanized rubber molding, etc.) CR 285 Through lecture and demonstration, students and produce a small body of work investigating Introduction to Furniture learn basic skills such as handbuilding, throwing, that aspect in depth. Procedures for jobbing out 3 credits, 6 hours and press molding with an introduction to work to professional contract casters; more Presents a series of design problems emphasizing loading and firing kilns. Mixing clay, slips, and experienced students send some of their work out exploration of ideas through drawing and model glazes are also covered. to be molded or cast. making. Historic and contemporary examples will be studied. Fundamental joinery techniques CR 261 CR 281 will be covered, but the emphasis will be on Introduction to Wood Introduction to Electroforming design exploration, imagination, and 3 credits, 6 hours 3 credits, 6 hours inventiveness. Students provide their own Introduction to basic woodworking skills and Electroforming is electroplating metal onto a materials and some hand tools. processes, including sharpening and setting up nonmetallic surface or object. Metal may be built hand tools and machinery, theory of solid wood up on nonporous materials such as wax, plastic, CR 286 joinery, and construction. In addition to building glass, stone, and lacquered found and natural Wood Carving technical skills, there is emphasis on contem- objects. Wax may be removed from electroformed 1.5 credits, 3 hours porary and historical furniture design issues. objects to leave a strong, lightweight, hollow, self- An introductory course focused on the supporting metal shell. Students will work in development of skills and a survey of historical CR 277 electroformed copper; assignments are structured and contemporary precedents. The class will Fabric Resist and Embellishment to allow students to work in accustomed formats cover tools: selection, use, and sharpening; 1.5 credits, 3 hours and/or combine electroforming with other lamination and joinery utilized for carving; Extends students’ basic color and drawing materials and processes. finishing techniques; materials, choice of woods; vocabulary into the realm of ancient techniques letter carving, design and content. Students will and tools of Indonesia, Japan, and Africa. Fabric provide their own carving tools. dyeing and resist methods covered include drawing and stamping with waxes, stitching and binding with threads, and more. Students acquire a broader sense of “mark-making,” an understanding of the special color properties of dyes, and an ability to use non-Western traditional craft methods to create contemporary art fabric.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 125 CR 287 CR 329 CR 371 A/B Low-Tech Furniture Advanced Textile Design Advanced Ceramics 3 credits, 6 hours 1.5 credits, 3 hours 3 credits, 6 hours Using materials gathered from nature, students Use of the computer in the study of woven textile Concentration on resolving conceptual and make chairs, tables, and other functional objects design. The course introduces fabric structures formal issues as they relate to individual with a minimum of technical and mechanical from simple, plain, and rib weaves, through exploration. Problems encourage uniqueness and procedures. Inspired by the design inherent in twills, satins, waffle weaves, double cloth, challenge abilities. Typical issues include usage natural materials, branches and twigs, found composite structures, and color effects. Students and symbolic function, production, and site- objects, and imaginative thinking, the class learn the language of cloth through the oriented applications, and medium to large-scale conceives and executes a series of projects, mostly incremental development of structures, first use of materials. All problems stress practical as with simple hand tools. The woodworking notating those structures by hand on point paper, well as aesthetic resourcefulness. Senior Crafts techniques demonstrated are simple and and then using various computer software majors taking this course may chose to spend all straightforward; even the most ten-thumbed, programs to develop a wide range of fabric or part of their time producing thesis work to tool-inept, and machine-wary students are structures. At least one structure is realized supplement the thesis component of Crafts welcome in this class. through weaving on a 32-harness hand-weaving Projects III. computer loom. Prerequisite: CR 212 B. CR 300 A/B Projects II CR 331 CR 380 A/B 3 credits, 6 hours Advanced Glass Blowing Advanced Jewelry/Metals Art making which deals with crafts issues and 1.5 credits, 3 hours 3 credits, 6 hours concepts. A continuation of Projects I, work Glass is considered as an expressive medium, and Built upon a basic grounding in jewelry concepts becomes increasingly student-determined as the development toward a personal style is and techniques. Lectures, technical dialogue becomes more subjective. As this course encouraged. Students work with hot glass in demonstrations, and conceptual projects vary is content-based, students use any/all crafts advanced offhand work, blowing into molds, from year to year so that those students retaking studios during class time and open studio hours. casting, and enameling, as well as advanced the course will not find it redundant. The goals of (Students have access to crafts studios where they stained glass work incorporating blown and cast the course are to increase the student’s awareness have completed or are currently taking a media- pieces on two- and three-dimensional stained and understanding of jewelry as a component of specific course.) Non-crafts majors taking this glass problems. our culture, aid the student in the development of course may also work in their accustomed media. Prerequisite: CR 231 B. a personal aesthetic, and develop the student’s Prerequisite: CR 200 B thinking and problem-solving abilities. More Corequisite: Enrollment in a studio course. CR 332 A/B experienced students are encouraged to focus on Advanced Fusing and Stained Glass one specialized area of the jewelry field. Senior CR 322 A/B 3 credits, 6 hours Crafts majors taking this course may chose to Advanced Fibers Mixed Media Glass is the vehicle for creative expression and spend all or part of their time producing thesis 3 credits, 6 hours aesthetic growth. During the first semester the work to supplement the thesis component of Through a series of developmental assignments students focus on developing a personal theme in Crafts Projects III. with a conceptual emphasis, and by using their work under close guidance of the instructor. Prerequisites: CR 241 B and/or CR 242. acquired knowledge from previous semesters, During the second semester the students create a students are encouraged to explore forms that consistent body of work and present it in a small CR 381 A/B reveal the inherent physical qualities and show, and trace the historical and contemporary Advanced Metals potential image-making possibilities of fabric. sources of inspiration of their work in a written or 3 credits, 6 hours Loom-woven and mixed-media fabric techniques oral paper. Built upon basic grounding in metalsmithing are used as appropriate, depending on the Prerequisites: CR 231 B and/or CR 232. skills. Technical demonstrations and conceptual student’s interest in the development of a diverse projects vary from year to year so that those range of two-dimensional constructions, CR 370 A/B students retaking the course will not find it sculptural forms, costume, etc. Advanced Throwing redundant. The goals of the course are to increase Prerequisites: CR 221 B, and/or CR 222. 3 credits, 6 hours the student’s awareness of metal’s possibilities, Concentration on resolving conceptual and increase the student’s metalworking skill, aid in formal issues as they relate to individual the development of a personal aesthetic, and exploration on the wheel. Problems encourage develop the student’s thinking and problem- uniqueness and challenge abilities. Typical issues solving abilities. Senior crafts majors taking this include usage and symbolic function, serial course may choose to spend all or part of their production, the table, site-oriented applications, time producing thesis work to supplement the and medium to large-scale use of materials. All thesis component of Crafts Projects III. problems stress practical as well as aesthetic Prerequisites: CR 241 B and/or CR 242. resourcefulness with clay on the wheel. Senior craft majors taking this course may choose to spend all or part of their time producing thesis work to supplement the thesis component of the Crafts Projects III. Prerequisite: CR 211 B.

126 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 CR 385 A/B MFA in Ceramics Advanced Furniture Dance 3 credits, 6 hours Each summer session will begin with a Continuation of CR 285 (Introduction to detailed review of the student’s previous DA 100 Furniture) involving more complex design Rhythm for Dancers projects, combinations of objects, and advanced work, assessing progress, addressing issues, and planning the summer’s work. 1 credit, 1.5 hours model making and finishing techniques. Provides an understanding and experience of Emphasis on imagination, inventiveness, and Ongoing individual meetings with the studio mentor will be augmented by rhythm that enables students to hear, feel, count, depth of content. Senior crafts majors taking this and notate rhythmic structures and enhance course may choose to spend all or part of their group critiques at the beginning, middle and end of the summer session and by sensibility and creativity. time producing thesis work to supplement the Required of all Dance majors. thesis component of Crafts Projects III. occasional group or individual critiques Prerequisites: CR 261 and CR 285. with visiting artists. Each summer’s course DA 101 A/B concludes with planning for work to be Ballet I, II CR 386 continued on an independent-study basis 2 credits, 6 hours Advanced Wood during the academic year. Independent Fundamentals of ballet technique including 3 credits, 6 hours studio work is assessed at weekend barre and center floor work. The course serves to Covers tools, joinery, methods, and materials. critiques held at periodic intervals and at introduce and develop basic ballet technique and Content progresses with increasing complexity, the end of the fall and spring semesters. vocabulary. Body placement and alignment are involving machining, hand tools, finishing, and stressed through an understanding and surface treatments. Senior crafts majors taking The following courses are open to students in the application of these basics. Continuous this course may choose to spend all or part of summer MFA program only. advancement and development is provided from their time producing thesis work to supplement beginning to advanced levels throughout this the thesis component of Crafts Projects III. CR 610 four-semester sequence (Ballet I-IV). Prerequisites: CR 261 and CR 285. Major Studio I Open to Dance majors only. 6 credits, 10 hours CR 400 A/B Evaluation of the student’s artistic involvement, DA 103 A/B Projects III projecting and testing options for the direction of Modern Dance I, II 3 credits, 6 hours the student’s graduate work. 2 credits, 4.5 hours The student selects a topic and produces a thesis Basic technique of modern dance for the body of work for the Crafts Senior Thesis CR 611 development of skills, intellectual understanding, Exhibition. Part of this course is Senior Seminar, Major Studio II kinetic perception, and maximum versatility. a forum for the discussion of ideas and issues 6 credits, 10 hours Includes barre work, center floor, isolation, falls through student participation, guest lectures, and Further exploration of options, with increased and recoveries, contractions and release. Part of a professional offerings. The modern craft aesthetic awareness of theoretical issues and personal two-year sequence (Modern Dance I-IV). is examined through critical dialogue. Emphasis vision. Greater focus in the student’s work, with a Open to Dance majors only. on the interdependency of all the arts, with an eye view to completing the repertoire of skills and to the unique contribution of crafts ideology and expression in the medium needed to undertake a DA 107 practice. Topical discussions encourage students thesis project. Eurythmics to find contemporary relevancy and validity in an 1 credit, 1.5 hours analysis of historical precedents. Other topics CR 710 A beginning course in dance theory and include: making an artist’s presentation, resume Major Studio III composition which explores the development of preparation, writing an artist’s statement, record- 6 credits, 10 hours rhythm perception through movement improvi- keeping and taxes, grant writing, and career Planning and initiation of a sustained body of sation. Students receive weekly movement opportunities. Particular attention is paid to the mature work to be presented in a thesis exhibition assignments directed toward specific rhythm and style and survival techniques of contemporaries during the following summer. dance problems. working in crafts media. Open to Dance majors only. Prerequisite: CR 300 B See complete course listing under Corequisite: Enrollment in a studio course. Master of Fine Arts. DA 109 Improvisation I IN 449 1 credit, 1.5 hours Crafts/Fine Arts Internship Comprises breathing and centering warm-ups, 3 credits, 6 hours isolation exercises, and technical improvisation Conditions for enrollment: Must be enrolled as a on movement qualities, including swinging, junior or senior in a BS or BFA program; must gliding, falling, rising, slow motion. Students have a 2.5 cumulative GPA; and cannot enroll for learn to develop choreographic ideas through more than 18 credits, including those earned group improvisational structures. A continuation from the Internship during that semester. of the creative work of DA 107. Open to Dance majors only.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 127 DA 111 DA 120 DA 201 A/B Spanish Dance Mat Class Ballet III, IV 1 credit, 1.5 hours 1 credit, 1.5 hours 2 credits, 4.5 hours Basic techniques of playing castanets for the Part of the Pilates-based method of exercise. The Continuation of DA 101 A/B. sevillanas, as well as development of mat class helps build strength while maintaining Prerequisite: DA 101 B. fundamental skills in footwork and handclaps flexibility. This system of exercises has been used Open to Dance majors only. for flamenco. for over 70 years by dancers, musicians, and athletes to help them enhance their performance. DA 203 A/B DA 113 A/B Modern Dance III, IV Jazz Dance I, II DA 121 2 credits, 4.5 hours 1 credit, 3 hours The Alexander Technique Continuation of DA 103 A/B. A presentation of styles designed to broaden 1 credit, 1.5 hours Open to Dance majors only. knowledge and technique of concert and theater A method for moving with ease and grace which jazz dance. Classes employ floor stretches and can be used in any situation (ballet, jazz, modern DA 205 A/B center barre as warm-up procedures. Movement dance, and also everyday activities). By releasing Notation I, II patterns emphasize simultaneous coordination of unnecessary tension in movement, the student 2 credits, 3 hours multiple rhythm patterns in different parts of the learns to avoid dance injuries or change harmful Notation I is an introduction to the Laban system body. Combinations advance from simple to habits so that chronic injuries can heal. of recording dance movement. The course deals complex throughout this four-semester sequence with the study of basic notation symbols for (Jazz Dance I-IV). DA 123 A/B reading and writing movements involving steps, Open to Dance majors only. Tap I, II arm and leg gestures, turns, and rhythmic and 1 credit, 1.5 hours spatial patterns. Notation II comprises DA 115 Basic vocabulary of tap, and development of intermediate study in reading and writing dance Mime rhythmically accurate footwork and phrases including torso, parts of the limbs, and 1 credit, 1.5 hours accompanying body movements. head. An exploration of the commedia dell’arte, Open to Dance majors only. Kabuki, and twentieth-century techniques DA 211 A/B developed by Decroux, Barrault, and Marceau. DA 124 Dance History I, II Emphasis is placed on animals as the primary African Dance 3 credits, 3 hours key to fundamental movement, as well as 1 credit, 1.5 hours The study of the interaction between dance and analysis of human movement, including The study of the contribution of black dance to the society in which it develops, emphasizing the elements of age, environment, body type, and the development of American dance through the changing role and nature of dance. Dance History facial features. mastery of the technique. I deals with dance from the Renaissance through Diaghilev’s Ballet Russe. Dance History II surveys DA 116 A/B DA 126 dance from pre-World War II to the present. Fundamentals of Dance I, II Dance Ethnology Discipline History 1 credit, 1.5 hours 1 credit, 1.5 hours Basic aesthetic considerations of the dance art A survey of the broad perspectives of dance as an DA 213 A/B form. The first semester examines the nature and expression of culture through investigation of Jazz Dance III, IV forms of dance and care of the body. The second Western and non-Western dance forms. 1 credit, 3 hours semester allows dance students the opportunity to Continuation of DA 113 A/B. work with their peers in the Freshman Project. DA 129 Open to Dance majors only. Open to Dance majors only. Nutrition 1 credit, 1 hour DA 216 DA 117 Nutrition and its application to food selection, Music for Dancers Survey of Music with special emphasis on the nutritional needs 1 credit, 1.5 hours 3 credits, 3 hours of the dancer. An exploration of various kinds of musical Surveys the history of music from ancient to materials and literature, from Gregorian chant to modern, including jazz. DA 130 New Music, relating the selection of music to the Discipline History Dance Therapy creation of dance composition. Improvisation Required of all Dance majors. 1 credit, 1.5 hours utilizing different sounds and instruments. An examination of the use of dance movements Prerequisite to Dance Composition (DA 217). DA 119 as therapeutic tools in working with the Open to Dance majors only. Yoga physically and mentally handicapped. 1 credit, 1.5 hours The study of a system of exercises to achieve DA 190 physical and spiritual well-being. Language of Music 1 credit, 1.5 hours The study of rhythm, melody and harmony, tempo, dynamics, and musical forms.

128 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 DA 217 DA 309 A/B DA 322 A/B Dance Composition I Partnering I, II Improvisation II, III 1 credit, 1.5 hours 1 credit, 1.5 hours 1 credit, 1.5 hours Integrates the improvisational skills acquired The basic technique of adagio (pas de deux). Individual improvisations are performed on earlier in Eurythmics, Improvisation, and Music Students perform major classical works. themes with objects in restricted or altered spaces for Dancers. Designed to provide the beginning Open to Ballet majors, and Dance majors with and times. Various structures are used for group choreographer with the tools needed to structure permission of the instructor. improvisation. Free improvisation with live music a dance composition in solo and duet forms. is stressed. Open to Dance majors only. DA 311 A/B Prerequisite: Junior status. Jazz V, VI DA 301 A/B 4 credits, 7.5 hours DA 323 A/B Ballet V-VI Continued development of technique and various Tap III, IV 1-4 credits, 7.5 hours styles as introduced in DA 113 and 213 A/B. The 1 credit, 1.5 hours Continuation of DA 201 A/B. course progresses from basic to complex rhythm The study and practice of the tap style of dance Prerequisite: Junior status. and isolation exercises, and movement from simple rhythmic footwork to more complex combinations stressing subtlety of dynamics, as multi-rhythms and repertory. DA 303 A/B well as preparation of repertory. Modern Dance V, VI Prerequisite: Junior status. DA 324 1-4 credits, 7.5 hours Character Dance Continuation of DA 203 A/B. DA 313 1 credit, 1.5 hours Prerequisite: Junior status. Elements of Performing Deals with the study of the relationship between 2 credits, 3 hours ethnic styles of dance and classical ballet, and the DA 305 A/B Analyzes the qualities of dance technique that proper technique for performing national dances Modern Repertory I, II serve the ultimate goal of performance as an stylized for the classical ballet repertory. 1 credit, 3 hours artist. Students work with the elements of the art Open to Ballet majors, and Dance majors with A study of contemporary and/or classical of dance performance and discover how inner permission of the instructor. repertory by resident or guest choreographers or focus, motivation, dynamics, muscle intensity, notators, as well as the viewing, discussion, and rhythmic timing, breathing and movement DA 325 A/B analysis of great works on video and film. texture are the essentials. Ballet for Non-majors V, VI Prerequisite: Junior status. Open to dance majors only. 1 credit, 1.5-3 hours Continuation of DA 201 A/B. For students DA 306 A/B DA 317 A/B majoring in Modern or Jazz/Theater Dance. Jazz Repertory I, II Dance Composition II, III Prerequisite: Junior status. 1 credit, 3 hours 2 credits, 3 hours A study of concert and theater jazz dance Continuation of DA 217. Problem solving and DA 326 A/B repertory by resident or guest choreographers or analysis of materials through individual projects. Modern Dance for Non-majors V, VI notators, as well as the viewing, discussion, and Special emphasis on group choreography. 1 credit, 1.5-3 hours analysis of great works in video and film. Prerequisite: Junior status. Continuation of DA 203 A/B. For students Prerequisite: Junior status. majoring in Ballet or Jazz/Theater Dance. DA 319 Prerequisite: Junior status. DA 307 A/B Theater Functions Ballet Repertory I, II 1 credit, 1.5 hours DA 327 A/B 1 credit, 1.5-3 hours A basic production course dealing with concepts Men’s Class I, II The study and performance of dances of the of lighting and set design for dance. Students are 1 credit, 1.5 hours Renaissance and Baroque periods, followed by required to gain practical experience by working The technical movements frequently performed major classical and modern ballets. in the theater on dance concerts during the year. by the male dancer. Prerequisite: Junior status. Open to Dance majors only. DA 321 A/B DA 308 A/B Pointe I, II DA 328 A/B Dance Pedagogy I, II 1 credit, 1.5 hours Jazz for Non-majors V, VI 2 credits, 3 hours Basic technique of dancing ballet on pointe. 1 credit, 1.5-3 hours An introduction to current philosophies and Women’s dance variations from the Designed for Ballet and Modern majors. The practices of teaching dance, and a historical classical repertoire. course further develops the vocabulary and skills survey of the role of dance in education. The Open to Dance majors only. learned in DA 213 A/B. second semester deals with identification and Prerequisite: Junior status. exploration of basic concepts of teaching dance, and application of these principles to the concrete development of lesson plans. Open to Dance majors only.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 129 DA 331 DA 408 B DA 419 A/B Concepts of Health and Fitness Dance Symposium II Dance Production I, II 2 credits, 3 hours 3 credits, 3 hours 2 credits, 3 hours A survey of the health/fitness industry, which Designed to complement the actual student Designed to assist senior students in meeting covers the following areas: personal training, teaching experience. Specific situations, their graduation performance requirement. aerobics and dance, wellness, and fitness problems, and achievements of the student Each student participates in the rehearsal, management. The course prepares students teaching process are discussed and evaluated. performance, and technical aspects of the to assume positions in this growing and Networking and employment opportunities are senior graduation concerts scheduled at the thriving field. integral to the course. end of each spring. Students are expected to Corequisite: DA 410. take major responsibility for the production of DA 341 A/B these programs. Pointe I, II DA 409 A/B Open to Dance majors with Senior status only. 1 credit, 1.5 hours Partnering Continues instruction on the use of the pointe 1 credit DA 421 A/B shoe in classical ballet. Pointe III, IV Corerequisite: A technique class and permission DA 410 1 credit, 1.5 hours of the instructor. Student Teaching Continuation of DA 341 A/B. 7 credits, 14 hours Prerequisite: DA 341 B. DA 345 A/B Students teach under supervised direction for one Voice I, II semester in a public or private school. If DA 422 1 credit, 1.5 hours placement for student teaching is not within a Styles of Jazz Vocal training for the non-Voice major. Designed school system, arrangements are made for the 1 credit, 1.5 hours to develop the vocal instrument to meet both the student to do this supervised teaching through An exploration of Jazz styles of historic and musical and nonmusical vocal requirements of local dance studios. contemporary Jazz dance artists. the theater. Corequisite: DA 408 B. Open to Dance majors only. Prerequisite: DA 408 A. DA 401 A/B DA 424 A/B Ballet VII, VIII DA 411 A/B Contact Improvisation 1-4 credits, 7.5 hours Jazz VII, VIII 1 credit, 1.5 hours Continuation of DA 301 A/B. 4 credits, 7.5 hours Students learn to develop choreographic ideas Prerequisite: Senior status Continuation of DA 311 A/B. through partnered improvisational structures. Prerequisite: Senior status Exploration of interactive movement qualities DA 403 A/B include gravity, leverage, and momentum. Modern Dance VII, VIII DA 417 Prerequisite: DA 109 Improvisation I 1-4 credits, 7.5 hours Dance Composition IV Continuation of DA 303 A/B. 2 credits, 3 hours DA 425 A/B Prerequisite: Senior status Continuation of DA 317. Senior elective course Ballet for Non-majors VII, VIII to assist students in preparation of their 1 credit, 1.5-3 hours DA 408 A senior concerts. Continuation of DA 325 A/B. For students Dance Symposium I Open to Dance majors with Senior status only. majoring in Modern or Jazz/Theater Dance. 3 credits, 3 hours Prerequisite: Senior status Designed specifically for dance education majors DA 418 who will be completing their student teaching Repertory Etudes DA 426 A/B requirement in the following semester. The course 2 credits, 3 hours Modern Dance for Non-majors VII, VIII includes curriculum and instruction materials, Students study a number of Repertory Etudes in a 1 credit, 1.5-3 hours professional preparation, and evaluation criteria. variety of styles to improve performance and Continuation of DA 326 A/B. For students Discussions center around the application of technical skills. The solos selected will reflect the majoring in Ballet or Jazz/Theater Dance. dance principles to the learning situation. The history of American dance. Students will research Prerequisite: Senior status role of the dance teacher is examined. the era and, if possible, collect oral histories, Prerequisite: Senior status thereby adding to the materials continually being DA 427 A/B gathered and developed. Men’s Class III, IV 1 credit, 1.5 hours Continuation of DA 327 A/B

DA 428 A/B Jazz for Non-majors VII, VIII 1 credit, 1.5-3 hours Continuation of DA 328 A/B. For students majoring in Ballet and Modern Dance. Prerequisite: Senior status

130 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 DA 430 Dance Courses for Dance DA 223 X Survey of the Business of Dance Advanced/Beginner Tap 2 credits, 2 hours and Non-Dance Majors 1 credit, 1.5 hours Emphasizing the development of tools and skills necessary for realizing individual professional DA 101 X DA 301 X goals, vehicles and processes for change in the Beginning Ballet Intermediate Ballet various fields of dance within our society. 1 credit, 1.5 hours 1 credit, 1.5 hours Develops an awareness of managing life and work A fundamental ballet technique course for non- as a professional in dance. Topics include basic dance majors. DA 401 X business principles as well as career self- Advanced Ballet management and an overview of career opportu- DA 103 X 1 credit, 1.5 hours nities. Guest speakers will include faculty and Beginning Modern Dance staff from within the University as well as experts 1 credit, 1.5 hours from the field. A fundamental modern dance technique course for non-dance majors. DA 445 A/B Voice III, IV DA 104 X 1 credit, 1.5 hours Beginning Brazilian Dance Continuation of DA 345 A/B. 1 credit, 1.5 hours Prerequisite: DA 345 A and 345 B DA 111 X DA 77- Beginning Spanish Dance Dance Ensembles/Labs 1 credit, 1.5 hours 1 credit, 3 hours DA 113 X DA 771 Beginning Jazz Dance Ballet Ensemble 1 credit, 1.5 hours 1 credit, 3 hours A fundamental jazz dance technique course for non-dance majors. DA 773 Modern Ensemble DA 114 X 1 credit, 3 hours Karate Elective 1 credit, 1.5 hours DA 774 Jazz Ensemble DA 123 X 1 credit, 3 hours Beginning Tap Dance 1 credit, 1.5 hours DA 775 A fundamental tap technique course for non- Senior Ensemble dance majors. 1 credit, 3 hours DA 201 X DA 776 Advanced/Beginner Ballet Tap Ensemble 1 credit, 1.5 hours 1 credit, 3 hours A continuation of DA 101 X. DA 203 X Advanced/Beginner Modern 1 credit, 1.5 hours A continuation of DA 103 X.

DA 204 X Advanced/Beginner Brazilian 1 credit, 1.5 hours

DA 211 X Intermediate Spanish Dance 1 credit, 1.5 hours

DA 213 X Advanced/Beginner Brazilian 1 credit, 1.5 hours

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 131 EM 203 Electronic Media Digital Interactive Techniques Fine Arts 1.5 credits, 3 hours EM 110 Addresses the development of computer skills in Fine Arts courses are open to non-Fine Arts Computer Concepts digital time-based software and cyberspace majors on an elective basis as space and 3 credits, 3 hours software. Special attention is given to interactivity experience permits. A conceptual and hands-on course that and theories of informational architecture. introduces the student to the foundations of Technical expertise and efficient working FA 205 digital processes in the arts. Experience with word methodologies are applied to problems Concepts/Works on Paper processing, basic spreadsheet usage, database in both individual and group projects. All 3 credits, 6 hours search techniques, digital photography, scanning, software is standard in current graphic design Offers an opportunity for idea development, image processing, compositing, and basic page industry practice. visual perception, and the organization of layout techniques. Includes an introduction to Prerequisite: EM 202 or permission of the instructor experience into compositions. Primary emphasis online services, Dialog and the World Wide Web, by portfolio and interview. is on developing visual expression, skill in using along with a basic understanding of HTML. various materials, and growth of critical Software usage includes Microsoft Word, Excel, EM 210 evaluative abilities through group discussions QuarkXpress, Adobe PhotoShop, and Digital Multimedia and critiques. Contour drawing, collage, Xerox Illustrator. Students are given assignments in 3 credits, 3 hours transfer, book arts, and other experimental each of the software environments as well as The elements of digital multimedia production drawing and printing techniques are explored. supplemental readings. techniques used to create Internet Websites and Students are encouraged to combine media. No prior computer experience is required. interactive programs. Hands on production experience as well as a perspective on FA 222 A/B EM 201 developments in this rapidly growing field Drawing: Form and Space Electronic Media/Production I through readings and lectures. The first half of 3 credits, 6 hours 1.5 credits, 3 hours the semester is dedicated to learning the basics of An introduction to the issues of drawing, Addresses the development of foundation Macromedia Director and sound manipulation including perception, analysis, invention, and computer skills in image scanning technology, software utilized to create interactive projects that experimentation. A variety of thematic ideas, desktop publishing, digital photographic combine images, sound, and animation. structural possibilities, and imaginative interpre- technologies, and basic output procedures. The balance of the semester is dedicated tations are explored. Students are exposed to a Technical expertise and efficient working to the creation of a web site using wide spectrum of precedents in the history of methodologies are applied to problems which are Macromedia Dreamweaver. Emphasis is drawing and are encouraged to enlarge their brought into the class from other design courses on clear communication and the creation of working definitions of how form and space can be as well as from both individual and group intuitive interactive interfaces. effectively expressed. assigned projects. All software is standard in Prerequisite: EM 110 or equivalent introductory current graphic design industry practice. course that includes experience with the Macintosh FA 223 Prerequisites: Second-semester Sophomore status in operating system and a working knowledge of Introduction to Figure Modeling the Graphic Design department. PhotoShop, or permission of the instructor. 3 credits, 6 hours Modeling from life for the beginner, stressing EM 202 EM 221 direct observation, eye-hand coordination, and Electronic Media/Production II Virtual Sculpture depth discrimination. Both perceptual and 1.5 credits, 3 hours 3 credits, 3 hours conceptual skills are developed and fundamental An extension of EM 201. Addresses the Students will create physical models made of studio practices are taught, such as armature development of advanced computer skills in Styrofoam, wax, or clay, and create virtual construction, clay utilization, and modeling image scanning, technology, desktop publishing, versions of the same models. Working back and techniques. Works are fired in clay or cast in pre-press production, color, output technology, forth between the real and the virtual, students plaster. and digital photographic technologies. Special will gain an understanding of the differences and attention is given to comparative study of output similarities of the ideas generated by each FA 330 technologies and the translation of the on-screen working style. Computer-generated images will be Drawing: Site-Specific Projects image to offset lithography. Technical expertise combined with photographs of physical 3 credits, 6 hours and efficient working methodologies are applied maquettes and real environments. Final products Focus on the production of drawings and to problems which are brought into the class will be digital files and 2D prints or slides suitable models of site-specific projects. Issues related to from other design courses as well as from both for commission proposals, presentations, and public art, environmental art, public and private individual and group assigned projects. All artist’s portfolios. realms, materiality, site selection and site software is standard in current graphic design Prerequisite: EM 110 or equivalent introductory specificity are explored. industry practice. course that includes a working knowledge of Adobe Prerequisite: EM 201 or permission of the instructor PhotoShop, or permission of instructor. by portfolio review and interview.

132 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 FA 333 A MFA in Ceramics, Painting, FA 691, FA 692 Attitudes and Strategies Independent Studio I, II in 3 credits, 6 hours or Sculpture Ceramics, Painting, or Sculpture A studio-criticism course jointly coordinated by (Winter/Summer Critique) the three Fine Arts areas, which presents issues FA 610 3 credits per semester, 5 hours that crossover the unique domains of the sculptor, Studio Topics The Independent Studio is intended to assist the printmaker, and the painter. Fine Arts students 3 credits, 5 hours repeatable students in establishing independent production from all three majors work on projects designed Brings together students from each of the major in their major discipline while acquiring the to increase their awareness of the attitudes and disciplines to explore studio issues common to all ability to integrate studio production with the strategies embodied in artworks. Concepts such as visual arts. demands of off-campus life. At the conclusion of idealism, naturalism, and expressionism are Open only to SUMFA students. Summer I and, subsequently, Winter Critique I, explored in light of their implication for form- the student and faculty mentor agree on a plan of making methods and principles. Lectures, studio FA 611 work to be pursued during the off-campus projects, and group critiques create a forum for Graduate Drawing semester which will be a continuation of work advanced study of the purposes and contexts of 3 credits, 5 hours begun in the previous semester. The students are the Fine Arts. An advanced studio focused on developing and required to propose a direction for their investi- expanding students’ visual language and skills gations and have access to off-campus studio FA 424 while challenging their conceptual approach to space within which to carry out the proposal. Drawing References drawing by examining and applying the use of Enrollment in the Independent Studio requires a 3 credits, 6 hours materials and methods having historic and commitment of 150 hours, equivalent to 10 hours Advanced drawing projects focusing on the cultural origins. of studio activity per week during the 15-week off- relation between a given work and its references Open to all CAD graduate students upon campus semester. The studio mentor meets with and resources. Emphasis is on understanding the portfolio approval. the student five times during the semester at nature of references or resource material and the three-week intervals, reviewing the student’s manner in which references or resources FA 612 progress for a 1-2 hour session. The first meeting influence the outcome of a work. This Professional Practices is a group meeting held on campus and the next studio/critique course aims at enhancing 3 credits, 5 hours three are held as individual critiques at the students’ ability to connect their personal and Designed to familiarize students with methods, student’s studio. One meeting may take place at subjective interests to the larger context of nature, practices, and professional standards in the mentor’s studio. The last meeting is the final history, and culture. preparation for the thesis exhibition and eventual critique of the semester, which takes place at the Prerequisite: PT 334, PR 333, or SC 333. entry into the visual arts professions. Winter Critique held at the University. Prerequisite: FA 611 Open to SUMFA students only. FA 460 Senior Fine Arts Seminar FA 695, FA 696 1.5 credits, 3 hours Independent Writing Project I, II The artist’s role in historic and contemporary 1.5 credits, 3 hours contexts. Issues surrounding the various purposes The Independent Writing Project is a corequisite of art and how culture deals with artists are of the Independent Studio I and II, and is explored through discussion with visiting artists, intended to inform the student’s on-going alumni, and faculty. Students work toward the Independent Studio investigations undertaken acquisition of a professional profile in resumé, during the fall and spring off-campus semesters. artist statement, and slide preparation. Discussion The student proposes an area of research intended of gallery practices and portfolio presentations as a continued examination of topics introduced cultivate an awareness of professionalism and during the previous summer seminars, Structure career opportunities in the fields of painting, and Metaphor or Art and Society. The student is printmaking, and sculpture. encouraged to explore through writing the range Prerequisite: Completion of Junior Studio of issues emanating from seminar reading and coursework. discussion and the relationship of these external influences to the development of themes and IN 449 directions being explored in the studio work. Fine Arts/Crafts Internship Open to SUMFA students only. 3 credits, 6 hours Opportunities to apprentice to practicing artists, gain gallery experience, and work with nonprofit organizations which lead to practical experience and knowledge about the field. Graded Pass/Fail. Open to Juniors, Seniors, Fine Arts and Crafts students.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 133 FA 781, FA 782 FA 795 Thesis Writing Project I, II Thesis Exhibition Foundation 1.5 credits, 3 hours 6 credits, 10 hours The Thesis Writing Project is a corequisite of The MFA degree certifies that the artist has FP 100 A Thesis Preparation I and II, and takes place attained a high level of competence and Drawing during the fall and spring off-campus semesters. independent judgment in the discipline and is 3 credits, 6 hours Research for the Thesis Writing Project is qualified to stand with his/her mentors as a Drawing is approached as a process by which the intended to inform the student’s second-year master artist. The thesis exhibition and student examines and investigates the visual independent studio activity which focuses on accompanying written thesis are intended to serve world. Line, mark, and shape are among the identifying and developing potential directions as a demonstration of this mastery. During the drawing elements emphasized in the first for the thesis exhibition and written thesis. The final semester, criticism-based research is semester. With these tools, students examine the student is expected to consider issues raised undertaken as a continuation of the summer form and structure of various subjects while they during the previous summer’s seminar that are seminar in Criticism and is intended to assist the improve their manual skills, strengthen their particularly relevant to the more focused MFA candidate in completing the written vision, and begin to define their drawing direction of their studio work. The student component of the thesis requirements. vocabulary. Graphite and charcoal pencils and a independently formulates a proposal and Prerequisite: FA 794 range of appropriate papers are the most bibliography for a formal paper to be based frequently used materials. Historical precedents upon the more developed direction of their are discussed, master works analyzed, and work. The range of issues considered for relevant practical information-including the further investigation may include aesthetic, elements of spatial representation-is assimilated conceptual, technical, or visual culture issues into the flow of class assignments. Focus is on the as well as the relationship of the major work to challenges and rewards of developing perceptual other disciplines. skills. Prerequisites: FA 692, FA 781 Prerequisite: Acceptance to CAD by portfolio review.

FA 793 FP 100 B Thesis Preparation I Drawing 3 credits, 5 hours 3 credits, 6 hours Following the successful completion of Summer Building on the sensibilities, skills, and II and the MFA Candidacy Review, the student is information of FP 100 A, students refine their declared a degree candidate and may begin perceptual abilities, utilize new media such as independently producing a body of work intended charcoal and inks and develop additional for eventual presentation in the thesis exhibition drawing strategies. Students undertake the following completion of Summer III. In consul- analysis of complex natural objects, sculpt tation with the studio mentor, the student submits volume with line and tone, encounter the Thesis Preparation Plan I, identifying and challenge of drawing the human figure, and describing a direction of investigation to be meet other situations, which demand the assimi- undertaken during the fall semester. The student lation of new information and the application of is expected to identify specific issues to be advanced skills. Controlling proportion, building addressed: intended focus of the work, consider- volume, engaging the illusion of space, while at ations of technique, materials, scale, location, the same time developing the desired quality of etc. The student must propose a personal light and illumination are the descriptive goals of timetable for accomplishing the thesis and the semester. Faculty bring skills, projects, and identify the sources that will be used in information developed in the two- and three- preparation for the exhibition. Enrollment in dimensional design classes into the service of Thesis Preparation I and II requires a drawing. commitment of 150 hours, equivalent to 10 hours Prerequisite: FP 100 A. of studio activity per week during the 15-week off- campus semester. Prerequisite: FA 692

FA 794 Thesis Preparation II 3 credits, 5 hours In consultation with the studio mentor, thesis candidates propose further development of directions begun in studio work the previous semester by submitting Thesis Preparation Plan II for the spring semester to the mentor. Prerequisite: FA 793

134 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 FP 120 A FP 190 A Two-Dimensional Design Three-Dimensional Design Graphic Design 3 credits, 6 hours 3 credits, 6 hours A focused introduction to the two-dimensional Introduction to concepts of mass, volume, space, GD 105 plane and its elements. The first semester defines the properties of materials, and the unique visual Freshman Graphic Design Projects the terminology and sharpens the ability to qualities of three-dimensional form. The 1.5 credits, 3 hours discern and use the visual elements of point, line, introduction of three-dimensional ideas and An elective course introducing the Foundation shape, and pattern. These fundamental elements related terminology is combined with the student to the profession of graphic design and its are studied as independent units and brought instruction in the use of materials such as paper, working processes. The classwork begins with together, supporting and animating one another, wood, plaster, and clay and the operation of hand directed formal studies and leads to an in a variety of formats. Skills in the use of black and power tools. Students develop the practical introductory communication project. Emphasis and white media such as inks, plaka, and acrylic experiences needed to make objects, which on the craftsmanship and working methods of the pigments and equipment including technical counteract and respond to forces and answer student as well as the breadth and depth of the pens, brushes, and drafting tools are developed in visual requirements. As the semester progresses, student’s individual investigative process. Studio the first semester. The visual forces discovered challenges of assembly, scale, and visual lecture/demonstrations focusing upon profes- during efforts to combine these elements and complexity increase. Inventive processes, form sional case studies and field trips. materials define the more complex subject of the generation, and construction are undertaken as class. properties of materials, join with visual goals to GD 210 Prerequisite: Acceptance to CAD by portfolio review. develop new forms. Most importantly, students Letterform Design understand that they have access to a new 3 credits, 6 hours FP 120 B language as they learn to see, think, and plan The analysis and development of letterforms. The Two-Dimensional Design three-dimensionally. norms of weight, proportion, character width, 3 credits, 6 hours Prerequisite: Acceptance to CAD by portfolio review. and alphabetic relationships are developed Builds on the projects and skills established in FP perceptually, by hand. This course stresses the 120 A. The majority of FP 120 B is devoted to the FP 190 B inherent optical relationships that exist in the introduction and extended study of color. The Three-Dimensional Design construction of typefaces derived from the Latin major works of the semester are based in the use 3 credits, 6 hours alphabet. of acrylic paints and require skills of mixing and Building on the skills, language, and sensibilities Prerequisite: Completion of the Foundation application. Other color mediums such as of FP 190 A, the second semester undertakes more program, or permission of the instructor by collage, pastels, watercolors, and oil sticks are complex projects. Some projects involve the portfolio review and interview. also explored. Color theories are discussed, combining of several materials and require the projects requiring tinting, shading, and toning assembly of multiple parts. The semester builds in GD 211 A clarify these basic concepts and master works of complexity exploring the challenges of scale and Descriptive Drawing color are studied. Ideas developed in the class are engaging time and movement as part of their 3 credits, 6 hours shared with other Foundation courses and skills conception. Included is the introduction of A freehand drawing course based upon from three-dimensional and drawing classes are environmental works, setting in place new observation and analysis of the underlying imported to support current two-dimensional principles of three-dimensional organization, structure and form of man-made and natural projects. Representational and nonrepresenta- researching the order of nature and taking up the objects. Logical representation and problem tional form is developed as students integrate past challenge of representation in three dimensions. solving are emphasized. A visual vocabulary of experience, refine their skills of observation, Faculty relate works and share principles with line, shape, value, texture, and spatial organi- expand the study of visual forces, and explore either the two-dimensional or drawing classes zation is addressed to develop drawing as a more complex principles of organization. and attempt to harvest skills and sensibilities methodology for research and invention. Prerequisite: FP 120 A. developed in those classes into the service projects Prerequisite: FP 100 B, or permission of the in Three-Dimensional Design. instructor by portfolio review. FP 140 Prerequisite: FP 190 A. Time and Motion GD 211 B 3 credits, 6 hours Descriptive Drawing An introduction to the fundamental principles of 3 credits, 6 hours time-based art: sequence, movement, timing, A continuation of GD 211 A. A freehand analytical motion design, principles of animation, drawing course that addresses organic form and perception, and concepts of narrative. Students objects from nature. Drawing skills are developed work in a variety of media using manual, to sketch and research visual concepts, as well as computer, video, and body-based approaches. to use the medium for the invention of original Prerequisites: FP 100 A, FP 120 A, FP 190 A. images in upper-level courses.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 135 GD 212 GD 306 B GD 311 A Typography Fundamentals Typography Emphasis Communications Studio 3 credits, 6 hours 3 credits, 6 hours 3 credits, 6 hours The course addresses the basic formal language An extension and continuation of GD 306 A. The Developing an understanding of visual of typography and the application of typographic typographic principles of the grid, text relationships and how to use them to create principles to frame basic communication typography, text hierarchies, image integration, visual impact and clarity while solving messages. Typographic investigations are all within the context of a multi-page format. communications problems. Invention, intuition, achieved by both manual and digital means. Students must have working knowledge of and discovery are combined with logical thought Prerequisites: GD 210 and enrollment in EM 201, QuarkXpress and basic Macintosh operation or be and thorough preliminary research. Special or permission of instructor by portfolio review and concurrently enrolled in EM 203. Working attention is given to refining the student’s interview. knowledge of Adobe Illustrator and Adobe perceptual abilities, hand skills, and the PhotoShop is preferred. integration of various media. Use of both GD 213 A Prerequisites: EM 202, GD 306 A, or permission of traditional and computer technologies. Design Systems the instructor by portfolio review and interview. Prerequisites: EM 201 and Junior status in the 3 credits, 6 hours Graphic Design department, or by permission of the An intensive laboratory where the formal aspects GD 310 A instructor by portfolio review and interview. of composition, organic and geometric form, Photographics I Students must have working knowledge of Adobe color, symbolic drawing, craftsmanship, and 3 credits, 6 hours Illustrator, basic image scanning, and basic processes of conceptualizing are investigated. Develops a designer’s methodology and viewpoint Macintosh operation or be concurrently enrolled in Assignments are founded on directed goals and to achieve both structure and meaning in EM 202. playful investigation to train the student in photography, and as a way to extend the range of areas of selection, self-criticism, set theory, how objects and nature can be seen and GD 311 B and visual logic. translated using photographic processes. The Communications Studio Prerequisite: Completion of the Foundation course explores darkroom techniques, controlled 3 credits, 6 hours program, or permission of the instructor by portfolio lighting, and studio setups. Students use both A continuation of GD 311 A, concentrating on the review and interview. traditional photography and digital software to development of color, sensitivity, and perceptual create hybrid, photographic images. Extensive abilities within a communications context. A GD 213 B studio and darkroom work is required. working process that develops invention through Design Systems Prerequisites: PF 211 A and Junior status in the logical thought and intuition is applied to 3 credits, 6 hours Graphic Design department, or permission of the communication problems. Use of both traditional A continuation of GD 213 A. Further investigation instructor by portfolio review and interview. and computer technologies. of the visual language of design, culminating in Prerequisites: EM 202 and GD 311 A. Students must a basic communication problem. GD 310 B have working knowledge of Adobe Illustrator, basic Prerequisite: GD 213 A. Photographics II image scanning, and basic Macintosh operation or 3 credits, 6 hours be concurrently enrolled in EM 203. GD 306 A An upper-level elective studio in photography. Typography Emphasis Students undertake self-initiated projects GD 313 3 credits, 6 hours to explore various applications of the constructed Color and Image Concepts This course investigates and defines advanced photograph. The designer’s perspective and 3 credits, 6 hours principles of typography in a communication working process are used to focus the communi- Addresses color and images concepts developed context. Directed research based upon cation aspects of the imagery. Past topics have deductively from nature and inductively typographic norms addresses the issues of included medium- and large-format cameras, thorough experimental, perceptual analysis. A informational hierarchies achievable through advanced studio lighting, and advanced printing communication problem in which color is the visual form and structure as well as the and darkroom techniques. Extensive studio and prominent vehicle is solved in a thorough editorial and expressive potentials of darkroom work. Traditional and digital media research process. Diverse media are explored. typography. Coursework uses traditional and can be explored. Applications may use two-and three- digital technologies. dimensional formats. Students must have working knowledge of Prerequisite: Junior status in the Graphic Design QuarkXpress and basic Macintosh operation or be department, or permission of the instructor by concurrently enrolled in EM 202. Working portfolio review and interview. knowledge of Adobe Illustrator is preferred. Prerequisites: EM 201 and Junior status in the Graphic Design department, or permission of the instructor by portfolio review and interview.

136 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 GD 316 A GD 411 A GD 426 01 Drawing Applications I Design Studio Advanced Typography 3 credits, 6 hours 3 credits, 6 hours 3 credits, 6 hours The use of drawing as both an expressive and an A wide-ranging exploration of the connections This elective course addresses typography as both informational vehicle to solve communication between image and text, and symbolic and the primary vehicle to communicate information problems. Formal issues of composition, narrative imagery, supported by studies in and as a support to images. Assignments range selection, and color as well as the conceptual semiotics, information theory, and research from informational design, to expressive, issues of narrative, sequence, and representation methodology. Both traditional and computer content-based problems, to intuitive investi- are focused towards the communication of ideas, technologies within a thorough research process gations and formal experiments. Problems may emotions, and information. are included. Preliminary research and definition incorporate both static and moving formats, both Prerequisite: GD 211 B, or permission of the of a self-generated degree project is undertaken by print and non-print environments. Although instructor by portfolio review and interview. Graphic Design majors in this course. traditional methods of conceptualizing are used Prerequisite: Senior status in the Graphic Design within a thorough visual process, extensive GD 316 B department, or by permission of the instructor by computer work is involved. Drawing Applications II portfolio review and interview. Students should have Prerequisite: Senior status in the Graphic Design 3 credits, 6 hours expertise in QuarkXpress or Aldus PageMaker, Adobe department, or permission of the instructor by An upper-level elective drawing course in which Illustrator or Aldus Freehand, and Adobe PhotoShop. portfolio review and interview. Students should have students initiate individual projects which use expertise in QuarkXpress or Aldus PageMaker, Adobe drawing as the primary medium to solve GD 411 B Illustrator or Aldus Freehand, and Adobe PhotoShop. communications problems. Various media, Design Studio: Senior Degree Project Experience in Macromedia Director is desirable. mixed media, and hybrid images are explored in 3 credits, 6 hours a thorough research-oriented design process. A self-generated degree project is developed GD 426 02 Connection between formal issues and communi- involving research, proposals, complete design Advanced Typography cation effectiveness is stressed. formulation, and final presentation. Topics are 3 credits, 6 hours Prerequisite: GD 316 A, or permission of the reviewed by a panel of faculty in Graphic Design, Focuses on the design of the human experience instructor by portfolio review and interview. with projects reviewed by an outside critic midway with technology. As Designers, our processes and through the preliminary stages of development. principals for shaping 2D and 3D information GD 322 This course uses both traditional and computer and artifacts have improved our physical Three-Dimensional Graphic Design technologies within a thorough research process. environment and the ways we communicate. 3 credits, 6 hours Prerequisites: GD 411 A and GD 412 A. Students Explores how these practices apply to the design Explores the design of messages in spatial should have expertise in QuarkXpress or Aldus of the digital artifact and the man-machine environments. Investigation of the relationship PageMaker, Adobe Illustrator or Aldus Freehand, interface. between the communication of messages within and Adobe PhotoShop. Experience in Macromedia Prerequisite: Senior status in the Graphic Design the context of scale, surface texture, light Director is desirable. Department, or permission of the instructor by modulation, and their application to three- portfolio review and interview. Students should have dimensional form, combine both experimental GD 412 A/B expertise in QuarkXpress, Illustrator, PhotoShop, and and practical criteria. Although traditional Problem Solving Macromedia Director. methods of conceptualizing are used within a 3 credits, 6 hours thorough visual process, extensive computer work Develops approaches to solving communications is involved. problems of broad scope and increasingly Prerequisite: Junior status in the Graphic Design practical application across varied media formats. department, or permission of the instructor by Students work within technical and time portfolio review and interview. Students should have constraints. The course uses both traditional and expertise in QuarkXpress or Aldus PageMaker, Adobe computer technologies within a thorough Illustrator or Aldus Freehand, and Adobe PhotoShop. research process. Prerequisite: Senior status in the Graphic Design GD 326 program, or permission of the instructor by portfolio Single Image review and interview. Expertise in QuarkXpress or 3 credits, 6 hours Aldus PageMaker, Adobe Illustrator or Aldus Free The design of a complete publicity unit as Freehand, Adobe PhotoShop, and Macromedia exemplified in a poster. Director. is necessary. Prerequisite: Junior status in the Graphic Design department, or permission of the instructor by portfolio review and interview.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 137 Graduate Seminars HU 110 A/B Liberal Arts First Year Writing I GR 691 3 credits, 3 hours University Seminar: HU 008 A/B A year-long writing course, the theme of which is Structure and Metaphor English as a Second Language I, II “Artists as Writers.” Covers the various kinds of 3 credits, 3 hours 3 credits, 3 hours writing that artists may be expected to produce, An interdisciplinary seminar in which students Prepares students for whom English is a second ranging from informal generative writing to from all graduate programs examine theoretical language to produce the kinds of writing expected formal critical analysis and from presentational issues of structure and metaphor in relation to art of them on the college level, and to improve their writing to research. The student will write about and design. Topics include cognition and reading and critical thinking skills. This is a two- the arts (including the student’s own work), the perception, meaning and representation, and semester requirement. HU 008 A provides a review artist, and the artmaking process. The first systems of organization and expression. of English grammar, sentence structure, and semester focuses on the artist and artmaking, (May be taken to satisfy Aesthetics and Art Criticism paragraph development. It focuses primarily on and the second semester on the various arts- corequisites for the MAT program.) the development of fluency in writing and visual arts, dance, music, theater, multimedia Graduate students only. reading. The second semester focuses on the and literature-regarded from various different kinds of prose techniques and on cultural perspectives. GR 692 responding in writing to readings and to the work Required for all UArts undergraduates. University Seminar: of other students. A workshop format engages Common Core Art and Design in Society students in collaborative learning activities. 3 credits, 3 hours Weekly proctored writing sessions with a HU 130 A/B An interdisciplinary seminar in which students minimum of ten essays per semester and tutoring French I from all graduate programs examine theoretical sessions are mandatory. Credits for HU 008 A or B 3 credits, 3 hours issues relating to the place of art and design in do not count toward graduation. On rare Study of the basic elements of French grammar society. Topics include the social role of the occasions, students may be exempted from HU through conversation and drills derived from artist/designer, public policy and the arts, issues 008 B by the instructor. HU 008 A and B are readings of easy modern prose and from a of post-modernism, and aesthetic and ethical graded on a pass/fail basis. A student cultural reader. implications of emerging arts and communi- who successfully completes the sequence Humanities cations technologies. enters HU 110 A. (May be taken to satisfy Sociology/Anthropology HU 131 A/B corequisites for the MAT program.) HU 009 and HU 109 B German I Graduate students only. First Year Writing 3 credits, 3 hours 3 credits, 3 hours A one-year course of basic grammar. The aim of GR 791 Designed to help students improve reading, the course is to develop the reading, writing, and University Seminar: Art Criticism writing and study skills. The emphasis is on speaking skills of the first-year German student. 3 credits, 3 hours technical aspects of writing, including grammar, Humanities An interdisciplinary seminar in which punctuation, word usage, and paragraph advanced graduate students further examine construction, along with reading comprehension, HU 132 A/B the nature of image-making and design with vocabulary and sentence structure. Grades in Italian I particular attention to the theories and HU009 are on a pass/fail basis only. 3 credits, 3 hours applications of criticism. HU009 credits do not count toward degree This course covers basic grammar and conver- Prerequisite: GR 692. requirements. sation about everyday Italian life and culture and HU 109B substitutes for HU110A. Students basic grammar through reading of Italian prose. Graduate students may register for upper-level successfully completing HU109B will take HU110B Humanities undergraduate liberal arts courses (with the following semester. permission of the graduate director and director HU 140 A of liberal arts) for graduate credit. Graduate HU 103 A/B Art History Survey I students will be expected to contribute at a higher Introduction to Modernism 3 credits, 3 hours level in the classroom and will have additional 3 credits, 3 hours A survey of Western visual arts (including assignments (readings, papers, etc.) in order to A multi-arts viewpoint that explores the historical architecture) from the earliest extant examples be granted graduate credit. Students are advised and cultural inheritance of the West over the last (cave paintings) to the Renaissance. The focus to select an area of study that broadens or two centuries. The first semester concentrates on will be on ancient Greece and Rome and intensifies their background in the arts, the period 1776-1914 and examines the complex medieval Europe. The arts will be presented in education, and related disciplines. Often this movements known as romanticism and realism; cultural and historical context. work contributes directly to preparation of the the second semester covers the next half-century Discipline History graduate project proposal. of high modernism and its consequences. Required of all UArts undergraduates. Common Core

138 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 HU 140 B HU 210 A HU 216 Art History Survey II 19th Century American Writers The Short Story 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours A continuation, from the Renaissance onward to The major ideas and trends in nineteenth-century A study of the short story from Poe to the present. the present day, of the survey of Western visual American literature, including works by Poe, Samplings from the British, the American, and arts begun in HU 140 A. Major styles and periods: Hawthorne, Melville, Dickinson, and James. the European, with particular attention to the baroque, romanticism, realism, modernism. Literature major authors who reinvented the genre. At the The arts are presented in cultural and end of the semester, students look at historical context. HU 210 B developments in contemporary fiction: the anti- Discipline History 20th Century American Writers story, the new wave, the surreal, the minimal, the 3 credits, 3 hours funny, the mythic. HU 162 Twentieth-century American writers including Literature Individual and Society works by Wharton, Lewis, Hemingway, Fitzgerald, 3 credits, 3 hours and Steinbeck. HU 217 Examines the concepts of “individual” and Literature African-American Literature “society” and how they are related under modern 3 credits, 3 hours social conditions. It treats society and social HU 211 Examines the role of the African-American writer institutions as fundamental realities and Women Writers in American society through the writings of such considers the ways in which social forces affect 3 credits, 3 hours writers as Langston Hughes, Richard Wright, individual personality and identity. It provides an An examination of literature written by women Ralph Ellison, James Baldwin, Toni Morrison, introduction to the perspective of sociology as for its uniqueness and, equally important, for its Imamu Baraka, and Gwendolyn Brooks, who distinct from that of psychology. Topics include significance in the mainstream of literature. The have made a major contribution to American socialization, social solidarity, morality, authority, course begins with such writers as Jane Austen, literature and culture. deviance, individualism, and freedom. Emily Bronte, and Virginia Woolf, and concludes Literature Social Science with contemporary writers. Literature HU 218 HU 181 A Superheroes: From Beowulf to Spiderman Child and Adolescent Psychology HU 212 3 credits, 3 hours 3 credits, 3 hours Introduction to Mythology Examines the most important heroes of popular This course focuses upon Erikson’s psychosocial 3 credits, 3 hours culture in the Middle Ages-Beowulf, Roland, stages of life from birth to adolescence. Major Begins by defining mythmaking (a creative Siegfried, and King Arthur. What do these heroes topics include pregnancy, the birth process, and process essential to all societies, past and present) and the epics in which they appear reveal about the physical, intellectual, emotional, and social and by analyzing the different approaches to their culture? How do they compare to modern development of the child. Family life and parent- myth. It moves on to examine creation myths popular superheroes? child relationships are also examined, with from around the world and, finally, a selection of Literature particular attention given to the impact of our myths from three different cultures: Greek, Norse, social institutions upon parents and children. and Native American. HU 219 Social Science Social Science/Literature Children’s Literature 3 credits, 3 hours HU 181 B HU 213 The anonymous oral traditions of world Adult Psychology World Drama literature, which continue to nurture the 3 credits, 3 hours 3 credits, 3 hours imagination and sense of identity of children This course focuses upon Erikson’s psychosocial This course examines some of the most important today, and the modern tradition of children’s crises from adolescence to death. Major topics periods in dramatic literature before the modern literature. The course focuses on children’s include career choice, human sexuality, love, period, in both the Western and non-Western literature as an introduction to the principles and marriage, values, mental health and mental traditions: Classical Greece and Rome, India of forms of art and to the role of the imagination in illness, aging, and death. Kalidasa, Medieval Europe, Japan (Noh and child development. Social Science Kabuki), Renaissance Italy and Spain, Literature Neoclassical France, Romantic drama and opera. HU 201 The relation of drama to ritual as a worldwide Lyric Poetry phenomenon. Emphasis on the relations of 3 credits, 3 hours dramatic styles to the cultures and theaters within A survey of lyric poetry, with particular emphasis which they developed, and exploration of the idea on a single period or a group of poets, e.g., Walt of “total theater” in which poetry, song, dance, Whitman, Emily Dickinson, Wallace Stevens, and music fuse together. Allen Ginsberg, and Sylvia Plath. Literature Prerequisite: HU 103 B. Literature

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 139 HU 221 HU 242 A HU 246 Forms of Autobiography Northern Renaissance Art Nineteenth-Century Art 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours Intimate, revelatory explorations of the many The painting of the late Gothic illuminators and Painting and sculpture made in the modern age worlds of the self; Hemingway as a young writer the fourteenth-century German and Flemish in the West are examined in an international in Paris meeting Fitzgerald, Stein, Picasso; Mannerists such as Cranach, Brueghel, and context. Emphasis is on the works of the major Salinger as Holden Caulfield, preppy sage; Freud Bosch. Students investigate the complex French, English, German, and American artists. on himself on psychoanalysis; Roth’s Portnoy symbolism of northern iconography, the new The variety of subjects these artists explored and complaining in the throes of lust; Proust’s great techniques developed, and the historical the new styles they developed as they responded to theories of love, death, and art; Van Gogh as artist background of a style often called the world of the nineteenth century will be and moral thinker in his letters; Greene’s portrait Northern Realism. among the topics discussed. of a woman’s obsession with love and God; André Humanities/Art History Humanities/Art History Malraux’s Lazarus; Tillie Olsen’s struggles to write as a housewife; and others. Readings from letters HU 242 B HU 248A and diaries by the authors of the books. Italian Renaissance Art Film History Literature 3 credits, 3 hours 3 credits, 3 hours The major figures in the artistic centers of Italy A survey of the history of film. Categories of films HU 230 A/B from Giotto in the fourteenth century to the early to be screened include: early film forms (Lumiere, French II work of Michelangelo at the end of the fifteenth Griffith, and De Mille); Dada and Surrealist 3 credits, 3 hours century. The architects, sculptors, and painters of influences (Leger, Bunuel, Marx Brothers, and Open to students who have completed French I or Florence are the focus, but artists in Venice, Resnais); the impact of Constructivism and the have had two or more years of high school Padua, and Rome are discussed as well. Machine Aesthetic (Eisenstein, Vertov, and French. Modern French short stories and a novel, Humanities/Art History Chaplin); German Expressionist influence on La Princesse de Cleves, by the eighteenth-century Hollywood (Ford, Welles, Wyler, and Hitchcock); writer Mme. de la Fayette. HU 243 modern European and American films Humanities Baroque Art (Bergman, Godard, Kubrick, and Altman); and 3 credits, 3 hours avant-garde art influences on new American HU 232 A/B The works of the major European artists of the cinema (Deren and Brakhage). Italian II seventeenth century: Bernini, Rubens, Velásquez, Art History 3 credits, 3 hours Rembrandt, Poussin, and Vermeer. Through the Open to students who have completed Italian I genres of landscape, still life, and portraiture, all HU 248B or have had two or more years of high mature by the seventeenth century, other artists Issues in National Cinema school Italian. such as Hobbema, Ruisdael, Zurbarán, and Hals 3 credits, 3 hours Humanities are also studied. The course selects films from modern European Humanities/Art History and emerging national cultures that demonstrate HU 240 both their interactions with postmodern politics, Ancient Art HU 244 theory and culture, and the development of an 3 credits, 3 hours Mythology in Oriental Art alternative discourse to Hollywood commercial An investigation of the art and architecture of the 3 credits, 3 hours filmmaking. Films are selected from the ancient world, concentrating on the classical art An introduction to the symbolism of mythology in following: 1920s Soviet cinema; Italian Neo- of Greece and Rome, but also considering the arts Oriental art. The course investigates myths in the Realism; anthropological documentaries; French of Mesopotamia and Egypt. major Oriental cultures and their basic patterns, New Wave; postwar/holocaustal cinema in Humanities/Art History functions, and meanings. Europe; other national cinemas (Spain, Hungary, Humanities/Art History Japan, etc.); anti-colonialist struggles in films HU 241 from India, Egypt, Argentina, Chile, Brazil, Medieval Art HU 245 A/B Senegal, Cuba; and new women filmmakers. 3 credits, 3 hours History of Western Architecture Humanities The sculpture, architecture, painting, and 3 credits, 3 hours decorative arts of Europe from the early Christian In the first semester, this course surveys the period in the third century A.D. to the proto- development of Western architecture from the Renaissance in Italy in the fourteenth century, ancient world of the Greeks and the Romans observing the emergence and flowering of a through the Renaissance to the end of the northern European mystical Christian vision nineteenth century. In the second semester, separate from the monumental classical vision of emphasis is on the twentieth century. This course Greece and Rome. should be taken in sequence; the second semester Humanities/Art History assumes knowledge of the first semester’s work. Humanities/Art History

140 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 HU 250 HU 259 HU 262 A History of Sculpture Listening to Music History of China 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours A chronological survey of three-dimensional art Examines the unique role assigned to the listener The time span is from the earliest days to the produced from the end of the eighteenth century of music and addresses the special skills expected present, with special emphasis on the modern to the present day. Works by major artists from of an informed audience. Ranging between the period and relations with the United States and Europe and the United States-including Auguste hows and whys of listening, discussion introduces other Western powers. Intellectual and cultural Rodin, Pablo Picasso, Alexander Calder, David students to some of the strategies composers developments will take precedence over political Smith, Louise Nevelson, and Christo-will be use to organize their thoughts, including and economic history. discussed and compared to the works of concepts of variation, development, and Social Science earlier artists. non-verbal narration. Discipline History/Humanities/Art History Humanities HU 262 B History of Japan HU 251 HU 260 A 3 credits, 3 hours History of Industrial Design Human Origins and Primates The time span is from the earliest days to the 3 credits, 3 hours 3 credits, 3 hours present, with special emphasis on the modern A survey of industrial design in the West, paying An anthropological perspective on the evolution, period and relations with the United States and particular attention to developments in the biology, ecology, and behavior of nonhuman other Western powers. Intellectual and cultural twentieth century. primates from prosimians to great apes. Students developments will take precedence over political Discipline History/Humanities/Art History are introduced to the principles of evolution and and economic history. adaptive trends. The course focuses on the Social Science HU 253 successful terrestrial species of Old World History of Crafts monkeys and on the apes—the gibbon, HU 263 3 credits, 3 hours orangutan, gorilla, and chimpanzee. The Culture of the Italian Renaissance A survey of the principal movements and Comparisons are made among nonhuman 3 credits, 3 hours tendencies in Western crafts since the middle of primates and our own species regarding diet, A comprehensive study of the political and social the 19th century. Main topics include the arts and locomotion, tool use and manufacture, modes of conditions in Italy from the end of the 14th until crafts movement, art nouveau, the Bauhaus, the communication, social behavior and social the middle of the 16th centuries that led to the interrelationships among fine arts, crafts, and systems, motherhood and child care, aggression, artistic and philosophical flowering known as the design, and postmodernism. “cultural” behavior, and recent trends in Renaissance. Not only will the contributions of Required of all Crafts majors. nonhuman primate behavior studies. Films are the larger states of Milan, Venice and Florence be Discipline History/Humanities/Art History an important part of the course. explored, but also the petty princely courts of Social Science Mantua, Ferrara and Urbino. Reading HU 254 Machiavelli’s The Prince and portions of History of Communication Design HU 260 B Catiglione’s The Courtier is an essential part of 3 credits, 3 hours Human Evolution and Prehistory the course. A survey of two-dimensional design in the West, 3 credits, 3 hours Social Science with particular attention to developments in the An introduction to human biological and twentieth century. cultural evolution, a survey of the major HU 264 Required of all Graphic Design majors. evolutionary stages in hominid evolution, an Modern American History Discipline History/Humanities/Art History introduction to Paleolithic technologies, and a 3 credits, 3 hours comparison of contemporary Stone Age societies A study of contemporary developments, values, HU 255 with Paleolithic populations. and issues as a product of twentieth century History of Photography Social Science phenomena. The course seeks to understand the 3 credits, 3 hours dramatic changes that have occurred in Provides an introduction to the significant HU 261 American society over the last fifty years. photographers and their work in the history of the Observing Humans Social Science medium; describes technical developments and 3 credits, 3 hours their impact; discusses the major visual and This course presents several different social HU 265 aesthetic trends in the development of science frameworks and seeks to uncover what Introduction to Folklore photography and their relationship to art in can be learned about human behavior by people 3 credits, 3 hours general; describes the larger social context in watching. Students will choose places for brief Introduces folklore genres and the history of which photography has developed. weekly observation and use their own art skills to folklore study. Sacred objects, fairy tales, songs, Required of all Photography majors. document what they see. parodies, and legends will be analyzed and Discipline History/Humanities Social Science presented in class. Social Science

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 141 HU 266 A HU 272 HU 282 B History of the Classical World Money Matters Calculus 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours The history of ancient civilizations in the Near Explores issues in economics and business by An introduction to calculus emphasizing the East and Europe. Egyptian, Greek and Roman working out from the roles and interests of applications of differential and integral calculus history, religion, philosophy and culture. individual agents and groups. We will look at to the physical and social sciences. Readings from selected ancient texts and slides economic dynamics in artistic and cultural work Prerequisite: HU 282 A, equivalent college-level of art works illuminate the culture of these in the present, and at different historical mathematics, or pre-college advanced algebra and civilizations and provide links with the moments, to explore further the nature of these geometry. present world. relationships and their meanings. Students are Science/Math Social Science exposed to economic and business discourse, provided with a broad and intensive HU 285 A HU 266 B understanding of economic and business Life Sciences History of Medieval Europe language and logic, given experience in the 3 credits, 3 hours 3 credits, 3 hours application of these concepts to issues in their Life forms in the context of current adaptations The history of medieval Europe from the field of interest, and provide a foundation for and evolutionary history. Special emphasis is Germanic settlements to the establishment of thinking through the economic and ethical placed on an exploration of evolutionary Christianity and the feudal social expansion of dimensions of their work. relationships, ecological specialization, and the late Middle Ages are important topics for the Social Science the dynamic relationships of organisms in an course. A wide range of readings and the use of integrated ecosystem. examples of medieval art promote a broad HU 274 Science/Math interpretation of this period. Introduction to Philosophy Social Science 3 credits, 3 hours HU 285 B A course specifically tailored to students with no Physical Sciences HU 267 experience in reading philosophy. Several basic 3 credits, 3 hours Introduction to Cultural Anthropology issues are considered, including freedom, God, An investigation of astronomy, geology, and other 3 credits, 3 hours morality, death, mind, appearance, and reality. In physical sciences. Topics include the origin of the The nature of and variation in human cultures addition to brief readings of primary sources, universe and solar system, the nature of matter and the various theories (historical, functional, readings of discussions of these issues along with and energy, and the parameters of physical and symbolic) that explain them. This survey of innovative fiction illustrating salient points. science. Provides a background for understanding culture in both western and non-western societies Humanities the impact of science on human values. considers a number of special topics such as Science/Math language and society; cultural identity and the HU 281 arts; gender, marriage and family; and social Dynamic Anatomy HU 286 ranking and power relations. The impact of 3 credits, 3 hours Pseudoscience in Contemporary Society globalization, tourism and cultural change are The structure of the body as it relates to form 3 credits, 3 hours also considered. (size, shape, and proportion) and support The methods of and issues of contemporary Social Science (posture, position, and movement). In depth science. Explores how scientific information is exploration of the location, orientation and used in society through an examination of HU 268 actions of major muscle groups, joints, and scientific, near-scientific and pseudoscientific Introduction to the Bible bones, and how they differ by gender through the claims, including strange creatures like Bigfoot 3 credits, 3 hours life cycle. and the Loch Ness monster, miracle cures for The main themes of the Bible are explored from a Science/Math diseases and paranormal phenomena. The modern, critical, nondenominational point of question of how funding might affect scientific view. No knowledge of the Bible is assumed. Using HU 282 A research is also examined. historical and literary analysis, continuities as Fundamentals of College Mathematics Science/Math well as differences between the Hebrew and 3 credits, 3 hours Christian testaments are examined. An introduction to the fundamental HU 292 Social Science mathematical principles and operations used in Introduction to World Religions undergraduate courses in the physical and social 3 credits, 3 hours HU 270 sciences. Topics include sets, logic, probability, An exploration of world religious traditions Introduction to Aesthetics statistics, number theory, algebra, and geometry. originating in Africa, the Americas, China, India, 3 credits, 3 hours Science/Math Japan, and the Middle East. Religions are studied An introduction to the philosophy of art. After a in their historical and cultural context, including brief examination of analytic, philosophical their development in various times and places, methods and the history of aesthetics, a consid- and their beliefs regarding the cosmos, society, eration of some of the fundamental problems in the self, and good and evil. aesthetics, such as the intention of the artist, the Humanities physical object/aesthetic object distinction, and the nature and comparison of different kinds of media. The relationship between language and art is central to the course. Humanities

142 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 HU 293 HU 315 A HU 320 A Dance & Expressive Culture Modern Drama Foundations of Western Literature: 3 credits, 3 hours 3 credits, 3 hours Ancient to Medieval Dance is woven into the mythology, theater, A study of the modern theater from the end of the 3 credits, 3 hours music, poetry, and literature of many cultures. nineteenth century to the present. Students will Works from antiquity through the Middle Ages The course will consider dance as it has read some of the world’s best playwrights: Ibsen, that form the foundation of Western literature. influenced and has been influenced by these Strindberg, Chekhov, Shaw, Pirandello, Lorca, Focuses on the creation of character, the structure forms of creative expression in the Western world. Brecht, and Beckett. Theater trips are part of the and form of the works and the perspectives and Humanities experience of this course. values they reveal. Examines the questions asked Literature by different cultures and how human potential, HU 310 fate and reality are defined. The Stories of Chekhov HU 315 B Literature 3 credits, 3 hours Contemporary Drama The readings include most of Chekhov’s best 3 credits, 3 hours HU 320 B stories, excerpts from his letters, some critical A study of the experimental developments in Foundations of Western Literature: interpretations, and supplementary material on today’s theater, both on Broadway and off, from Renaissance to Neoclassical family life. Consideration of the literary merits of Waiting for Godot to the present moment. 3 credits, 3 hours his stories and exploration of what goes on Students will read some of the best known Works from the Renaissance through the between the people in them. playwrights of our time: Genet, Beckett, Ionesco, Neoclassical period that form the foundation of Literature Albee, Pinter, and Shepard, as well as some not so Western literature. Focuses on the creation of well known. Theater trips are part of the character, on structure and form, but also on tone HU 311 experience of this course. (humor, parody, satire and irony) and the Greek Drama Literature perspectives and the values the works reveal. 3 credits, 3 hours Literature Plays by Aeschylus, Sophocles, Euripides, and HU 316 Aristophanes are examined to understand their American Playwrights HU 322 own integrity as works of art and to develop an 3 credits, 3 hours Scriptwriting appreciation of the extraordinary achievement of A study of the American theater in the past fifty 3 credits, 3 hours Greek drama. years, looking at the works of such authors as This workshop course introduces students to the Literature O’Neill, Miller, Williams, Albee, and Shepard. discipline of writing for theater and film. Theater trips as well as showings of filmed plays Focusing on the elements necessary for the HU 313 are part of this course. creation of producable scripts, the student Poetry Writing Workshop: Literature develops practical skills leading to the creation Composition and Theory of a short work for stage or screen by the end of 3 credits, 3 hours HU 317 the semester. Students’ poems are discussed, criticized, revised, Romanticism Humanities and improved. Principles governing the decision 3 credits, 3 hours to change a poem in various ways, the study of A study of the Romantic movement in England, HU 323 poems by American and English poets, the including the major poets (Blake, Wordsworth, Arts Criticism reading of some criticism, and concentration on Coleridge, Byron, Shelley, and Keats), several 3 credits, 3 hours the basic principles of craft are all included. novelists (including Bronte’s Wuthering Heights A writing course designed to promote Theories involve sound, content, meaning, and and Mary Shelley’s Frankenstein), and samplings understanding and interpretation of the arts purpose of student poems and of poetry in from the letters and essays. Some of the dominant across a multi-disciplinary spectrum and to general. The poet’s sense of an audience also Romantic themes-the artist as outcast, provide students with the basic tools of critical figures in the discussion. revolution, man’s relation to nature-will be analysis. Group discussion and selected readings. Literature addressed. Humanities Literature HU 314 HU 325 Literature and Film HU 318 Fiction Writing 3 credits, 3 hours Literature of the Roman Empire 3 credits, 3 hours This course explores different subjects through 3 credits, 3 hours A workshop course on writing short fiction. the arts of literature and film. Among the topics After a glance at Greek influences, the course Students will study the elements of creative treated have been images of Vietnam, the thriller, will focus on the literature of classical Rome. writing, experiment with several forms, develop a and science fiction. Readings from epic, drama, and lyric, with an clear voice, and learn how to criticize the work of Literature emphasis on the interaction between those others usefully. The goal is to produce a portfolio classical forms and the culture that of finished pieces. produced them. Humanities/Literature Literature

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 143 HU 326 HU 345 HU 351 Contemporary Arts in America Modern Architecture Electronic Video 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours A continuation of the two-semester Modernism The course investigates modern architecture, The history of video as an art form from the early sequence, this course focuses primarily on its theoretical premises, and the social context 1960s to the present. Basic film concepts are contemporary literature (mainly plays and that generated it. Students will also inquire reviewed in their application to emerging new novels) and contemporary visual art (mainly into modern architecture’s legacy: electronic formats. Video art is examined in all of painting and sculpture), with occasional forays postmodern architecture. its aspects-as computer art, installation, and into music. Investigation, by studying primary Humanities/Art History sculpture. The survey explores the variety of styles, sources, of the way various works of art express genres, and forms, which constitute the the contemporary aesthetic in America. HU 346 distinctive achievement of American video art. Literature Folk Art & Architecture The videotapes and documentation of artists’ 3 credits, 3 hours projects are examined and placed within the HU 342 A survey of American vernacular art and social and cultural context in which they were Arts of China architecture, with special attention to the eastern produced. The market forces and the 3 credits, 3 hours United States. Comparisons will be made to the political/psychological systems shaping Painting, sculpture, architecture, and decorative ethnic traditions from which this architecture the audience and creating an increasingly arts from the Neolithic period (sixteenth century springs, principally English and German. Social problematic role for artists are B.C.) to the Ching dynasty (eighteenth century considerations, including those of gender, important considerations. A.D.). Special emphasis on Shang bronze ware, occupation and religion, will be discussed. Humanities/Art History H’an and T’ang sculpture, and Sung and Ching Humanities pottery. The various styles are related to their HU 353 A historical, religious, and social background, with HU 347 Impressionism particular attention paid to the impact of Arts of Africa 3 credits, 3 hours Confucianism, Taoism, and Buddhism on 3 credits, 3 hours The nineteenth-century style known as Chinese art and architecture. From time to time, Artistic, religious, sociological, and geographic Impressionism is often considered to be the Eastern and Western cultures will be compared to aspects of societies in sub-Saharan Africa are foundation of European modern art. The course understand better the similarities and differences studied in order to establish continuity as well as chronologically investigates Impressionism in its between them. distinction between their art forms. Black historical and cultural context. The technical and Humanities/Art History American folk art, an extension and transfor- conceptual ideas that underlie its development mation of African art are analyzed. will also be considered. HU 343 Humanities/Art History Humanities/Art History Art of Venice 3 credits, 3 hours HU 348 HU 353 B An emphasis on light, an apparent spontaneity of American Art from the Post-Impressionism organization, and a delight in richness and Colonial Period to 1945 3 credits, 3 hours sensuality guided the development of painting in 3 credits, 3 hours Post-Impressionism is chronologically Venice from Bellini through Tiepolo. The course A survey of American art, architecture, and investigated with respect to its historical, cultural, presents Venetian painting from the mid-15th to design, emphasizing the nineteenth and and aesthetic context. The technical and the later 18th century, pausing to focus especially twentieth centuries. The material is divided into a philosophical concepts that underlie Post- on the art of Titian, Veronese, and Tintoretto, and series of sections or themes and is considered in Impressionism’s development are also explored. themes peculiar to Venetian art: the female figure relation to tradition. Each section or theme is Humanities/Art History poesia; Venetian light and landscape; portraiture; studied through the work of the major artists who courtiers, humanists, and beauties; the confra- best represent it. HU 354 ternity narratives; and the fresco decoration of the Humanities/Art History Women Artists Venetian villas. 3 credits, 3 hours Humanities, Art History HU 349 A chronological survey of professional female American Film Genres painters and sculptors active in Western Europe HU 344 3 credits, 3 hours and the United States, from the sixteenth century Avant-Garde Cinema and Video Considers various film genres and styles in to the present. The role played by women artists 3 credits, 3 hours American cinema, such as comedy, film noir, the in earlier ages, other nations, and different media An examination of the arts of experimental film Western, the musical, and the American will also be examined. and video. The exploration of mental states, independent film. Humanities/Art History visual metaphors, process, and non-traditional Humanities/Art History forms and structures are central to the course. In addition, the focus is on the co-existence of avant-garde film and video with their commercial counterparts. Also examines film and video language in relation to other art languages. Humanities/Art History

144 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 HU 355 HU 361 HU 365 A/B Dada and Surrealism Islam: Religion and Culture History and Culture of Latin America 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours The history of the post-World War I antirational Examines Islamic culture as it is refracted in The history and culture of Latin America, movements Dada and Surrealism. Since these various religious and literary texts by Muslims including indigenous as well as European were literary and political as well as artistic from Arabia, Iran (Persia), India as well as North cultural sources. National distinctions and movements, attention is given to texts by such America. Begins with discussions of the centrality the origins of modern society in the area authors as Artaud, Breton, Freud, Jarry, Rimbaud, of prophecy and scripture in Islam, followed by a will be developed. and Tzara, as well as to works of visual art. perusal of Islamic theology and mysticism, and Social Science Humanities/Art History ends with a sampling of primarily literary prose and poetry pieces which provide insights into the HU 366 HU 357 multifarious facets of Islamic civilization. The City Modern Art Social Science 3 credits, 3 hours 3 credits, 3 hours A study of the city in history, the forces which At the beginning of the twentieth century, artists HU 362 A/B shaped its development, and the impact of the city responded to new technological forces and the American Civilization on history. The American city from the pressures of mass culture in styles such as 3 credits, 3 hours seventeenth century to the present is used as the cubism, constructivism, and surrealism-styles An in-depth study of the origins of American model for this study. that are still being explored by our contempo- society with an emphasis on the particular Social Science raries. The course surveys the period 1880-1980, political, social, and cultural patterns that shaped emphasizing the continuity of the modern artist’s the course of American development. The first HU 367 situation and role. semester surveys the process of settlement, Eastern Religions Humanities/Art History colonial societies, independence, the growth of 3 credits, 3 hours the egalitarian spirit, and the Civil War. The An exploration of Hinduism, Buddhism, HU 359 second semester studies American society in the Confucianism, Taoism, and Shintoism. Each is Politics and the Media modern period. From the perspective of today, the studied in its historical and cultural context, 3 credits, 3 hours course examines the legacy of Reconstruction, including its development into various forms over This course analyzes how political and social the Industrial Revolution, the Reform the years and in different places, and its beliefs forces interact with the American community and Movements, the World Wars, and the Cold War. regarding views of the cosmos, society, the self, how that interaction affects government structure The factors in the past that have shaped contem- and good and evil. In addition to a text, students and policy. Factors such as population profiles, porary society are stressed. read from the literature of each religion. “suburbanites,” elite groups, public opinion, Social Science Social Science party organization, elections, and reform movements are studied. HU 363 HU 368 Social Science Modern Culture Sociology of Politics 3 credits, 3 hours 3 credits, 3 hours HU 360 A This course examines the nature of expressive The interaction of political, social, economic, Renaissance and Reformation: culture (media and art) and its role in contem- technological, and cultural forces in American 1400-1648 porary society. A key question is why we use society with their resultant impact on the political 3 credits, 3 hours expressive culture and how it affects us. Topics system. A brief introduction to political science is The intellectual and cultural explosion that include high versus popular culture; relations incorporated early in the semester. Factors such heralded the modern era in Western civilization. between culture, politics and commerce; and the as population profiles, “suburbanites,” elite Political, economic, philosophical, religious, and place of censorship in a liberal society. groups, party organization, elections, and reform cultural developments. Social Science movements are considered. Social Science Social Science HU 364 HU 360 B Sociology of Art HU 369 Age of Science and Enlightenment: 3 credits, 3 hours Cultural Ecology 1648-1815 An examination of the relationships that exist 3 credits, 3 hours 3 credits, 3 hours between art and society. Focus on the social An investigation, from the perspective of The dramatic intellectual revolution of the Age of influences that shape the creation and reception ecological anthropology, of the various cultural Science and the applications of the revolution to of artistic works. Topics include the social role of adaptations found in different ecosystems such as every province of human experience. The the artist; art as a socially organized form of deserts, grasslands, circumpolar regions, tropical Enlightenment and the French Revolution, which work; the social institutions of artistic production, and temperate forests, high altitude and urban are also part of the transformation of Europe, are transmission, and audience reception; and the areas. These adaptations include hunting and studied from the perspective of their consequences understanding of art in terms of its social context. gathering, fishing, and agriculture. In these for the modern world. Social Science examples various attitudes toward the Social Science environment, the impact of population growth, and the effect of conflicting technologies on resources are considered. Social Science

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 145 HU 370 HU 377 HU 383 Greek Philosophy: Thales through Critical Theory and the Arts Personality and Adjustment Aristotle 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours Since the 1960s, the arts have been influenced by The study of personality and the patterns of After examining fragments from pre-Socratic “critical theory,” a term loosely designating new behavior and predispositions that determine how philosophers, we consider the writings of Plato, developments in linguistics, philosophy, and a person will perceive, think, feel, and act. The including three or four dialogues and the humanistic study. Unlike traditional interests in a inner life of men and women, the quality of their Republic. Selections from Aristotle’s writings on work of art’s formal properties, antecedents, or character, their adjustment to their social milieu, physics, the soul, and aesthetics. author, critical theory investigates the artwork as and their potentialities for self-fulfillment are all Humanities a text: an interlocking series of messages, themes, explored. Special attention is given to adjustment and codes. Investigating those themes, critical problems of artists in work and in love. HU 371 theory sees in art texts everything from messages Social Science The Suburbs about class, race, and gender to encoded forms of 3 credits, 3 hours power and desire. The class will consider the HU 384 Increasingly the United States has become a reception of these critical ideas by artists Abnormal Psychology suburban nation, with more and more of its throughout the 70s, 80s, and 90s. 3 credits, 3 hours people living and working in the suburbs. This Social Science Human development and abnormal psychology: course will examine how suburbs began, in the ego defenses, emotional disorders, therapeutic late 19th century, how they have evolved, and HU 381 theories, and treatment techniques. Clinical what they are like today. Students will do Urban Wildlife diagnosis and classification of mental disorders. fieldwork. 3 credits, 3 hours Prerequisite: One course in psychology. Social Science As humans modify natural habitats and expand Social Science our population, we increasingly encounter wild HU 372 animals in “our” environments. In some cases, HU 385 Continental Philosophy and Existentialism these encounters result from destruction of Concepts of Modern Physics 3 credits, 3 hours natural habitats for these animals; in other cases, 3 credits, 3 hours Examined as a Western alternative to the analytic we have created “greenspaces” that actively A survey of important concepts in contemporary method. Following some historical background, attract other species. This course examines the physics. Students participate in problem-based the work of a major existentialist philosopher like ways in which humans and other animals exploration of a particular theme such as Martin Heidegger is explored. interact in shared and contiguous environments communication, predictions, shelter, medicine Humanities based on semi-independent field studies carried and sports. out by students on selected species. After an Science/Math HU 373 introduction to common species and a short Ethics period of directed study, teams of students will HU 386 3 credits, 3 hours plan, carry out, and analyze on short term Human Genetics: Inheritance, Variation The history of ethics and the fundamental ethical (4-week) study one species of their choice, which and Continuity problems that have concerned philosophers for inhabits urban Philadelphia. 3 credits, 3 hours the past 2500 years. The study begins with Plato Science/Math Explores the fundamentals of genetics through and Aristotle and extends to contemporary the study of our own species, Home sapiens. analytic philosophy, phenomenology, and HU 382 Introduces students to the study of inheritance existentialism. Problems include the “is/ought” Social Psychology and how molecular, physiological, environmental distinction, the ultimate objective of life, religious 3 credits, 3 hours and behavioral mechanisms affect the issues, human rights, justice, and welfare. An introduction to the field of social psychology measurable characteristics of humans around the Humanities and an examination of contemporary life in world. Topics include genetic diseases and America through its social institutions: unusual physical characteristics among others. HU 374 education, criminal justice, media, community, Using local resources, students engage in Personality and Creativity and family, and the social problems that have problem-solving activities in comparative biology. 3 credits, 3 hours emerged since the 1940’s. Significant current Science/Math Through readings of works of major theorists on events that illuminate these social problems are the nature of personality and creativity, the course incorporated into the coursework. HU 388 poses two major questions: “What do major Prerequisite: One course in psychology. Perception theorists have to say about the human Social Science 3 credits, 3 hours personality?” and “What do major theorists have The structure and function of the senses of vision, to say about what it means to be a creative audition, olfaction, gustation, touch, person?” There are a number of ways of temperature, kinesthesis, time, and the brain and answering these questions and it is not the nervous system are considered as they relate to purpose of the course to choose the “best” answer, perception. but rather, to put the student in a better position Science/Math to make his/her own decisions. Social Science

146 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 HU 389 HU 410 HU 413 Evolution in Modern Perspective The Uncanny Literature and Film: From Text to Screen 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours Evolution is the unifying theoretical foundation Treats the theme of the uncanny as it has been Explores the conceptual and technical leaps of all the life sciences. This course explores the represented principally in literature and the between the written text and its transformation to mechanisms, which produce evolution and their visual arts, from Poe and Hoffmann down to a cinematic text on the screen. Students examine meaning for our current knowledge in biology, Kafka and recent cinema. The point of departure what happens to plot, characterization, and conservation, medicine, agriculture, and related is Freud’s essay on the subject. bound and free description when a narrative text sciences. Students will also consider the effect(s) Literature is converted to an audiovisual presentation. In that society’s awareness of evolution has had on certain examples, the transformation of narrative social institutions such as law, literature, politics, HU 411 A structure is traced from the novel to the and education. Renaissance Literature screenplay to the finished film. Students gain Science/Math 3 credits, 3 hours insights into the relationships between written Works by Boccaccio, Machiavelli, Erasmus, and filmed dialogue, between written description HU 390 Rabelais, Cervantes, Jonson, Calderón, and others and cinematic mise-en-scène, between the novel’s Mass Media and the Arts are read to explore the remarkable contribution omniscient narrator and the film’s voice-over. 3 credits, 3 hours of these writers and to develop an understanding Literature Develops an understanding of mass media and and appreciation of the Renaissance. popular culture in the United States since the Literature HU 414 A 1960’s. Various forms of mass media are The Big, Fat Famous Novel presented and the shared techniques by which HU 411 B 3 credits, 3 hours these forms seek to communicate are analyzed. Shakespeare We will read three of the world’s best and most The values, both aesthetic and social, embodied 3 credits, 3 hours important novels: Tolstoy’s War and Peace, in these media are examined in relation to social The dramatic works of the supreme writer of the Melville’s Moby-Dick, and Joyce’s Ulysses. Each and economic realities. English Renaissance-Shakespeare. A selection of provides great pleasure to the serious reader and Social Science his comedies, histories, tragedies, and romances much material for intense discussion. Each novel are read. Focuses on the plays not only as literary has the equivalent of its own little course, about HU 392 accomplishments but also as theatrical one month long. American Musical Theater performances existing in three-dimensional Literature 3 credits, 3 hours space. Concerned both with the parameters of the Explores aspects and accomplishments of the original Renaissance stage and with modern HU 414 B American musical theater from the twenties to the translations and transformations of the plays. European Novel eighties. Emphasizes the social, political, and Literature 3 credits, 3 hours psychological elements which combine from Study of some of the most admired, best loved Gershwin to Sondheim to offer entertainment HU 412 books of the world, written in the heyday of the with a serious message. Detective Film and Fiction novel, the nineteenth century: Crime and Not open to students who have received credit 3 credits, 3 hours Punishment by Dostoevsky, Madame Bovary for TH 312 A. An examination of the genre known as hard- by Flaubert, Wuthering Heights by Bronte, Humanities boiled detective fiction as it developed in literature Great Expectations by Dickens, Portrait of a and then was extended by feature films. Among Lady by James. This is a course for people who HU 393 the authors to be considered are Dashiell love to read. Afro-American Culture Hammett, Raymond Chandler, and Ross Literature 3 credits, 3 hours MacDonald; among the films are “The Maltese A survey of some of the most important Afro- Falcon,” “The Big Sleep,” and “The HU 415 A American contributions to American culture, with Long Goodbye.” Modern Poetry special attention to the twentieth century and to Literature 3 credits, 3 hours the arts. Among those whose work will be Reading and interpreting major American and discussed are W. E. B. DuBois, Duke Ellington, European poets of the late nineteenth and early Langston Hughes, and Paul Robeson. twentieth centuries, such as Yeats, Eliot, Williams, Social Science Stevens, Rilke, and Montale. Attention is given to understanding each poet’s style and its evolution. HU 394 Aesthetic theory and the function of poetry as a Play, Performance and Literature social force in the modern world are also 3 credits, 3 hours discussed. The focus of this course is the relationship Literature between theories of play and performance and culture and the arts. The course draws upon current thought in anthropology, sociology, art criticism, and literary/dramatic performance theory (e.g. Barthes, Brecht, Cage, and others). Humanities

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 147 HU 415 B HU 420 HU 428 Contemporary Poetry Major Writers Portraits of the Artist 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours Beginning with the Beats, the major schools of Focuses on the life and work of a single important Primarily a literature course, with excursions into contemporary poetic practice such as the deep writer. Among the authors who have received this the visual and musical arts. Explores the ways image, language/action, confessional poetry, new intense examination have been James Joyce, some major artists investigate, in their art, what it formalism and projectivism are addressed. The Samuel Beckett, and Emily Dickinson. is to be an artist. Readings/viewings will include: effects of feminism, sexual orientation and Literature novels by James Joyce, Virginia Woolf, and Don racial identity on contemporary poetry are DeLillo; plays by Samuel Beckett, Sam Shepard, also examined. HU 421 and Stephen Sondheim; plus stories, poems, Literature On the Nature of Poetry and Art paintings, and photographs by various artists; 3 credits, 3 hours and a film by Federico Fellini. HU 416 An exploratory course on the nature of poetry and Literature Contemporary Novel art in which a variety of texts will be used- 3 credits, 3 hours literature, philosophy, art, letters, criticism. We HU 440 A range of contemporary novels from writers who contend with some major figures, including Wagner and the Ring Cycle have made an impact since the 1970’s. Issues of Wallace Stevens, Rilke, Eliot, Giacometti, Monet, 3 credits, 3 hours form and style, the relationship of the contem- and Van Gogh. Contemporary artists such as A detailed examination of Richard Wagner’s porary novel with the past, and the nature of Sidney Goodman, Warren Rohrer, Ray Metzger, gigantic four-opera cycle of music dramas, The narrative are addressed. and Tom Chimes are discussed; some may Ring of the Nibelungen, a crowning achievement Literature themselves join in our discussion. of Romanticism. Wagner’s goal of combining Literature all the arts remains a fundamental inspiration HU 417 in film, theater, and performance art today. Lyric HU 422 No previous musical training or knowledge 3 credits, 3 hours American Politics and Culture is assumed. A study of how contemporary song lyrics 3 credits, 3 hours Humanities/Art History developed from the tradition of lyric poetry and The interaction of politics and culture from 1945 folk ballads. Line-by-line analysis of famous lyric until the present. Course materials include HU 442 poems from literary history will be conducted. fiction, film, poetry and journalism. Abstract Expressionism Popular songs of the past fifty years are used in Social Science 3 credits, 3 hours the discussion of the problems and challenges of Abstract Expressionism was the most important putting words to music, with special attention HU 423 movement in post-WW II American art. This paid to Bob Dylan. Other artists include Billie Literature in Opera of 20th Century course surveys its origins, accomplishments, Holiday, Simon and Garfunkel, the Mamas and 3 credits, 3 hours and decline. the Papas, the Rolling Stones, Led Zeppelin, and A study of 20th century opera’s treatment of Humanities Stevie Wonder. There is a substantial writing major literature. requirement: students may elect to study poetry, Literature HU 448 A librettos, or song lyrics or to write original song American Art Since 1945 lyrics of their own. HU 424 3 credits, 3 hours Literature Latin American Literature In 1945, World War II ended and the focus of 3 credits, 3 hours modern art shifted from Paris to New York City. HU 419 Latin American literature has had tremendous The course begins with Abstract Expressionism; American Modernists influence not only upon post-war European and studies other major American styles, such as pop 3 credits, 3 hours American literature but upon other arts as well. art and minimalism; and concludes with In reading and discussing key works of three Examines the major exponents of Latin American postmodernist developments such as performance American novelists-Fitzgerald, Hemingway, and literature. Traces the origins of style and shows and decoration by artists. Faulkner-the student considers to what extent and how Latin Americans began both to define Humanities how they reflect such modernist concerns as style, themselves and to understand their landscape language, narrative point of view, myth, through literature. The focus is on the writers of HU 448 B psychology, and history. In addition, students lead the so called “boom” who managed to assimilate European Art Since 1945 discussions of selected short fiction by the tradition and be completely new and original. 3 credits, 3 hours Hemingway and Faulkner supported by research Literature Art since World War II has been dominated by the into criticism conducted at a major research New York market and by the issue of abstraction; library, and finish the course with an essay on one in Europe, however, artists continued to use the additional major work by the writers studied. human figure as a vehicle for social and ethical Literature concerns, and in the last ten years their engagement has become a model for younger artists in both Europe and America. The course examines crafts and book arts as well as fine arts; it also makes use of plays and films. Humanities

148 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 HU 449 HU 453 HU 463 Diaghilev and the Ballet Russes Arts of Japan Middle Eastern Arts and Culture 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours Investigates the role of the impresario Serge Painting, sculpture, architecture, and minor arts An introduction to the arts and culture of the Diaghilev and his Ballet Russes in both shaping of Japan from the Neolithic period to the Middle East through the perspective of anthro- and echoing the course of the artistic revolution eighteenth century A.D. The emergence and the pology and art history. Examines design, symbols, in Paris from c. 1909-1929. The Ballet Russes development of a unique national style from an and techniques of Middle Eastern art, particularly existed for only twenty years, but in that brief art world dominated by Chinese influence. The painting, architecture, ceramics, glassware, period it transformed ballet into a vital art, development of painting from the medieval textiles, and metal work. These arts are examined creating such vanguard pieces as Firebird, Yamoto-e narrative scrolls through the fifteenth in their social, cultural, and historical context, Petrouchka and L’Après-Midi d’un Faune and century. The evolution of various architectural which includes the role of the artist and brought to dance the riches of other arts as it styles from the great Buddhist temples of the craftsman in Middle Eastern society, the influence forged partnerships between the most important seventh century to the majestic castles of the of Islam on ritual and symbol, the influence of composers, painters and poets of the day. Special seventeenth century. In sculpture and pottery, the environment on materials and architecture, emphasis is placed on the interrelationships technical improvements and the change of urban-rural traditions, trade patterns and between various artists, composers, choreog- aesthetic values from the Jomon and Yayoi phases market organization, and diffusion of raphers and writers. to the porcelains of the seventeenth century are design and materials. Humanities/Art History analyzed. A brief historical and social Social Science background of Japan accompanies the study HU 450 of the various art styles. Special attention HU 464 Arts of India is given to the influence of Zen Buddhism on The Holocaust 3 credits, 3 hours Japanese culture. 3 credits, 3 hours Painting, sculpture, and architecture from the Humanities/Art History The Holocaust is a watershed event in modern Indus Valley civilization of the second history. This traumatic episode left indelible millennium B.C. through the different periods of HU 456 marks on Western society. It was caused by factors Buddhist, Hindu, and Islamic dominance to the Major Artists that still exist in the world. Examines the history Rajput painting of the eighteenth century A.D. 3 credits, 3 hours that led to the Holocaust, and attempts to The different art styles are related to their Concentrates on the work of a single artist or a understand what happened and what meaning it historical, religious, and social background. group of artists. Among the artists who have come has for us today. Humanities/Art History under this intense investigation have been Social Science Donatello, Michelangelo, Rembrandt, and HU 451 Picasso; others may be chosen in the future. HU 466, HU 467 Arts of Islam Humanities/Art History Comparative Religion I, II 3 credits, 3 hours 3 credits, 3 hours Architecture, architectural decoration, HU 462 A study of the world’s major religions through calligraphy, book illustration, textile, and American Social Values their historical development, beliefs, sacred ceramic art of the Middle Eastern countries from 3 credits, 3 hours literature, and the works of contemporary writers. the beginning of the Islamic era (seventh to The moral foundation of American culture. The first semester is concerned with Eastern eighteenth centuries A.D.). A study of the impact Examines the primary American value religions such as Hinduism, Buddhism, and of Islamic religion on the character of Islamic art orientations - equality and individualism - and Taoism; the second semester deals with Judaism, and architecture and various regional styles compares them with those of other societies, Christianity, and Islam. within this unified visual mode of expression. considers their relations to religion and political Social Science From time to time Islamic and Christian cultures ideologies and assesses their influence on are compared to understand better their simi- contemporary social issues like moral decline and HU 474 larities and differences. tolerance of differences. Contemporary Philosophy Humanities/Art History Social Sciences 3 credits, 3 hours An examination of some of the problems HU 452 occupying today’s philosophers and the strategies Topics in Design they have devised in approaching them. 3 credits, 3 hours Humanities Topics vary from aesthetic issues such as the significance of organic form to social issues such as influence of design on social change and the impact of design on the natural environment. The areas of design studied also varies from tools, furniture and electronics to machinery, transportation and the design of the community. Humanities/Art History

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 149 HU 475 HU 483 HU 492 Freud and Mahler Theories of Personality Vienna and Berlin: 1890-1925 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours This course examines and discusses the theories Introduces the study of personality and how At the beginning of the twentieth century, Vienna of Sigmund Freud. All basic areas will be patterns of behavior, interaction, perception and and Berlin were important centers during one of included, beginning with his work on dreams (c. response are understood by a broad variety of the richest periods in the cultural and artistic 1890), aspects of psychoanalysis, the nature of the theorists. Questions of nature versus nurture, history of the Western world. Much of the science person, and his rather pessimistic attitude whether the past impacts the present, and what and art of this century was given its focus and regarding the prospects for the survival of the defines mental health are discussed. thrust by the men of genius working in these two human species. The class will also listen to the Psychodynamic, cognitive, humanistic cities. In this course, students examine the works work of the great Viennese composer Gustav and behavioral approaches are compared of Einstein, Freud, Mahler, Schoenberg, Mahler. Freud and Mahler were not only and contrasted. Wittgenstein, Kafka, and the German contemporaries and soul mates, but Mahler Prerequisite: 2 psychology courses. Expressionists. An interdisciplinary course saw Freud as a therapist, in what has since Social Science involving the visual, musical, and literary arts, as become a famous session. well as philosophy. Humanities HU 484 Humanities Educational Psychology HU 478 3 credits, 3 hours HU 495 Aesthetics Seminar An introduction to educational psychology for Dante in the Modern World 3 credits, 3 hours potential educators. The basic principles of 3 credits, 3 hours Advanced philosophic problems related to works learning theory and education are presented and Dante’s Divine Comedy has been highly of art and discourse about works of art. Students critically examined. Using a psychosocial influential on art, music and drama from its own review the analytic method of philosophic inquiry orientation, the developmental stages of the time to the present. The shaping power of the and discuss the philosophy of Wittgenstein and human life cycle are explored, as well as the poet’s journey in his search for answers to other twentieth-century philosophers. needs of a variety of special populations, e.g. ultimate questions, his quest for order and its Humanities those with learning disabilities or physical reflection in his art continue to inspire reactions disabilities. Considerable attention is given to from fellow artists. The course considers a HU 480 increasing awareness and understanding number of works reflecting this influence in Psychology of Creativity of communication, group dynamics and several media. Concentration is on the Inferno, 3 credits, 3 hours organizational behavior. but consideration of Paradiso and Purgatorio The problems involved in defining and Social Science may also be included. attempting to measure creativity. The course is Literature developmentally oriented, focusing on HU 485 relationships between creativity and normal The Brain and Behavior HU 497 growth and development, and intelligence and 3 credits, 3 hours Women and Sex Roles personality. Problems that the artist encounters An introduction to the organization of the brain 3 credits, 3 hours with productivity are explored, as well as the and nervous system and their interactions with An introduction to the history of women and to values of society toward creativity and the artist. other body systems, which produce observable theories of gender. An interdisciplinary course Prerequisite: One course in psychology. behavior. Topics include brain structure and combining history, literature, and the visual arts. Social Science function, neurological changes over the life cycle, Slide lectures on images of woman in art, myth, and the effects of malfunctions. Students will and religion, from ancient times to modern. HU 481 A/B learn about specific brain structures and how they Economic and historical factors affecting how Physics contribute to or produce specific behavioral women have lived. Definitions of masculinity and 3 credits, 3 hours characteristics. Explores the neurochemistry of femininity. The nature-nurture debate over An introductory college physics course. The first drug addiction, degenerative diseases, and hormonal differences. semester covers kinematics, dynamics, energy, psychoactive drugs, as well as other current topics Social Science structural analysis, and waves; the second of interest. semester concentrates on a study of light, Science/Math HU 999 electricity, and magnetism. Both semesters Independent Study include frequent references to architecture, 3 credits, 3 hours design, and the fine arts. Independent study considers a particular issue of Competence in algebra is required. interest to the student and one or more faculty, Science/Math which is not covered, in a regular course. Prior approval by the Director of Liberal Arts is required.

150 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 ID 220 A/B ID 312 Industrial Design Studio 2: Techniques Architectonics 3 credits, 6 hours 3 credits, 6 hours ID 113 This studio will assist the student in acquiring Visual principles for structuring and ordering Freshman ID essential two- and three-dimensional representa- architectural space. Introduction to formal issues 1.5 credits, 3 hours tional skills to support the process of design, as applied to interior installations and exhibition This course introduces Foundation students to the including conceptualization, production, and design will be developed through drawing, issues surrounding the industrial design presentation. It is taught in a collaborative model-building skills, and other representational profession and highlights its importance in manner; the instructors conduct projects means such as computer-aided drafting. This informing culture and shaping the way we live. individually or as a team in order to provide course will develop concepts through analytical The fundamental skills required to support the instruction and experiences over a wide range of studies of objects/spaces and will culminate in an process of concept ideation, design development, subjects, including the tools, processes, and actual built/altered environment. and presentation of products and furniture are languages of conceptual drawing and modeling, introduced through in-class exercises, lectures by rendering and detailing, using both the computer ID 320 A/B visiting professionals, and direct involvement in and traditional media as a means to assist design Studio 4: Techniques relevant activities within the Industrial Design and control production. Students learn to apply 3 credits, 6 hours department itself. these techniques to design problems addressed in Assists the student in developing graphic ID 200 A/B. communication skills using computational ID 200 A/B media and applying these skills to both two- and Studio 1: Projects ID 290 three-dimensional images and presentations. The 3 credits, 6 hours Design Issues Seminar student is taught to conceptualize, develop, detail, Formal introduction to the conceptual and 3 credits, 3 hours present and communicate design ideas through practical understanding of design and three- Designed to assist the student in developing an graphic design, computer imaging, three- dimensional problem-solving processes. This understanding of the major issues of design in dimensional computer modeling, basic studio provides focused fundamental design modern society. Discussions range from issues animation, and interactive design presentation. instruction and integrated experiences covering a such as the ecological responsibility of designers The first semester focuses on integrating graphic wide range of subjects including the tools, to the contributions of individual designers and software and the development of printed presen- processes, and languages of design. Emphasis is design organizations throughout the history of tations. The second semester focuses on the on the development of three-dimensional the discipline. Assignments include research and development of interactive digital presentations. modelmaking skills, problem solving, creative demonstration projects that explore ideas and Prerequisites: ID 200 B, ID 214, ID 220 B, thinking, and their application to problems illuminate ethical, practical, and moral issues and ID 290. of design. with which designers should be concerned. Prerequisite: Completion of the Foundation Students prepare information and present ID 326 program or permission of the instructor by their views on issues through written, oral, Human Factors Seminar portfolio review. and visual means. 3 credits, 3 hours Prerequisite: Completion of the Foundation The object of this research-intensive course is to ID 214 program or permission of the instructor by develop the ability to apply technology effectively Materials and Processes Seminar portfolio review. to meet human needs through the integration of 3 credits, 3 hours human engineering principles in the design of A hands-on seminar course introducing the ID 300 A/B products and equipment. Human anatomy, student to the nature of materials used in Studio 3: Projects Studio anthropometrics, and the strength of body industrial products and the various processes by 3 credits, 6 hours components are considered, as are sensory which they are formed. Films, lectures, and field The first semester introduces problems of design systems, human perception, and psychology. trips familiarize students with traditional from a highly conceptual point of view with an Lectures are complemented by laboratory processing of wood, metal, and plastic materials emphasis on user interface, information experiments designed to teach students methods as well as emerging developments in advanced technology, and areas of use. In the second of testing and evaluating their own product fabrication processes such as injection molding, semester, the students apply this humanistic design concepts in human terms. Concepts of laser cutting, and stereolithography. Emphasis is understanding to develop more complex products scientific writing and reporting are demonstrated on the study of material characteristics and the involving mechanical technology and systems. through the documentation of coursework. appropriate use of manufacturing methods. The Emphasis is on the ability to apply the process of Prerequisites: ID 200 B, ID 214, ID 220 B, course includes an introduction to technical design to both hypothetical and real problems and ID 290. information, research, design specification while developing an appreciation of meaningful writing, and professional communications. form and the appropriate use of technology to Prerequisite: Completion of the Foundation meet human needs. Students discover relevant program or permission of the instructor by knowledge and apply it to practical problems of portfolio review. design-many brought to the studio by industry. Visiting experts also bring knowledge of current design, marketing, and manufacturing practices into studio projects organized to explore the nature of different product types in different industries. Prerequisites: ID 200 B, ID 214, ID 220 B, and ID 290.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 151 ID 327 ID 420 A/B ID 490 B Design Semantics Seminar Studio 6: Professional Communication Design Practice Seminar 3 credits, 3 hours 3 credits, 6 hours 3 credits, 3 hours This seminar addresses design as a languaging Refines the students’ written, verbal, and visual Exposes the student to industrial design profes- process of social interaction. Semantic principles presentation skills and assists them in developing sional practice through discussion, lectures, and and design vocabulary are introduced through communication materials for their senior theses research. The following subjects are addressed: lectures, weekly readings, discussions, and and industry sponsored projects. Intensive group 1. Running a practice. exercises. Students work on individual as well as critique of individual presentations prepared 2. Legalities and contracts. team-based projects to increase the competence of outside of class. Students develop self-promotion, 3. Publications. translating these ideas, concepts, and principles presentation, and correspondence materials 4. Exhibiting. into design practices, applying replicable design utilizing service bureaus and contemporary 5. Client interaction. methods towards proposing particular products technologies such as digital files, fax and the 6. Portfolio. whose meanings matter and whose use is World Wide Web to prepare and transmit this Visitors represent a broad spectrum of the design dominated by facets of human understanding. information. community from across the United States, Prerequisites: ID 200 B, ID 214, ID 220 B, Prerequisites: ID 300 B, ID 320 B, ID 326, including design shop owners, design curators and ID 290. and ID 327. from galleries or museums, industrial design entrepreneurs, and copyright lawyers. ID 400 A/B ID 425 Prerequisites: ID 300 B, ID 320 B, ID 326, Studio 5: Projects Studio Advanced Computer-Aided Design and ID 327. 3 credits, 6 hours 1.5 credits, 3 hours In these senior design studio courses, the Students work on advanced CAD software to learn curriculum focuses on a highly critical and the basics of high-end modeling, rendering, and responsible position in formulating new animation through extensive in-class and directions into product realization. homework exercises. Rendering work involves the Students are encouraged through critical generation and control of three-dimensional discourse and research on historical and contem- digital models and surface attribute specification. porary cultural shifts to formulate their own Animation includes turntable and flythrough ideology. Investigations into the social, techniques with an introduction to keyframe ergonomic and ecological consequences of procedures. Final projects conclude with the product development are followed by a specific creation of printed and videotaped portfolio program of context, abstractions and conceptual materials. studies, physical and material experimentation, Prerequisite: Junior or Senior status in the and the research of techniques of construction. Industrial Design department, or permission Development of manual skills, highly of the instructor. communicative design drawings, sketch models, computer modeling, prototypes, and one-off ID 490 A objects are all involved in the process. Design Theory Seminar Industry-sponsored projects of international 3 credits, 3 hours caliber give opportunities for “client interaction” In this industrial design seminar, students will from initial contact and proposals to final presen- investigate advanced design philosophies, issues, tations of projects. One semester is dedicated to and pedagogy, from a historic as well as contem- production furniture design for the new porary international design context. Students domesticity. The other semester is dedicated study various definitions of design, explore design to product design. A highly academic and theories and issues, and consider theoretical theoretical thesis project runs simultaneously relationships with other applied arts. with a highly pragmatic product Prerequisites: ID 300 B, ID 320 B, ID 326, development studio. and ID 327. Prerequisites: ID 300 B, ID 320 B, ID 326, and ID 327.

152 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Master of Industrial Design ID 622 ID 749 Product Evaluation Masters Thesis Documentation ID 600 3 credits 6 credits 3 credits An in-depth analysis and examination of A tutorial providing the opportunity for individual Design Seminar: Concepts and Contexts products and systems. Research leads to a paper candidates to develop and present their theses in a A seminar devoted to examining the shift in describing a particular situation and offering manner which directly reflects their career cultural, technological, material, and profes- solutions for a better approach to certain design objectives. The thesis project and document must sional landscapes that a graduate design problems. These briefings are presented by the exhibit an in-depth exploration of an approved candidate must navigate. Through readings, graduate students as teaching assistants to topic, which addresses an area of importance to presentations, and discussions, students explore undergraduate courses. the Industrial Design field and contributes to the how these evolved contexts are changing the Open to MID students only. body of knowledge pertaining to that area. It may nature of design practice and thinking. Special be carried out under industry sponsorship, as part emphasis is placed on developing key concepts ID 625 of a research project, or independently based. and ideas that inform the work that the students Advanced Computer Applications Prerequisite: ID 602. undertake throughout their program. The 3 credits seminar works in parallel with the studio course; A laboratory/practicum in the use of advanced topics and themes covered in the seminar are computing capabilities with emphasis on 3D germane to the studio projects. computer modeling, rendering, animation, and Open to MID students only. human figure modeling to evaluate and present design solutions with attention to collaborative ID 601, ID 602 design support systems. Advanced Design Studio Prerequisite: ID 710. 6 credits The major multidisciplinary studio where design ID 627 ideology, process, development, and production Human Factors: Interactivity are emphasized through the integration of 3 credits critical issues that inform the design of products, A seminar course, which addresses human systems, and environments. Issues discussed and behavior through the interaction with studied are: human experience and lifestyles; manufactured objects, environments and systems, cultural and political issues; ergonomics; poetics; and the ergonomic, functional, informational, semantics; interactivity; imagery and form. The aesthetic, and safety requirements, encountered design process considers the above issues in the in the design of these products for human use. formulation of a design program; conceptual and Prerequisite: ID 620. abstract studies; physical and material investi- gations; simulated and physical representation; ID 700 and the application of manufacturing processes. ID Seminar: Career Development Corequisite: ID 600. 3 credits A professional seminar/workshop, which ID 610, ID 611 addresses the individual career interests of each Project Tutorial I, II degree candidate especially as they relate to the 6 credits each semester student’s thesis project. The product of this course Personalized tutorial to assist the candidate in is the formulation of a career plan and objectives specific topics related to their course of study. tailored to each candidate, and the development of a portfolio, resumé, and other documentation ID 620 targeted toward the practical application of the Advanced Design Methods candidate’s knowledge and skill. 3 credits Prerequisites: ID 710. As a complement to the studio course (ID 601), this course helps to develop methodologies for ID 710, ID 711 critical social cultural analysis, strategies for Advanced Project Tutorial I, II design research, and the means for documenting 6 credits each semester that research and analysis. Students develop a Primary studio/practicums in which design common design process that provides the concepts are explored and skills, techniques, foundation for all subsequent MID work. The tools, and products are developed, demonstrated, emphasis is on clear and convincing communi- and tested related to the thesis. Individual weekly cation, a skill that is increasingly critical to meetings are scheduled with faculty and with designers as they work more and more with those outside advisors as dictated by thesis project outside of their own disciplines. Content for the objectives and sponsorship. A faculty-monitored course work comes directly from the studio educational practicum in a professional or projects themselves. industry setting may be arranged to fulfill Open to MID students only. preplanned project and career objectives. Prerequisite: ID 602.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 153 IL 205 IL 303 Illustration Drawing for Animators Figure Utilization 3 credits, 6 hours 3 credits, 6 hours IL 100 Focuses on introducing and developing the skills Studies of the figure in narrative contexts are Foundation Illustration and disciplines needed for good figurative explored, as is work from single and grouped 1.5 credits, 3 hours animation drawing. The primary issues of models, nude and costumed. Concentration on Within the context of the illustration anatomical figure drawing are covered with a developing compositions and concepts from assignments, students are introduced to a variety strong emphasis on the structure and solidity of different and often combined resources. Drawing of media, methods, styles, and techniques used to the figure, good proportions and specific and painting techniques are utilized. create both black and white, and color movement and gesture as they relate to the Prerequisite: IL 302. illustrations. Includes conceptual, perceptual, model. Topics also covered: two-dimensional and technical problems. The development of versus three-dimensional ways of translating IL 304 narrative skills, logical steps to problem form; how perspective and viewpoint are used Sequential Format solving, research, and creative thinking will with the figure and their affect on scale; 3 credits, 6 hours also be covered. exaggerated foreshortening techniques; Course focuses on sequential formats. Potential diagrammatic and expressive line quality; facial areas of inquiry include brochures, direct-mail IL 200 A/B expressions; hand and foot studies; capturing pieces, simple animations, slide presentations, Pictorial Foundation movement through gesture; and introduction to multi-page spreads, and identity programs. 3 credits, 6 hours animal drawing for animation. Prerequisite: IL 301. Introduction to drawing and painting skills as Prerequisite: FP 100 B. they relate to illustration. Objective visual IL 310 perception, clarity in drawing, and technical IL 300 A/B Children’s Book Illustration facility are stressed. Students are exposed to visual Illustration Methods 3 credits, 6 hours communications, strategies and design concepts 3 credits, 6 hours The design and illustration of children’s books. through exposure to art history and the field of The development of narrative and conceptual Emphasis on the stages of development of a book contemporary illustration. imagery, pictorial illusion, space, and their from manuscript through dummy design to Prerequisite: FP 100 B. combined potential for communication. finished art. Professional practice, and working Procedures focus on developing visual awareness, with editors and art directors are discussed. IL 202 A/B personal imagery, and conceptual directions. Students become familiar with the work of past Figure Anatomy Direct drawing situations and photographic and present book illustration and design. 3 credits, 2 hours (lecture), reference (existing or student-produced) also Prerequisite: FP 100 B, Juniors and Seniors 3 hours (drawing lab) serves as source material for pictorial preferred. Focus on the investigation and application of development. Various media and technical line, plane, mass, light and shade, shadow, procedures are explored. The history of the IL 400 A/B perspective, anatomy, and proportion as they Golden Age of American Illustration is covered. Illustration relate to figure drawing. Weekly sessions include Assignments and lectures focus on the 3 credits, 6 hours a lecture, demonstrations from the skeleton, and requirements of applied illustration. Assignments revolve around specific areas of drawing from life. Prerequisite: IL 200 B. illustration-advertising, book, documentary, Prerequisite: FP 100 B. editorial, and institutional. Emphasis is on IL 301 solutions, both practical and relevant, and the IL 204 Design Methods type and quality of finish for professional needs Typography 3 credits, 6 hours and demands. A senior thesis project (Ely 3 credits, 6 hours Within the context of design/illustration projects, Competition) is incorporated in the fall/spring Beginning studies in the form, use, a basic understanding of how artwork is semesters. nomenclature, and history of typography. reproduced in commercial print media. Emphasis Prerequisite: IL 300 B. Individual letters, word formations, text is on the relationship between electronic media arrangements, type combined with imagery, and and production techniques. Specific programs IL 402 the application of type to simple communication utilized include: QuarkXpress, Adobe Illustrator Communication Workshop exercises will be addressed. Use of Macintosh and Adobe PhotoShop. 1.5 credits, 3 hours computer for generating type and industry Prerequisite: IL 204. Structured as a design studio, the workshop accepted software will be used. brings Graphic Design and Illustration majors Prerequisite: FP 120 B. IL 302 and their respective faculty together to produce Figurative Communication posters for School of Theater Arts productions. 3 credits, 6 hours Students are challenged with real life, profes- Emphasis is on working from life. The course sional design studio experiences: working with a focuses on the use of the figure and or still life client on a deadline from concept and design objects to communicate concepts in the through production in the University’s Borowsky figurative context. Drawing and painting Center for Publication Arts. media are explored. Junior and Senior Graphic Design and Illustration Prerequisite: IL 202 B. majors only, approved by faculty advisors.

154 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 IL 403 A/B FA 610 Senior Portfolio Master of Fine Arts in Studio Topics 3 credits, 6 hours Ceramics, Painting, 3 credits, 5 hours repeatable Development of a portfolio based on the student’s Brings together students from each of the major personal interests, abilities and target markets. or Sculpture disciplines to explore studio issues common to all Students focus on a free-lance or studio visual arts. orientation and develop, over the year, a working portfolio for presentation at the end of the spring Each summer session will begin with a FA 611 term. In addition to the portfolio, the course detailed review of the student’s previous Graduate Drawing offers instruction in marketing and promotion, work, assessing progress, addressing 3 credits, 5 hours business practices and procedures, resumé problems, and planning the summer’s Advanced studio develops and expands the writing, taxes, and small business requirements work. Ongoing individual meetings with student’s visual language and skills while as they relate to artists. The course culminates in the studio mentor will be augmented by challenging their conceptual approach to The University of the Arts’ Portfolio Day at the group critiques at the beginning, middle, drawing by examining and applying the use of Society of Illustrators in New York at the end of and end of the summer session and by materials and methods having historic and the semester. occasional group or individual critiques cultural origins. Prerequisite: IL 300 B. with visiting artists. Each summer’s course Open to all CAD graduate students upon Corequisite: IL 400 A/B. concludes with planning for work to be portfolio approval. continued on an independent study basis IL 404 during the academic year. Independent FA 612 Illustration Workshop: Personal studio work is assessed at weekend Professional Practices Viewpoint critiques held at periodic intervals and at 3 credits, 5 hours 3 credits, 6 hours the end of the fall and spring semesters. Designed to familiarize students with methods, This special elective course is offered by the practices, and professional standards in Illustration Department for qualified Junior and The following courses are open to students in the preparation for the thesis exhibition and eventual Senior Illustration majors. The Department summer MFA program only. entry into the visual arts professions. invites three of America’s most accomplished illustrators to share their talent, insights, and CR 610 FA 691, FA 692 expertise by finding and emphasizing the PT 610 Independent Studio I, II in personal conceptual viewpoint of each student. SC 610 Ceramics, Painting or Sculpture The goal is to meld that identity with each Major Studio I Winter/Summer Critique student’s developing technique to create the 6 credits, 10 hours 3 credits per semester, 5 hours greater vision of the artist through illustration as Evaluation of the student’s artistic involvement, The Independent Studio is intended to assist the a self-expressive art form. Each of the three projecting and testing options for the direction of student in establishing independent production faculty presents their work and answers questions the student’s graduate work. in their major discipline while acquiring the in an open forum and then teaches an intensive ability to integrate studio production with the four-week long part of the course. The artists give CR 611 demands of off-campus life. At the conclusion of lectures, technical demonstrations, and studio PT 611 Summer I and, subsequently Winter Critique I, assignments and students work through a SC 611 the student and faculty mentor agree on a plan of demanding process to produce finished Major Studio II work to be pursued during the off-campus illustrations. This flexible curriculum also allows 6 credits, 10 hours semester which will be a continuation of work for timely illustration issues to be covered as they Further exploration of the options, with increased begun in the previous semester. The student is develop in the field. awareness of theoretical issues and personal required to propose a direction for his/her investi- Prerequisite: IL 300 A, Junior and Senior vision. Greater focus in the student’s work, with a gations and to have access to off-campus studio Illustration majors only, by portfolio review. view to completing the personal repertoire of space within which to carry out the proposal. skills and expression in the medium needed to Enrollment in the Independent Studio requires a IL 440 undertake a thesis project. commitment of 150 hours, equivalent to 10 hours Design Internship of studio activity per week during the 15-week off- 3 credits, 6 hours CR 710 campus semester. The studio mentor meets with Open to Juniors and Seniors only, this course PT 710 the student five times during the semester at places students with local businesses to test their SC 710 three-week intervals, reviewing the student’s developing skills in a real-work environment. Major Studio III progress for a 1-2 hour session. The first meeting Placements vary and can include advertising 6 credits, 10 hours is a group meeting held on campus and the next agencies, design studios, publishers, individual Planning and initiation of a sustained body of three are held as individual critiques at the free-lance artists, TV stations, museums, and the mature work to be presented in a thesis exhibition student’s studio. One meeting may take place at like. This course includes a seminar and the during the following summer. the mentor’s studio. The last meeting is the final development of a learning plan. critique of the semester, which takes place at the Enrollment is limited to 12 students. Winter Critique held at the University. Portfolio review and approval by client and faculty Corequisite: FA 695, FA 696. advisor required.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 155 FA 695, FA 696 FA 793 GR 691 Independent Writing Project I, II Thesis Preparation I University Seminar: 1.5 credits, 3 hours 3 credits, 5 hours Structure and Metaphor Informs the student’s on-going Independent Following the successful completion of Summer 3 credits, 3 hours Studio investigations undertaken during the fall II and the MFA Candidacy Review, the student is An interdisciplinary seminar in which students and spring off-campus semesters. The student declared a degree candidate and may begin from all graduate programs examine theoretical proposes an area of research intended as a independently producing a body of work intended issues of structure and metaphor in relation to art continued examination of topics introduced for eventual presentation in the thesis exhibition and design. Topics include cognition and during the previous summer seminars, Structure following completion of Summer III. In consul- perception, meaning and representation, and and Metaphor or Art and Society. The student is tation with the studio mentor, the student submits systems of organization and expression. encouraged to explore through writing the range Thesis Preparation Plan I, identifying and (May be taken to satisfy Aesthetics and Art Criticism of issues emanating from seminar reading and describing a direction of investigation to be corequisites for the MAT program.) discussion and the relationship of these external undertaken during the fall semester. The student influences to the development of themes and is expected to identify specific issues to be GR 692 directions being explored in the studio work. addressed: intended focus of the work, consider- University Seminar: Art and Design in Corequisite: FA 691, FA 692. ations of technique, materials, scale, location, Society etc. The student must propose a personal 3 credits, 3 hours FA 781, FA 782 timetable for accomplishing the thesis and An interdisciplinary seminar in which students Thesis Writing Project I, II identify the sources that will be used in from all graduate programs examine theoretical 1.5 credits, 3 hours preparation for the exhibition. Enrollment in issues relating to the place of art and design in Fall and spring off-campus semesters. Research Thesis Preparation I and II requires a society. Topics include the social role of the for the Thesis Writing Project informs the commitment of 150 hours, equivalent to 10 hours artist/designer, public policy and the arts, issues student’s second-year independent studio activity, of studio activity per week during the 15-week off- of post-modernism, and aesthetic and ethical which focuses on identifying and developing campus semester. implications of emerging arts and communi- potential directions for the thesis exhibition and Corequisite: FA 781. cations technologies. written thesis. The student considers issues raised (May be taken to satisfy Sociology/Anthropology during the previous summer’s seminar that are FA 794 corequisites for the MAT program.) particularly relevant to the more focused Thesis Preparation II direction of their studio work. The student 3 credits, 5 hours GR 791 independently formulates a proposal and In consultation with the studio mentor, thesis University Seminar: Art Criticism bibliography for a formal paper to be based upon candidates propose further development of 3 credits, 3 hours the more developed direction of their work. The directions begun in studio work the previous An interdisciplinary seminar in which advanced range of issues considered for further investi- semester by submitting Thesis Preparation Plan graduate students further examine the nature gation may include aesthetic, conceptual, II for the spring semester to the mentor. of image-making and design with particular technical, or visual culture issues as well Corequisite: FA 782. attention to the theories and applications as the relationship of the major work to of criticism. other disciplines. FA 795 Corequisite: FA 783, FA 794. Thesis Exhibition 6 credits, 10 hours The MFA degree certifies that the artist has attained a high level of competence and independent judgment in the discipline and is qualified to stand with his/her mentors as a master artist. The thesis exhibition and accompanying written thesis are intended to serve as a demonstration of this mastery. During the final semester, criticism-based research is undertaken as a continuation of the summer seminar in Criticism and is intended to assist the MFA candidate in completing the written component of the thesis requirements.

156 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 MM 150 MM 223 Multimedia Collaboration and Spontaneity Interactive Narrative 3 credits, 3 hours 3 credits, 3 hours MM 110, MM 111 Through a series of exercises, class discussions, Introduces students to new ways of thinking Visual Concepts I, II and readings, explores what it means to work as about interactivity and storytelling. Students 3 credits, 6 hours part of a team. Students learn to develop analyze how the interactive structure of an The fall semester covers fundamental visual environments in which the creative process is experience creates narrative. Short readings concepts including point, line, shape, encouraged to unfold. The basic assumptions the discussed in class range from Surrealist Dada and composition, texture, color and image. Although affect the formation of collaborative groups, such Fluxus language games to the experimental non-digital techniques are occasionally used, the as personal responsibility, authority relations, literature of Joyce and Burroughs to the literary mastery of digital tools is a primary aspect. leadership issues, individual differences, theory of Barthes and Eco. Students examine Exercises require students to develop a vocabulary competition, the development of norms, and the contemporary examples of interactive media for discussing their work while at the same time generation and uses of power are experienced, such as CD-ROMs, role-playing games and learning a basic set of software tools. The spring explicated, and examined. Students work within Internet sites. semester builds upon issues addressed in this collaborative environment to explore the Prerequisite: Permission of the instructor. Information Concepts (MM 130) and continues connections between spontaneous verbal and with an introduction to the visual concepts of nonverbal communications. MM 271 typography, series, sequence and narrative. Open to non-majors with permission of the Survey of Multimedia Prerequisite: Open to non-majors with permission instructor. 3 credits, 3 hours of the instructor. Examines the chronological evolution of digital MM 219 technology and its inevitable application by the MM 121 Introduction to Multimedia aesthetic community. Beginning with the Introduction to Interface Design 3 credits, 6 hours development of digital technology in the mid- 3 credits, 3 hours An introduction to the basic software 1940s, the course discusses the convergence of the The software interface represents the focal point environments for digital interactivity. After scientific, military, and political environments of user interaction with the various modes of concentrating on creating nonlinear texts, that spawned the employment of digital multimedia communication. Readings by students investigate the integration of other technology, including the path that led to the interface theorists will inform discussions on the media elements. Subjects include the use of digital dominance over analog. Includes the evolution of the software interface, conceptual buttons, screen navigation, transitions, basic enhancement, exploitation and embracing of models, prototypes, interaction design, scripting, and controlling sound and video. digital technology by the corporate and aesthetic deliverables and basic concepts of human- communities, the invention of the personal computer interaction. Avenues for pursuing MM 221, MM 222 computer and its ancillary products and the interactive media design in entertainment, Interactive Studio I, II application of digital technologies in fields as publishing and education will also be addressed. 3 credits, 6 hours diverse as medicine, communications, manufac- Current technologies, including the trend from Concepts and practical applications of interac- turing, cognitive psychology, and in particular, soft to hard interfaces, in terms of their potential tivity. The first semester focuses on creating the arts. Pioneers in all fields will be identified short- and long-term influence on communi- interactive media in low bandwidth and examined. cation and multimedia. Basic methods for rapid environments. Developed for HTML environments Prerequisite: HU 103 B prototyping and testing. and their extensions for the World Wide Web. Discipline History/Humanities Prerequisite: Open to non-majors with permission Interactive modes explored include, but are not of the instructor. limited to, reading, play, and conversation. MM 310, MM 311 Comprised of both lectures and practical Multimedia Studio I, II MM 130 exercises. Individual creativity is stressed as well 3 credits, 6 hours Information Concepts as the understanding and use of interactive The experience of producing complete 3 credits, 3 hours devices in the communication of ideas. Both multimedia works in a project-based Emphasis is on the importance of organizing and collaborative and individual exercises will be environment. Lectures and meetings augment communicating information in a digital world. assigned. The second semester focuses on high this studio course. Individual creativity is stressed Students will acquire a basic understanding of bandwidth applications. as well as collaboration in the creation of works how computers operate and communicate with Prerequisite: MM 121 through individual and group projects. each other, as well as an understanding of the Assignments vary in scale, and focus on evolution of the personal computer and the appropriate planning and information industries that have spun out of this technology. architecture, as well as acquisition and creation Student assignments include readings, data base of content in various media. Programming projects, and written analysis. environments used include, but are not limited Prerequisite: Open to non-majors with permission to, HTML, Lingo, and Java Script. Previously of the instructor. introduced concepts and technology are re- explored with an emphasis on integration and effectiveness in the communication of the concept of the piece. Prerequisite: MM 222 or MM 219, or permission of the instructor.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 157 MM 320 MM 440 Advanced Interface Seminar Innovative Interfaces Museum Studies 3 credits, 3 hours 3 credits, 6 hours A seminar course that builds on MM 121 The notion of digital environment transcends the MS 501 (Introduction to Interface Design). Focuses on concept of a computer, as we know it. These Museum Seminar: the Museum the issues involved in creating user interfaces in addresses and environments, although supported 3 credits, 3 hours today’s development platforms (hardware, by digital technology, are non-computer-like in Lecture/seminar course exploring the history, software, input devices, cell phones, etc.). many respects. Building these environments calls organization, and operation of the museum as a Lectures, discussions, readings, research, and for changes in the choice of interaction devices cultural/educational institution, an economic writing constitute the body of this course. In (using touch, voice, gestures, and possibly just entity, and a management enterprise. Visiting addition to current interface trends, the user’s intent as a basis for interaction), shape and lecturers bring a wide range of knowledge and process of developing the interfaces of tomorrow size of computers (no boxes, but interactive practices from their respective institutions and is addressed. surfaces), their location (floor, wall, pocket), as consultancies to provide the student with insight Prerequisite: MM 222. well as a change in content structure. Using into the differences between museums of different cross-disciplinary data from cognitive and types, sizes, and missions. The course provides MM 340 computer sciences and social psychology, the students with an overall understanding of the Interactive Programming students in this research/studio course focus museum as an institution and an introduction to 3 credits, 3 hours primarily on the design and development of the many roles played by museum professionals. Introductory programming dealing with creating innovative ways of interacting with digital Prerequisite: Upperclass undergraduate or interactive applications. The focus of this course technology. graduate standing. will be on client and server side programming Prerequisite: MM 222. languages. Students will create applications in MS 502 each of the languages taught. The Internet as a MM 470, MM 471 Museum Seminar: The Exhibition programmable environment is stressed. This is Issues in Multimedia Seminar I, II 3 credits, 3 hours primarily a lecture course supplemented with 1.5 credits, 1.5 hours Lecture/seminar course exploring the philosophy practical introductory programming exercises These courses serve as vehicles for discussion of and history of museum exhibitions and the and exams. current topics in multimedia. Special attention is development of the museum exhibition form. Prerequisite: MM 222. paid to the discussion of emerging technologies Visiting lecturers bring a wide range of knowledge and criteria for evaluating their effectiveness, and practices from their respective professional MM 350 appropriate use, and potential. Ethical issues disciplines and provide insight into museum Business Seminar surrounding new media are discussed. exhibition practice. Provides students with an 2 credits, 2 hours Prerequisite: MM 350, open only to majors. overall understanding of the role exhibitions can A seminar that focuses on the professional and do play in public institutions. Offered in the implications of pursuing a career in multimedia’s MM 472 evening. Priority for enrollment is given to various industries. Taught by a guest lecturer. Special Projects in Multimedia graduate students in the Museum Education, Lectures, discussions, readings, research, writings, 3 credits, 3 hours Museum Communication and MEPD programs. and presentations constitute this course. This seminar is designed to give students direct Prerequisite: Upperclass undergraduate or Assignments include, the creation of both a vita contact with their soon-to-be peers in the various graduate standing. and resumé in addition to a portfolio. multimedia industries. The multimedia Professional practice is stressed. Topics such as industries that may be covered include but are MS 508 portfolio presentation, self-promotion, financials, not limited to: fine art, interface design, instal- The Museum Audience interviewing, and firm research will be addressed. lation art, game design, and electronic music. 3 credits, 3 hours Prerequisite: MM 310. Timely and relevant issues concerning the craft, Lecture course focusing on museum communi- thought and professional expectations of a cations and learning, identifying the character- MM 410, MM 411 multimedia artist/designer will be the content of istics of the museum visitor, the ways in which Senior Studio I, II this course. Topics related to the multimedia visitors experience museum exhibitions, cognitive 4 credits, 8 hours industries in general and the instructor’s specific and affective behavior, the relationship of Studio courses that make use of all the students’ industry experience will be discussed. Readings, museum exhibitions and educational previous instruction. Consists of a six-hour studio discussion, and a practical presentation or project programming, and the impact of museum visitor component and a two-hour critique component. will make up the body of this course. studies on the planning and design of museum One project completed each semester. Students Prerequisites: MM 350, open only to majors. exhibitions and the environment. will be prepared on the first day of each semester Prerequisite: Upperclass undergraduate or with a proposal that includes, but is not limited to MM 499 graduate standing. a schedule, map, research, executive summary, Internship and supporting documentation. Projects can be 3 credits collaborative or individual. Students are Students are placed with regional companies to encouraged to try both over the course of the year. expose them to a real work environment in the Prerequisites: MM 311, open only to majors. fields of multimedia, web design and information

158 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 MS 510 MS 602 MS 621 Museum Education Practicum Museum Governance: Legal Issues, Publications, Public Relations and 3 credits, 3 hours Ethics and Museums Marketing Develops the practiced insight and skills needed 3 credits, 3 hours 3 credits, 3 hours as a professional in a museum environment with Legal status of the museum and its obligations to Organizational principles and practices as they all age groups. Provides opportunities for the public, governance, staffing, policy-making relate to the processes of public relations and preliminary observations and experience with as a nonprofit organization. Establishing museum communication (primarily print professional museum educators and directors. collections policies, laws, regulations, media). Topics include public relations, The seminar is conducted in conjunction with conventions, and codes that affect acquisitions, interpretive and informational publications, museum visits and visiting lecturers. Through deaccessions, loans and collections care. The case advertising, identity, audience development, and this process, students study dynamic teaching study method is used to examine the issues, the marketing. Addresses the use and creation of techniques, which explore and interpret law and the decisions that affect today’s publications, marketing plans, institution and information, concepts, and cultural values of a museums. State, federal, and international exhibition-based public relations, the creation of museum collection. Hands-on techniques and legislation, common law, and the applications of effective identity programs, and audience experiences with curriculum development and administrative law in museums are examined. development through membership and outreach methodology prepare students for research Examines the complex relations of museums programs. In a workshop setting, students learn and internships. and museum professionals with trustees, to create effective publications and print media, collectors, donors, dealers, outside interest and discuss web-based communication. Students MS 600 groups, and artists. work under the guidance of a university professor Museology and visiting experts in the museum field. 3 credits, 3 hours MS 615 Introduction to the social and cultural theory Educational Programming for MS 622 underlying museum practice. The museum is Museums and Alternative Sites Media for Museum Communication studied as a dynamic institution. Its structure and 3 credits, 3 hours 1.5 credits, 3 hours functions are examined in the context of Prepares museum educators for the development Laboratory/workshop course on utilization of political, economic, and social change. A of educational programs and plans for diverse appropriate technological media, with emphasis seminar/lecture course, students study the types of museums and alternative learning sites. on the creation of visitor interaction writings of the founders of modern museum Exposes students to current issues and trends in Prerequisite: Admission to museum programs. theory focusing on the development of museums museum education such as interdisciplinary and Computer literacy, familiarity with Macintosh and their service to the public, learning as a integrated learning, and issues of diversity. System 9 required. central focus of contemporary museums, and the Methods of interpreting works of art, artifacts and shift from private to public support and responsi- collections are studied. Extensive “theory into MS 623 A bility for museums. practice” component provides students with the Exhibition Materials and Methods opportunity to apply theory to actual permanent 1.5 credits, 3 hours MS 601 collection and temporary exhibition projects at Demonstration/studio course directed at the Issues in Museums Seminar area museums problems of working with basic materials, 3 credits, 3 hours methods and tools of exhibition fabrication and Presents and discusses current political and social MS 619 study of the characteristics of these materials, issues, which may unexpectedly, sometimes Video, Film, and Technology for methods and tools. problematically, affect museum practice, partic- Museum Interpretation ularly in the public areas of exhibition, 3 credits, 3 hours MS 623 B programming, and publications. Recent Students become familiar with important Exhibition Materials and Methods examples would include controversial exhibits, historical, philosophical, and site-based 1.5 credits, 3 hours legal, gender, race, cultural and religious issues interpretive uses of media in museum settings Demonstration/studio course directed at the impacting museums; and the public right to through a practicum that includes analysis of problems of exhibit production, the choice of participate in the museum experience as an media (video, film, and technology) in materials and methods, suppliers of materials active contributor. Museum scholars, specialists transferring knowledge and information in the and services, and the use of CAD (computer- and university faculty offer in-depth examination museum environment. Relates the artistic, aided design). of current topics. Students complete projects historical, and content to the techniques of a Prerequisite: MS 623A designed to develop professional ability to variety of moving image and multimedia deal with emerging debates in the museum approaches. Research, planning, supervision, profession and the knowledge of the impact of outsourcing, and execution of media pieces for politics and the mass culture on museum museum environments are explored. policies and practices. MS 620 A Museum Graphics 1.5 credits, 3 hours Writing, design, and production of museum graphic components. Graphic Design is defined as any visual information in museums that is two dimensional rather than three. Co-requisite: EM 211 or competence in computer desktop applications.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 159 MS 648 MS 651 MS 759 Graduate Museum Project Collections Management and Computer Museum Internship 3 credits, 3 hours Applications in Museums 3 credits Culminating research project concerning 3 credits, 3 hours A three-month, supervised practicum in a museum studies, management, and education. Students acquire the skills and knowledge cooperating museum. Taken in a cooperating The project is completed in one semester and necessary to develop, implement and supervise museum, the internship represents full-time includes the study of research in the field, a team collections management projects, develop employment equivalency under the mentorship project with the Museum Exhibition and appropriate databases for museum collections of a professional museum educator. Provides Planning program, and an individual project and loan objects, ability to analyze object ID and practical on-site experience in which the intern is related to the student’s main area of interest documentation, condition reporting, insurance, integrated into the Museum Staff, assuming within the museum profession. Provides storage needs, ability to integrate appropriate professional-level responsibilities and experience. preparatory research for the culminating computer programs and object information into A University professor also observes, advises, and museum internship (MS 658). a database. Emphasizes data processing assesses the student during the internship. Pre/corequisites: MS 510, MS 622, MS 501, and applications related to collections management, Prerequisite for Museum Exhibition Planning MS 508 (except MEPD students). documentation and other museum functions and Design: 15 credits in Museum Studies including collections administration, loans Prerequisite for Museum Communication: MS 501, MS 650 requests, rights and reproductions, exhibition MS 508, MS 600 Development, Fundraising and planning and design, publications, collections Prerequisites for Museum Education Students: Grantsmanship security, and project management. Topics include MS 510, MS 548, MS 501, and MS 508, 3 credits, 3 hours multimedia and digital imaging, graphics, and Introduction to the organizational development data base development and processing standards. principles as they relate to fundraising and grant Instruction in computer languages, database writing process. Addresses the changing nature of development and use, digital imaging. Word funding for contemporary museums, and sources processing experience and access to a computer of funds. The need and methods for developing are expected. Database management experience new forms of public programming and is helpful. communication to achieve direct public support of the museum will be addressed. In a workshop MS 710 setting, students learn current techniques for Museum Exhibition Design Studio formulating institutional funding requests under 6 credits, 6 hours, twice a week the guidance of an instructor and visiting experts The primary vehicle for exploring and in the museum field. Students will acquire profes- developing museum exhibition planning, sional knowledge of museum practices in design, project organization and presentation development and revenue generation; skills in skills and techniques. developing a master plan and carrying out its Prerequisites: MS 501 and MS 610 B. elements for specific institutions and for specific funding objectives. MS 740 Thesis Research 3 credits, 3 hours Examines the principal approaches to research. The nature of appropriate research methods for selected thesis topics; the approaches and benefits of various methodologies; and the steps in research design. Students identify a research problem, design a study, collect and analyze data, compile, interpret and report the results.

MS 749 A/B Thesis Development 6 credits (or 3 credits per semester for MEPD students) 3 credits (or 1.5 credits per semester for Museum Communication students) Independent research and design in an area supporting the student’s career objectives and interests. Prerequisite for MEPD students: MS 502,MS 610 A/B. Prerequisite for Museum Communication students: MS 501, MS 508, MS 600

160 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 MU 113 MU 127 A/B Music Freshman Improvisation Flute Class for Non-Majors 1 credit, 1.5 hours 1 credit, 1 hour MU 007 A/B Introductory-level jazz improvisation dealing Provides the student with a solid introduction to Introduction to Music Theory with linear, melodic, harmonic, and rhythmic tone and technique development and repertoire 3 credits, 4.5 hours fundamentals of improvisation, as well as the for the flute. Fundamentals of music theory, designed to interactive and group aspects. Lecture and skills- introduce students to the basic principles of development with a performance base. MU 130 A/B theory and harmony. Open to music majors only. Piano Class for Non-Majors 1 credit, 1 hour MU 010, MU 020, MU 030 MU 115, MU 116 Instruction in traditional beginning piano. Jury Examination Music Technology Survey Coursework includes basic technique including 0 credits 1 credit, 1 hour scales, chords, and chord melodies. Provides students with a working knowledge of MU 040 music technology practices, definitions, and MU 131 A/B Senior Recital concepts. Through both lecture and lab classes, Class Piano I, II 0 credits students become familiar with a cross-section of 1 credit, 1 hour hardware and software currently in use by the Introductory and elementary keyboard training MU 100 school and working professionals using theoretical, harmonic, and technical Major Workshop concepts in practical keyboard application: 1 credit, 1.5 hours MU 121 transposition, melody harmonization, elementary Students, grouped by major, learn and practice Calligraphy improvisation, technique, and repertoire. aspects of instrumental performance including 1 credit, 1 hour Open to majors only. technique, literature, sight-reading, and tuning. Professional methods of musical score and part Students perform individually and in groups. preparation, both in the traditional way with MU 139, MU 140 Open to music majors only. paper and pen, and with computer programs. An Styles and Diction elective for all majors. 1 credit, 1 hour MU 103 A/B Prerequisite: MU 107 B or permission of instructor. Required of all vocal majors. Students practice Musicianship I, II English and Italian diction, and perform for 3 credits, 3 hours MU 123 A/B faculty and guests in a variety of musical styles. The establishment of fundamental skills through Guitar Class for Non-Majors Open to music majors only. the singing and recognition of diatonic materials, 1 credit, 1 hour i.e., scales, intervals, triads, and seventh chords, One hour class of guitar instruction in contem- MU 141 A/B both as isolated phenomena and in musical porary guitar. Course covers basic technique Voice Class for Non-Majors contexts. Solfeggio performance of diatonic including fingering, scales, chords, and 1 credit, 1 hour melodies and rhythmic performance in all basic chord melodies. Voice instruction using traditional methods. meters are emphasized, as well as the dictation of Course covers proper technique of breathing, these materials. MU 124 A/B support, focus of tone, production of clear Ear Training Placement Test or permission of Drum Class for Non-Majors vocal line, and some musical interpretation instructor is required. 1 credit, 1 hour of literature. Drum set instruction in basic technique and MU 107 A/B contemporary styles including rock, jazz, MU 149 A/B Music Theory I, II and Brazilian. Aural Concepts 3 credits, 3 hours 3 credits, 3 hours An introduction to basic theory. Includes the MU 125 A/B For non-music majors. An introduction to the use study of scales, intervals, chords of various types, Brass Class for Non-Majors of music and sound as components of harmonic progression, and the analysis of small 1 credit, 1 hour multimedia and their potential for enhancing musical forms. Designed for students with little or no experience communication. Recognizing the special Theory Placement Test or permission of instructor or formal training. Students will learn basic background and needs of the non-music major are required. breathing, embouchure, and reading techniques. student, examines the fundamentals of music and sound, their potential relationship to the MU 111 A/B MU 126 A/B visual image, and the technology necessary to Composition Class for Non-Majors Saxophone Class for Non-Majors implement that relationship. 1 credit, 1 hour 1 credit, 1 hour Students develop basic skills in various aspects of Introductory class in saxophone techniques, composition, including form, melody, harmony, embouchure, sound production, breathing, rhythm, color, texture, notation, improvisation, fingering, and literature. and orchestration.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 161 MU 151 A/B MU 232 A/B MU 306 A/B Introduction - Music Education Class Jazz Piano I, II History of Rock Music 1 credit, 1 hour 1 credit, 1 hour 3 credits, 3 hours A two-semester sequence required of all students Harmonic concepts in keyboard application The history of Rock from its inception in the in the MATPREP program, and open to any for jazz and contemporary music; chord 1950s to the present. Beginning with the student interested in exploring Music Education voicings for popular tunes, standards, and important antecedents of Rock and Roll, the as a career option. Survey course designed to original harmonizations. course historically traces the various styles that provide an overview of music teaching - past, Open to majors only. evolved from that time to the present. There are present, and future, and to serve as an Prerequisite: MU 131 B. live demonstrations and illustrations by guests in introduction to the philosophy, methodology, and class. May be taken for elective credit. professional role of the music teacher. MU 241 A/B Open to music majors only. Vocal Styles and Diction III, IV MU 307 A/B 2 credits, 2 hours Advanced Jazz Theory and Ear Training MU 190 A/B Brings together 2nd and 3rd year vocal majors to 3 credits, 3 hours Applied Instruction Non-Majors expose them to the wide variety of literature and Practical study of jazz and pop theory combined 1.5 credits, 0.5 hour styles required of professionals. Students perform with an advanced ear-training program, Private instruction in all instrumental, vocal, and and are critiqued by faculty and guests. English, emphasizing instrumental application. Students composition areas. Italian, French, and German diction are studied. are required to bring their instruments to class. Permission of instructor is required. Open to vocal majors only. Coursework includes recognition, writing, Prerequisite: MU 131 B, MU 140. dictation, and sight reading of advanced chords, MU 192 - MU 692 chord additions and alterations, chord substi- Applied Major Instruction MU 254 tutions, progressions, and rhythm. 3 credits, 1 hour Basic Conducting Open to majors only. Private instruction in instrumental, vocal, and 2 credits, 2 hours Prerequisite: MU 208 B. composition areas. A study of fundamental conducting skills and Open to music majors only. techniques with emphasis upon physical aspects MU 308 A/B of conducting, score reading and preparation, Analysis and Composition of MU 208 A/B and rehearsal principles. Undergraduate Contemporary Music Jazz Theory I, II corequisite for full acceptance into the MAT in 1.5 credits, 1.5 hours 3 credits, 3 hours Music Education program. Examination of compositional techniques used A study of diatonic and chromatic theory as Open to majors only. in pop songs, jingles, soundtracks, and related to jazz and contemporary music. underscores for radio, TV, records, films, shows Prerequisite: MU 107 B or permission of instructor. MU 257 A/B and industrials. Students investigate the ways in Lab Teaching/Practicum I, II which music serves to enhance the overall goals MU 209 A/B 2 credits, 2 hours of the product or project. Musical analysis Jazz Ear Training I, II Observation and introduction to teaching in the demonstrates how each style is created. Students 3 credits, 3 hours schools. Course includes field experience as well produce their own musical compositions in each Melodic, harmonic and rhythmic aural skill as classroom seminars. media context. development in the jazz and contemporary Open to majors only. Open to majors only. music idioms. Prerequisite: MU 208 B. Prerequisite: MU 103 B or permission of instructor. MU 301 A/B Music History I, II MU 310, MU 311 MU 213 A/B 3 credits, 3 hours Transcription and Analysis Jazz Improvisation I, II Designed to define the major style periods from 1 credit, 1.5 hours 2 credits, 3 hours ancient Greece to the present in terms of their Designed to advance the skills of ear training, The application of improvisational techniques philosophies, accomplishments, and interrela- theory, and improvisation using transcription and encompassing all standard forms and styles. tionships. Composers, performers, and theorists analysis. Students transcribe melodies, rhythms, Performance practices are related to the are examined in the context of musical literature harmonies and arrangements in increasingly individual student’s abilities, background, and with emphasis upon styles, forms, and techniques complex forms. The musical theory underlying experience. Coursework includes solo of composition as they evolve and change. The each transcription is discussed and sometimes transcription and analysis, a comparison of sequence puts into historical perspective the performed and used as a basis for further work. improvisational methods, and a survey of materials presented in the Music Theory courses. Prerequisites: MU 208 B, MU 209 B, and MU 213 B. educational resources. Through listening assignments, students are Open to majors only. expected to further develop their aural skills and MU 313 A/B Prerequisites: MU 103 B and MU 107 B, or knowledge of musical literature. Jazz Improvisation III, IV permission of instructor. Discipline History/Humanities 2 credits, 2 hours Continuation of MU 213 A/B. Prerequisite: MU 213 B. Open to majors only.

162 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 MU 315 A/B MU 344 A/B MU 401 B Jazz Arranging I, II Opera Staging I, II American Music History 2 credits, 2 hours 2 credits, 3 hours 3 credits, 3 hours A functional approach to ensemble scoring The interpretation and performance of opera The development of both classical and popular including score analysis, combo arranging, roles. Technical and artistic preparation for American musical styles from the 17th to the 20th arranging for mixed instrumentation, musical public performance from workshops to major century. Recordings and films as well as in-class settings for vocalists, string writing, writing for productions of full operas. performances will help bring to life the music of pop recording, and special techniques for multi- Permission of instructor is required. our American past. Students gain a clear track recording. understanding of the social, historical and Prerequisites: MU 208 B and MU 209 B. MU 347 A/B musical time line that evolved into our current Advanced Sight Reading musical environment. MU 317 A 1 credit, 1 hour Discipline History/Humanities Orchestration I An advanced music reading course designed to 3 credits, 3 hours further develop the student’s music reading, MU 402 Introduction to instrumentation, designed to writing, recognition, and inner-ear skills. World Music acquaint the student with ranges, transpositions, Prerequisite: MU 209 B or TH 222 B. 3 credits, 3 hours and characteristics of individual instruments. The classical and folk music of various countries Four orchestration projects are scored, performed, MU 348 A/B in Asia, Indonesia, the Middle East, Africa, and recorded, and critiqued, comprising: 1) four Vocal Improvisation the Western Hemisphere. Course open to all woodwinds, 2) four woodwinds and seven brasses, 2 credits, 2 hours University students, which may be taken for 3) string ensemble, and 4) small orchestra with Develops improvisation skills for vocal Music or Liberal Arts elective credit. winds in pairs. majors through the study of advanced vocal Humanities Open to majors only. techniques, transcription, theory and analysis, Prerequisite: MU 208 B. and metric concepts. MU 406 Open to majors only, or with permission Advanced Rhythmic Theory and Practice MU 317 B of instructor. 3 credits, 3 hours Orchestration II Study of the rhythmic theories and practices of 3 credits, 3 hours MU 356 A/B such composers as Hindemith, Messiaen, Primarily intended for composers, this course Music Teaching Skills I, II Stravinsky, Carter, Reich, Bartok, and Babbitt, as presents an analytical history of orchestration 1 credit, 1 hour well as other contemporary and jazz composers. centering on the works of Ravel, Schönberg, Incorporates advanced skills in functional piano, Open to majors only. Prokofiev, Wagner, Strauss, Debussy, and guitar, recorder, writing/arranging for elementary Prerequisites: MU 208 B, MU 209 B, and MU 213 B. Stravinsky. Coursework culminates in a large classroom ensembles, handbells, establishment of project for full orchestra, which is scored and classroom environment. Projects include MU 411 critiqued. Composers are encouraged to arranging, performing, and simulated teaching. Twentieth Century Music orchestrate one of their own compositions. Open to majors only. 3 credits, 3 hours Open to majors only. A study and analysis of the music of the first half Prerequisite: MU 208 B. MU 401 A of the twentieth century, by composers such as Jazz History Schönberg, Berg, Webern, Stravinsky, Hindemith, MU 331 A/B 3 credits, 3 hours Varèse, Bartok, Copland, and Messiaen. Advanced Piano and Accompanying Study of jazz from its African and European roots Prerequisites: MU 208 B, MU 209 B, and MU 213 B 1 credit, 1 hour through its emergence at the turn of the twentieth or permission of the instructor. Designed primarily for all music majors, this century as a unique and distinctive American art Humanities course continues in the development of piano form. The various styles of jazz are studied techniques with an emphasis on learning self- (ragtime, New Orleans Dixieland, Chicago style, MU 413 A/B accompaniment. Literature from all vocal areas swing, be-bop, cool, hard bop, free-form, third Recording I, II is practiced including oratorio, musical theater, stream), including their effect on the popular 2 credits, 2 hours jazz, opera, and contemporary. Students music with which jazz has coexisted. An in-depth Study of the recording process and the many accompany other singers. study of the primary exponents of the various facets of the recording studio. Designed to Prerequisite: MU 232 B. styles. Audio and video materials are used to familiarize the student with conventional and provide students with a better understanding of creative recording techniques through practical MU 341 A/B jazz and its influences on the music industry. experience in the studio. Vocal Styles and Diction V, VI Prerequisites: MU 208 B, MU 209 B, and MU 213 B, 2 credits, 2 hours or permission of the instructor Continuation of MU 241 A/B. Discipline History/Humanities Prerequisite: MU 241 B.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 163 MU 415 A/B MU 424 MU 451 B Introduction to MIDI and Wagner and the Ring Cycle Psychology of Music Teaching II Electronic Technology 3 credits, 3 hours 2 credits, 2 hours 3 credits, 3 hours An in-depth study of Wagnerian opera with Emphasis on the application of learning theories Detailed, applied examination of the use of special emphasis on the four operas that to practical considerations of teaching, including microcomputers in the present-day composition constitute the Ring Cycle. Lectures and motivation, learning sequence, student-teacher environment. The course includes the uses of the discussions will cover libretti, harmonic idiom, interaction, and classroom management. computer, the language of MIDI, sequencing, FM staging and symbolism. Developmental theories, like those of Piaget and and other types of synthesis, and a survey of Open to all University students for music or Erikson, are explored with attention to selecting currently available music software packages. liberal arts credit. learning experiences in the music classroom. Students are strongly encouraged to engage in Open to majors only. independent work based on their own composi- MU 427 tional interests. No prior computer or synthesis Diaghilev and His Time experience is needed. 3 credits, 3 hours The role of Serge Diaghilev and his famous Ballet MU 416 A/B Russes in shaping the course of music and dance MIDI Synthesis I, II from c. 1909-1929. Special emphasis on the 1.5 credits, 0.75 hour works of Igor Stravinsky with reference to his Students become proficient at the skills necessary music for the stage. The interrelationships to work creatively in the MIDI studio. Current between various artists, dancers, and writers such synthesis methods and programming of original as Picasso, Cocteau, Nijinsky, Bakst, Massine, and sounds and drum machines; sampling others who were active in Paris. Works are procedures; collecting and editing original examined from the perspective of the composer, samples; MIDI studio recording processes; the use the choreographer, the set and costume designer, of sync codes. the dancers and the audience. Literature includes Prerequisite: MU 415 B. Stravinsky (Firebird, Petrushka, Rite of Spring, Les Noces, Pulcinella, Oedipus Rex), Debussy MU 417 A/B (Jeux), Ravel (Daphnis and Chloe), Satie Opera Literature (Parade), De Falla (The Three-Cornered Hat), 3 credits, 3 hours Milhaud (Le Train Bleu, La Creation du Survey of operatic styles and genres. Emphasis on Monde), Poulenc (Les Biches) and Prokofiev. the cultural and social contexts of a wide diversity Open to all University students for free elective or of operas, and upon character analysis. Intensive Liberal Arts credit. examination of complete operas. Open to all University students for free elective or MU 441 A/B liberal arts credit. Vocal Workshop Humanities 1 credit, 1 hour Exit-level course for vocal majors, which prepares MU 420 A students for the musical, career, and performance Business of Music practices they will encounter in the competitive 2 credits, 2 hours professional marketplace. Class includes lectures Examination of the legal, practical, and by guest singers, composers, opera and musical procedural problems encountered by the directors, vocal coaches, and record producers. practicing musician. Content includes the study Prerequisites: MU 331 B, MU 341 B, and MU 347 B. of music publishing, recording contracts, and copyright and intellectual property rights issues. MU 444 A/B Opera Staging III, IV MU 420 B 2 credits, 3 hours Careers in Music Continuation of MU 344 A/B. 2 credits, 2 hours Prerequisite: MU 344 B. Study in the career options available to musicians and the knowledge and craft necessary for the MU 451 A successful recognition and exploitation of these Psychology of Music Teaching I opportunities. 2 credits, 2 hours Open to majors only. Acquaints the prospective music educator with the major theories and developments associated with child development in physical, emotional, and psychological terms; and a volume of principles supported by psychological observation and investigation which appear to possess import for the teaching/learning endeavor in music. Open to majors only.

164 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Master of Arts in Teaching in MU 553 MU 556 Music and Special Children Secondary Student Teaching Music Education 2 credits, 2 hours 4 credits: off campus at school placement Readings, discussions, guest speakers, classroom Taken concurrently with MU 556 and MU 558. MU 550 observations and simulated teaching, define and Offered only during the spring semester to Advanced Conducting - Choral or examine various types of disabilities; offer a students in their final semester of study. The Instrumental background on special education practices and equivalent of six weeks experience at the 3 credits, 3 hours laws in America; develop an appreciation of the secondary level is required to receive credit for Advanced conducting techniques and needs of handicapped persons in general society, this course. Placement in schools is determined applications of these techniques to instrumental in education, and in music education; and guide by the Director of Music Education. or choral music teaching at the secondary-school music education students in developing goals and Prerequisite: Matriculation in the MAT program. level. Emphases include the selections of objectives, adapting lessons and preparing appropriate literature, style and interpretation, meaningful lesson plans for special students in MU 557 rehearsal planning and implementation, the music classroom. Participation in class Music Administration and Supervision evaluating performance outcomes, and special discussion-based on assigned reading, a 3 credits, 3 hours considerations relative to the teaching of music written/verbal presentation on a specific Course addresses issues and concerns of adminis- through the vehicle of performance. Students disability, field observations, and two written tering school music programs-program planning select either instrumental or choral emphasis. examinations provide bases for evaluating and development, budget and finance, facilities, Prerequisites: A course in Basic Conducting and student achievement. equipment, public relations, scheduling, concert matriculation in the MAT program. Prerequisite: Matriculation in the MAT program. planning, and related matters. Principles and methods of effective supervision of programs and MU 551 MU 554 A personnel constitute a second focus of the course. Education in American Society Elementary Methods and Materials Prerequisite: Matriculation in the MAT program. 3 credits, 3 hours 3 credits, 3 hours Lecture/discussion, field research, and presen- Concentrated study of methods and materials MU 558 tations address historical, philosophical, and involved in planning, implementing, and Student Teaching Seminar and contemporary issues in American education. evaluating instructional programs in elementary Major Project Students are required to complete four major music education. Lecture, workshop, and 2 credits, 2 hours papers dedicated to the aforementioned issues simulated teaching sessions. Taken concurrently with MU 555 and MU 556. and present them during seminar sessions. Prerequisite: Matriculation in the MAT program. Required of and limited to students who are Assigned readings and the keeping of a notebook student teaching. Discussion and analysis of field devoted to current events in education are MU 554 B experiences, special workshops, and field trips. required. Students are granted release time from Secondary Methods and Materials Major paper comprises a thorough status study class to complete research papers and are 3 credits, 3 hours and evaluation of the programs in which each counselled individually to facilitate their projects. Concentrated study of methods and materials student is interning. Successful completion of an Guest speakers typically include a school involved in planning, implementing, and oral exit examination is required. administrator, a counsellor/social worker, a evaluating instructional programs in secondary Prerequisite: Matriculation in the MAT program. supervisor or teacher from curricular area other music education. Lecture, workshop, and than music, and related school personnel. simulated teaching sessions. MU 559 Prerequisite: Matriculation in the MAT program. Prerequisite: Matriculation in the MAT program. Research, Evaluation, and Technology in Music Education MU 552 MU 555 3 credits, 3 hours Workshop in Vocal Methods Elementary Student Teaching Students The course has three foci: 2 credits, 1 hour in the field 1. Examination of the role of research in music Instruction and participatory experiences in voice 4 credits: off campus at school placement education, sources of research, analysis of theory, vocal production, teaching methods, and Taken concurrently with MU 556 and MU 558. research types and methods, and the criticism of instructional materials for use in elementary and Offered only during the spring semester to research in terms of internal and external secondary schools. The physiology of the voice is students in their final semester of study. The criteria. studied with reference to principles of choral equivalent of six weeks experience at the 2. Principles of effective evaluation strategies in singing. Special problems of the child and elementary level is required to receive credit for music education; standardized and teacher- adolescent voice are considered. this course. Placement in schools is determined constructed approaches to evaluating music Prerequisite: Matriculation in the MAT program. by the Director of Music Education. teaching and learning in the cognitive, Prerequisite: Matriculation in the MAT program. psychomotor, and affective domains. 3. Study of computer applications and related technological advances relative to the teaching and administration of programs in music education. Prerequisite: Matriculation in the MAT program.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 165 MU 560 A Master of Music in MU 620, MU 621 Workshop in Instrumental Methods I Professional Internship 2 credits, 2 hours Jazz Studies 1 credit, 1 hour Performing on brass and percussion instruments Provides hands-on, sitting-in experience in a and teaching brass and percussion in elementary MU 603 variety of professional settings-rehearsals, and secondary schools. The class will constitute a Graduate Project/Recital performances, meetings with producers, and in- lab ensemble for exploring methods and 3 credits, 3 hours studio projects such as recording, arranging, or materials. Full class sessions supplemented with Independent research project designed to enable project coordination. The program is developed small-group instruction, and clinics focus on the student to work in depth on a topic of special by the graduate advisor and major teacher in instrument care and repair, instrument selection, relevance applicable to performance. The conjunction with the student to select topics and developing beginning instrumental programs in graduate project is evaluated in two parts: as a experiences most relevant and beneficial to that schools, and related issues. thesis, with the expectation that the student has particular student’s education. Prerequisite: Matriculation in the MAT program. completed extensive research in a comprehensive Prerequisite: Matriculation in the MM program. manner; and as a recital, in which the student MU 560 B incorporates aspects of the project and MU 622 Workshop in Instrumental Methods II demonstrates personal instrumental growth. Graduate Arranging 2 credits, 2 hours Students give presentations throughout 2 credits, 2 hours Instruction and participatory experiences in the semester in a seminar setting, showing Emphasis is on effective writing in various performing on woodwind and string instruments their progress in research and its application contemporary styles and building on basic and teaching woodwinds and strings in to performance. arranging skills, with a focus on specific elementary and secondary schools. The class will Prerequisite: Matriculation in the MM program. arranging techniques such as writing effectively constitute a lab ensemble for exploring methods for the rhythm section, horn voicings, sax soli, and materials. Full class sessions are supple- MU 615, MU 616 and contemporary fusion styles. Arrangements mented with small-group instruction, and clinics MIDI and Music Technology are studied in score format and aurally, and then focus on instrument care and repair, instrument 2 credits, 2 hours techniques are applied to student projects. selection, developing beginning instrumental Hands-on exploration of music technology Prerequisite: Matriculation in the MM program. programs in schools, and related issues. applicable to performer, composer, and arranger, Prerequisite: Matriculation in the MAT program. with focus on fluency with MIDI sequencing MU 624 including MAX to create interactive live Composing for Performers performance situations. Students work with 2 credits, 2 hours modular digital multi-tracks and edit and create A dual emphasis-on acoustic instruments and on original sounds for synthesizers and samplers. technologies-exposes students to a variety of Hard disk recording using Pro-Tools III and professional composing situations, including Digital Performer, SMPTE and synchronization in large jazz ensembles, fusion, acoustic/electronic the studio, and composition and sound design for hybrids, films, videos, and musical theater, and film, video, and theater are also explored. jingle writing. Techniques using MIDI, MAX, and Training in notation software is an integral and electronic composition are explored. Faculty and essential aspect of the course: after the first guest composers present workshops on their own month, assignments for all graduate courses approaches. Students learn to use the recording require use of professional notation software. studio as an instrument and use notation Prerequisite: Matriculation in the MM program. software for score and part preparation. Student works are rehearsed and performed by graduate MU 617 and advanced undergraduate ensembles. Transcription and Analysis Prerequisite: Matriculation in the MM program. 3 credits, 3 hours Accurate notation, transcription fluency, and MU 625, MU 626 recognition of theoretical concepts are developed Advanced Improvisation through a regime of continual rigorous 2 credits, 2 hours assignments-all designed to further advance skills Improvisational styles, techniques and devices are in ear training and theory. Projects begin with studied. Intervallic improvisation, modern triad single-line melodies in varying instrumental improvisation, and advanced pentatonic concepts registers and progress through advanced rhythms are addressed, as well as study of the pioneers of and chord progressions to complete jazz improvisation through recorded solos that arrangements and compositions. Sources include mark turning points of improvisation. Topics bass lines, synthesizer sequences, pop recordings, include melody embellishment, improvising in jazz improvisations, and drum solos. Students phrases, silence, time-feel, pacing, syncopation, learn techniques and performance practices of chord tone soloing, dynamics, non-harmonic varying styles and periods, and then perform triads, contracting and expanding chord transcribed parts and solos. duration, tri-tonic cells, sustaining peak points, Prerequisite: Matriculation in the MM program. and unaccompanied soloing. Prerequisite: Matriculation in the MM program.

166 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 MU 627, MU 628 Ensembles MU 291 A/B Graduate Forum Major Lessons (Vocal) 1 credit, 1 hour BM and MM students participate in a range of 3 credits Seminar where various aspects of study, including ensembles selected for their diversity of style and Prerequisite: MU 191 B. musical development and accomplishment, are instrumentation, designed to present varied correlated with critical, aesthetic, and historical musical experiences. Each ensemble is directed MU 292 A/B components. Additionally, artistic and profes- by a faculty artist expert in the selected idiom. Major Lessons (Instrumental) sional issues are researched and discussed, and 3 credits guest artists and professionals conduct master MU 761 Prerequisite: MU 192 B. classes and workshops. A module on research Handbell Choir techniques is included. 1 credit MU 293 A/B Prerequisite: Matriculation in the MM program. Permission of instructor is required. Major Lessons (Composition) 3 credits MU 762 Prerequisite: MU 193 B. Chamber Singers Ensemble 1 credit MU 391 A/B Permission of instructor is required. Major Lessons (Vocal) 3 credits MU 764 Prerequisite: MU 291 B. Small or Speciality Jazz Ensemble 1 credit MU 392 A/B Permission of instructor is required. Major Lessons (Instrumental) Required of all MM in Jazz Studies majors. 3 credits Prerequisite: MU 292 B. MU 765 New Music Ensemble MU 393 A/B 1 credit Major Lessons (Composition) Permission of instructor is required. 3 credits Prerequisite: MU 293 B. MU 772 UArts Course Chorus 1 credit MU 491 A/B Permission of instructor is required. Major Lessons (Vocal) 3 credits MU 774 Prerequisite: MU 391 B. Jazz Band - Big Band/Fusion Ensemble 1 credit MU 492 A/B Permission of instructor is required. Major Lessons (Instrumental) 3 credits Private Lessons Prerequisite: MU 392 B. MU 493 A/B The following courses are open to music Major Lessons (Composition) majors only. 3 credits Prerequisite: MU 393 B. MU 191 A/B Major Lessons (Vocal) MU 592 A/B 3 credits Major Lessons (Graduate) 3 credits MU 192 A/B Prerequisite: Admission to the MM program. Major Lessons (Instrumental) 3 credits

MU 193 A/B Major Lessons (Composition) 3 credits

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 167 PF 203 Media Arts Portfolio Documentation 3 credits, 6 hours Expansion of the skills necessary to compile a Photography/Film/ coherent visual portfolio, the development of an Video/Animation understanding of the role of photography as a research tool, and the acquisition of the skills PF 125 needed to produce high-quality documentation of Freshman Photography two- and three-dimensional artwork. Instruction 1.5 credits, 3 hours addresses a range of creative lighting and An introduction to fundamental techniques used shooting techniques as well as the problems posed in black-and-white photography, including by lighting in a non-studio setting. Students deal camera operation, developing, and printing. with the photographic problems posed by Lectures and presentations on the technical variations in scale and the differing materials of aspects of photography as well as the creative and glass, wood, clay, paint, metals, and fibers. Each conceptual aspects related to the field. student is required to present a slide portfolio of Demonstrations on the production of photograms his or her artwork describing artistic process. and pinhole images, the use of the copy stand Prerequisite: FP 100 B, or FP 120 B, or by and slide film, and a brief description of different permission of the department. camera formats. PF 209 PF 127 Photography for Illustrators Freshman Animation 3 credits, 6 hours 1.5 credits, 3 hours Introduction to basic concepts and techniques of An introduction to the basics of animation, with black-and-white photography, including camera an emphasis on the development of storytelling operation, developing, and printing, as well as capabilities. Inventive studio projects explore photographic digital imaging. Emphasis is placed production techniques used both in experimental on film selection and lighting for both the studio and character animation. In addition, an and environmental shooting. The fundamentals historical overview is provided through film of PhotoShop are employed for digital image screenings and group discussion. manipulation. Lectures and projects are designed to provide the tools necessary for illustrators who PF 128 wish to use photography in their work. Freshman Film Prerequisite: FP 100 B, or FP 120 B, or by 1.5 credits, 3 hours permission of the department. A short survey of film and video production, with an emphasis on the discussion of the artistic PF 210 A possibilities inherent in this medium. Topics will Introduction to Film I cover elements of narrative, the poetics of film 3 credits, 6 hours (early historical experiments, dream form, and A hands-on introduction to the principles and visionary film), the documentary idiom techniques of media production: shooting 16mm (propaganda, social analysis, and political film, developing a sensitivity to the nuances of activism), video as an art form (technology, fine movement, understanding lighting and exposure, art video, and performance art), and kinetic composition, and the logic of editing. A survey on design in the commercial sector (text and moving the historical and aesthetic development of the image design, and kinetic structure in television medium in order to expand the students’ sense of commercials). Students write two short papers the possibilities of media. and prepare a treatment for a work in film Prerequisite: FP 120 B, or by permission of the or video. Studio assignments concentrate department. on storyboard development and group shooting projects. PF 210 B Introduction to Film II 3 credits, 6 hours A continuation of PF 210 A with an emphasis on timing, staging, and blocking exercises to develop a feel for direction, experimentation with multiple-image techniques, the investigation of relationships between sound and image, and the production of a short film or video that integrates these explorations creatively. Much of the coursework is done in video. Prerequisite: PF 210 A or permission of the department.

168 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 PF 211 A PF 217 PF 310 A/B Introduction to Photography I Color Concepts Junior Cinema Production I, II 3 credits, 6 hours 3 credits, 6 hours 3 credits, 6 hours Introduction to basic concepts, processes, and Introduction to methods of color shooting and Production techniques in actual filming techniques of black-and-white photography, printing leading to an exploration of the situations: starting from the script through including camera operation, exposure, darkroom technical and creative possibilities of color in budgeting, script breakdown, camera work, and procedures, lighting, and their controlled photography. Processes covered include editing, to the finished release print. Students are applications. Emphasis on the normative negative and transparency films, filtration, expected to execute specific assignments in standard of photographic rendering. chemical printing, and digital color controls lighting, editing, and sound, and are introduced Required for admission to all other Photography with PhotoShop. to synch-sound procedures. courses. Prerequisite: FP 120 B or by portfolio review. Prerequisites: PF 210 B for PF 310 A. Prerequisite: FP 100 B, or FP 120 B, or by PF 310 A for PF 310 B. permission of the department. PF 218 Creative Sound PF 311 A/B PF 211 B 3 credits, 6 hours Junior Photography Workshop Introduction to Photography II Exploration of the creative use of sound as a 3 credits, 6 hours 3 credits, 6 hours primary artistic medium. Topics include sound Exploration of photographic imagery through a While consolidating the student’s control of the and hearing, microphones and recording, tape series of problems aimed at personal vision and medium, this course introduces the student to a editing and manipulation, sound aesthetics and creative growth. departure from normative photographic production styles, voice and narration, signal Prerequisite: PF 211 B for PF 311 A. rendering, techniques, and modes of expression processing and sound manipulation, and PF 311 A for PF 311 B. and form. Strong emphasis on manipulation of production formats. Through audio production materials, including traditional photographic projects, students gain insights into new ways of PF 312 A/B methods as well as an introduction to using sound, both on its own and with other Junior Animation Workshop I, II computer-manipulation. media. 3 credits, 6 hours Prerequisite: PF 211 A, or PF 209, or PF 220, or by Prerequisite: FP 120 B or permission A series of advanced drawn-animation exercises presentation of portfolio. of the department. culminating in a one-minute animated film. A short, additional film is produced during the PF 212 A PF 219 second semester. Aspects of career concerns in Introduction to Animation I Character Layout and Design animation are introduced: grant writing, 3 credits, 6 hours 3 credits, 6 hours resumés, budgets, and the process of entering film Through a series of exercises concentrating on Designing characters, backgrounds, pans, and festivals. The student also receives detailed timing and movement, the student acquires a creative camera moves for the animated scene. instruction on operating the Oxberry camera. basic understanding of drawn animation. Sound Design styles and techniques are explored for Prerequisite: PF 212 B for PF 312 A. is introduced for the final project, which consists their potential in developing a wide range of PF 312 A for PF 312 B. of a short, animated film shot on 16mm using character types, traits, moods, personalities, and the Oxberry camera. attitudes. Students learn to lay out scenes around PF 313 A/B Prerequisites: FP 100 A or FP 120 A. character action, work with camera fields, deal Basic Photography Studio I, II with issues of composition and perspective, and to 3 credits, 6 hours PF 212 B create moods through layout. A final project Familiarizes the student with the tools, Introduction to Animation II requires the development of an “Animator’s techniques, and language of studio photography. 3 credits, 6 hours Bible,” a production workbook, for the student’s Entails extensive use of the 4” x 5” view camera. Continuing with issues of Animation Drawing I, personal film portfolio. The first semester deals exclusively with black- the student is introduced to under-the-camera Prerequisite: PF 212 A or by portfolio review. and-white materials-sheet film exposure, hand animation using varied mediums such as processing, and printing large-format negatives. cutouts, sand, and painting-on-glass. All projects PF 220 The second covers the introduction of color are shot on 16mm using the Bolex camera. The Introduction to Documentary transparency films and strobe lighting. final project may consist of any medium selected Photography Prerequisite: PF 211 B for PF 313 A. by the student. A lab fee is required for this 3 credits, 6 hours PF 313 A for PF 313 B. course in order to offset the cost of film stock Introduces students to documentary photography and lab expenses. as it exists in the digital age. Topics covered Prerequisite: PF 212 A. include the history of documentary photography, 35mm camera operation, digital camera PF 216 operation, and the ethical, legal, and strategic Computer Animation I issues of contemporary journalism. Students 3 credits, 6 hours create documentary photographic projects Introductory course in computer animation. utilizing both traditional and digital Emphasis is placed upon developing the student’s photographic techniques. expertise with computer hardware, software tools, Prerequisite: FP 120 B or MM110. and the video utilized in creating electronic images that move. Prerequisite: FP 100 B, or FP 120 B, or by permission of the department.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 169 PF 315 PF 323 PF 328 Digital Photography Workshop Selected Topics in Photography Selected Topics in Animation 3 credits, 6 hours 3 credits, 6 hours 3 credits, 6 hours Concentrates on the production of creative digital Study of one or more various media, methods, or Exploration of media used in animation. The photography; students are encouraged to problems in still photography to be offered content of each course offering will reflect the experiment with new tools and techniques. Film according to the instructor’s interests and professional interests of the instructor. Topics and print scanners, CD-ROM discs, and digital students’ requests. Topics include: portraiture, include clay and puppet animation, cameras are used to produce images that are documentary photography, digital imaging, color character layout and design, and narrative critiqued on the basis of both technical manipulation, photographic illustration, and storytelling development. proficiency and aesthetic accomplishment. photo-based mixed media. Prerequisite: PF 212 B, or permission Portfolios are printed on digital output machines, Prerequisite: PF 211 A or by portfolio review. of the department. silver-based photo materials, and four-color offset. Frequent readings, lectures, and site visits expand PF 324 PF 330 the on-going studio experience. Film Forum: Selected Topics Clay and Puppet Animation Prerequisite: PF 211 B, or PF 217, or 3 credits, 6 hours 3 credits, 6 hours by portfolio review. Concentrated study of a particular area of film, The technique of animating handmade three- video, or animation. Courses deal with specific dimensional characters. Topics include puppet PF 316 issues and have included: film theory; seminars construction (clay and mixed media), set design Computer Animation II in sound; media, theater, and performance; and construction, and lighting. The history of 3 credits, 6 hours history of video art; and history of animation. puppet animation is also studied through film Advanced course in computer animation, which Prerequisite: PF 210 B, or PF 212 B, or permission screenings and lectures, with a special builds upon the student’s personal exploration of of the department. emphasis on European filmmakers and the electronic multimedia environment, nonverbal storytelling. established in PF 216. An integration of digital PF 325 Prerequisite: PF 212 A. audio, video, two- and three-dimensional Sound Design and Technology software tools is emphasized. 3 credits, 6 hours PF 331 Prerequisite: PF 216, or PF 322, or MM 222, or A hands-on exploration of various technical Image and Performance permission of the department. materials and procedures that complement the 3 credits, 6 hours animator’s production skills, including video For artists and performers of all disciplines. An PF 320 editing and post-production technologies, analog intensive cross-disciplinary workshop in which Film Sound and digital sound mixing and processing, film the students create their own short performance 3 credits, 6 hours editing and track preparation, Oxberry Animation works using fusions of video, animation, dance, Students in this course explore creative sound Stand use, and computer image processing. motion, and sound to explore the interactions design in finished films with instruction and Prerequisite: PF 212 B. between visual media and the performing arts. practice in the use of sound recording equipment, Prerequisite: Sophomore standing in any sound transfers, building and editing multiple PF 326 major department. synchronous sound tracks, and preparing for the Advanced 3D Computer Animation sound mix. Students work in groups to create and 3 credits, 6 hours PF 410 A/B complete a five minute sync sound film that An exploration of the aesthetic and technical Senior Cinema Production I, II incorporates the concept of “sound design.” possibilities of using 2D compositing and motion 3 credits, 6 hours Prerequisite: PF 210 B. software and 3D modeling and animation Each student produces an independent software as a means of creating character and thesis film. PF 322 graphic animation. Prerequisite: PF 310 B for PF 410 A. Media Technology Prerequisite: PF 316 or by permission PF 410 A for PF 410 B. 3 credits, 6 hours of department. Hands-on exploration of some of the technical PF 411 A/B materials and procedures that complement the PF 327 Senior Photography Workshop media artist’s production skills: video editing and Moving Art: Animation Theory and 3 credits, 6 hours post-production technologies, sound mixing and Production Students work on long-term individual projects processing, basic electronics, optical printing, 3 credits, 6 hours or shorter-term problems to develop technical, computer sound editing, and computer image The aesthetics of animation and how the design aesthetic, and conceptual mastery of the processing. Field trips to high-end facilities and structural elements of frame by frame medium. The course culminates in a group supplement classroom work. Students are filmmaking differ from traditional cinema. thesis exhibition and production of an expected to work with Dance and Music majors in Analytical, theoretical, production, and historical individual portfolio. the completion of a final project. approaches will be brought to bear in the inquiry. Prerequisite: PF 311 B, or PF 313 B for Prerequisite: PF 210 B. Prerequisite: PF 212 B or by permission PF 411 A. PF 411 A for PF 411 B. of department.

170 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 PF 412 A/B PF 499 Senior Animation Workshop Internship Printmaking/ 3 credits, 6 hours 3 credits, 90 hours/semester Book Arts Directed independent production of a short film Internship program in which the student is project in an idiom of the student’s choosing; placed in one of several professional situations. additional production of a VHS video portfolio Placements in photography may include assisting All Printmaking/Book Arts classes are open composed of several short animated sequences in professional studios, practice in biomedical on a studio elective basis if the prereq- that each student will be able to use when photography laboratories, and curatorial uisites are met and space is available. applying for work as either a free-lance animator positions in galleries, among others. Placements or for employment with an animation company. in film and animation are sponsored by local PR 102 Prerequisite: PF 312 B for PF 412 A. independent production houses and television Freshman Screenprinting PF 412 A for PF 412 B. stations, design firms, and free-lance animation 1.5 credits, 3 hours artists; students of film may assist in location An introduction and investigation of various PF 413 shooting, set production, editing, casting and stencil methods, based on three primary types of Professional Practices scripting, and a myriad of other practical tasks. screen stencils-cut paper, blockout/resist, and 3 credits, 3 hours Prerequisite: PF 211 B (for Photo internships); photo emulsion, using water-based inks on both Study of the practice of professional photography, or PF 210 B (for Film/Video internships); paper and fabric. Emphasis on the acquisition of with attention to various career opportunities, or PF 212 B (for Animation internships). personal expression and technical skills, within portfolio presentation, business practices, profes- the capabilities of screenprinted opaque and sional ethics, photographic law, and personal transparent colors, and the use of editions in objectives. A variety of professional guests visit collaborative class image exchange. Additionally, the course. the various media unique to Printmaking are Prerequisite: PF 311 A or PF 313 A. shown and discussed, to introduce the beginning student to the wide possibilities of expression PF 415 A inherent in Printmaking. Critical Issues in Photography 3 credits, 6 hours PR 201 Analysis of contemporary criticism in Relief/Monotype photography. Extensive reading and writing 3 credits, 6 hours with attention to current showings and Introduction to the graphic and expressive exhibitions are required. qualities of woodcut, linoleum, and collograph Prerequisite: PF 311 B or by permission of the processes printed in monochrome and color. department. Monoprinting ideas from direct drawing and painting on plexiglass and metal plate are PF 415 B also explored. Senior Photography Seminar 3 credits, 6 hours PR 202 Analysis of contemporary criticism in Screenprinting photography. Extensive reading and writing 1.5 credits, 3 hours with attention to current showings and Introduction and investigation of stencil methods exhibitions are required. in screenprinting with waterbased inks. Idea Prerequisite: PF 415 A or by permission of development and acquisition of visual skills in department. expression in color, line, and form through drawn, photographic, or computer-generated PF 424 stencil processes. Time: A Multidisciplinary Seminar 3 credits, 3 hours PR 204 The concept of time considered from a multidisci- Screenprinting/Etching plinary perspective, drawing on readings in 3 credits, 6 hours philosophy, literature, psychology, sociology, and The graphic qualities of expression in screen- film theory. Relevant works in film and video are printing and etching/intaglio are presented screened. Students are responsible for a final term through historic and contemporary examples and paper that interrelates two or more of the demonstration of the methods, which convey readings with one of the screened works. ideas in these two media. Various stencil processes Prerequisite: PF 310 B or PF 312 B. from direct-drawn to photographic and computer-generated are explored in screen- printing with waterbased opaque and transparent inks. Handwork on the metal plate includes drawn drypoint, etching, and tonal processes. Emphasis is placed on the understanding of the qualities of these methods and development of personal ideas through their combination.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 171 PR 211 PR 300 PR 322 Etching/Monotype Lithography Advanced Non-silver Processes 1.5 credits, 3 hours 3 credits, 6 hours 1.5 or 3 credits, 3 or 6 hours Individual expression with the graphic qualities All of the basic techniques of drawing, image Continued development of image and skills in of etched and directly drawn ideas created on the making, and printing that are necessary to combinations of non-silver processes. metal plate by hand or acid etching in color and produce hand-pulled black and white lithographs Prerequisite: PR 222. monochrome. Processes also include printing from lithographic stones and plates will be from drawing and painting directly on experienced. An emphasis will be placed on visual PR 326 plexiglass and metal plate with oil and expression and development of ideas through Introduction to Offset Lithography waterbased materials. group discussions and critiques. 1.5 or 3 credits, 3 or 6 hours Develops skills in image preparation and printing PR 222 PR 301 techniques using offset lithography. An emphasis Non-silver Processes Printmaking Workshop placed on personal imagery. Hand-drawn, 1.5 or 3 credits, 3 or 6 hours 1.5 credits, 3 hours photographic, and digital methods of image Students are introduced to the basic techniques of A continuation of the development of skills in all making are investigated. non-silver by building images in color with layers media such as relief, intaglio, and screenprinting of brushed-on light-sensitive emulsion. Light- by concentrating on one or a combination of PR 327 resists can range from photogram objects to them including non-printmaking methods. Advanced Offset Lithography drawings and paintings to film or paper Investigation of the combination of media, 1.5 or 3 credits, 3 or 6 hours negatives. Processes covered are VanDyke including three-dimensional forms and A continued investigation of offset lithography. brown, cyanotype, gum bichromate, and unorthodox uses of materials and techniques, Prerequisite: PR 326. palladium printing. with an emphasis on integration is included. Prerequisites: PR 201 and PR 204. PR 333 PR 223 Attitudes and Strategies: Printmaking Bookbinding Methods PR 306 3 credits, 6 hours 1.5 credits, 3 hours Print Study Seminar I A workshop class familiarizing the student with 1.5 credits, 3 hours, alternate weeks PR 400 the characteristics and handling qualities of Students meet at the Philadelphia Museum of Art Advanced Workshop materials used in various book structures. Some Print Study Room to discuss and study original 3 credits, 6 hours of the structures covered include pamphlet prints and rare books from the museum Development of ideas, images, and techniques binding, multi-signature books, clamshell boxes, collection. Masters of the 15th through the 18th while establishing direction and personal original portfolios, accordion structures, and oriental centuries are introduced and researched. expression. The workshop atmosphere permits a binding. Emphasis will be placed upon both the Printmaking processes that parallel the material comfortable handling of all procedures and use of archivally sound materials and the use of covered are demonstrated and practiced in the printmaking processes. Students are encouraged these structures as vehicles for the students’ printmaking studios. to be involved with adjacent expressive means creative expression. such as drawing, painting, sculpture, PR 307 photography, and crafts. PR 224 Book Arts: Concept and Structure Prerequisites: PR 201, PR 204, PR 300, Book Arts: Structures 3 credits, 6 hours and FA 333. 1.5 credits, 3 hours An opportunity to explore the integration of type Historical book forms serve as models and as and relief image in unique and editioned book PR 406 departure points for innovative new work. structures. Hands-on experience in dealing with Print Study Seminar II Students are made familiar with traditional composition (metal) type and computer 1.5 credits, 3 hours, alternate weeks binding techniques, encouraged to explore new typesetting is on an intermediate level. Methods of The historical and conceptual context of prints, applications, and to experiment by combining relief printing are explored and cultivated. Wood portfolios, and book arts of the 19th and 20th images and text into unique book structures. engraving, photopolymer relief, color reduction centuries is studied at the Philadelphia Museum Some of the structures presented are signature printing, and related traditional and contem- of Art. Written and printed expression of the ideas binding, Japanese binding, accordion structure, porary methods of multiple image making are and processes involved are integrated into this pop-up structures, and tunnel books. pursued. Special emphasis on development of a course of study. May also serve as a follow-up course for personal visual language. students who have completed PR 223 Bookbinding Methods. PR 308 Advanced Lithography Workshop 3 credits, 6 hours Opportunity for further investigation and development of lithographic image making, including photographic techniques and multi- color printing. Editioned prints of greater scope and complexity are undertaken, consistent with the student’s interest and experience. Prerequisite: PR 300.

172 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 PR 412 MFA Book Arts/ PR 623 A/B Advanced Printmaking Media: Bookbinding Digital Applications Printmaking 1.5 credits, 3 hours 3 credits, 6 hours Basic book structures are explored in the first Continued investigation into printmaking PR 600 A semester with emphasis on sound conservation processes on an advanced level in terms of Colloquium: Text and Image techniques and good craftsmanship. In the technical understanding and the development of 1.5 credits, 3 hours second semester historic book structures imagery. Emphasis on the integration of idea and An understanding of language and verbal serve as models and departure points for process and the incorporation of computer- constructs enables the individual to explore the innovative bindings. generated material to be extended through the relationship between text and imagery. Emphasis mark-making qualities, size extension, and color is placed on the individual’s personal vision PR 626 overlays possible through screenprinting, etching, throughout the program’s course of study. Offset Lithography relief, and lithography. 1.5 credits, 3 hours Prerequisite: Introductory class in one or more PR 600 B Offers the student hands-on experience with offset printmaking processes. Colloquium: History of the Book lithography as an artist’s medium. The primary 1.5 credits, 3 hours focus is on the creation of personal imagery PR 420 Hands-on study of rare books and manuscripts (photographic and/or hand drawn) for prints and Thesis Workshop from antiquity to the present with discussions books. The course enables students to take 3 credits, 6 hours dealing with their structural, historical, and advantage of state-of-the-art production methods Develops a body of work in preparation for artistic significance. The class meets at the and develop skills in photomechanical processes, portfolio and exhibition presentation. An Library Company of Philadelphia with field trips platemaking, and color printing. emphasis is placed in the development of ideas to local special collections. and content of each student’s work supported by a Prerequisite: PR 600 A. PR 700 A/B series of individual and group critiques by faculty Colloquium: Professional Practices and visiting artists. The student is expected to PR 610 A 01 1.5 credits, 3 hours, alternate weeks participate in group exhibitions as well as a solo Book Arts Studio: Color/Mark Professional practices and issues related to the exhibition and to present a professional portfolio 3 credits fields of printmaking, book, and publication arts of work. Provides the student with an opportunity to are explored through discussions, lectures, and Prerequisites: PR 201, PR 204, PR 300, explore a broad range of image-making field trips in the first semester. In the second and FA 333. approaches. Emphasis on mark making with a semester, the focus is on the completion of the number of instruments and media, the use of individual’s written thesis requirements. Each PR 421 color as a structural basis for composition, thesis candidate prepares a resumé, an artist’s Collaborative Printmaking and the compositional and expressive use statement, and presents a slide lecture to be 1.5 or 3 credits, on tutorial basis, 3 or 6 hours of letter forms. placed on record in the University Library. Involvement in the business, technology, and Prerequisite: PR 600 B. experience of printing limited editions for faculty, PR 610 A, B student, or professional artist’s by guiding the Book Arts Studio PR 710 A/B artist in preparation of the idea, then proofing A-02, 4.5 credits, 9 hours MFA Thesis Studio and printing the edition. Advanced students B-01/02, 3 credits, 6 hours 3 credits only; demonstration of mark-making and A series of studio courses exploring conceptual A continuation of book and printmaking projects editioning abilities. concerns intrinsic to the creation of a book. The is combined with related visual concerns in student learns to incorporate calligraphic, preparation for the required MFA Thesis PR 425 handset or computer-generated letterforms with Exhibition to be presented during the final Book Production images in unique and editioned books. Emphasis semester. The MFA candidate develops an 1.5 or 3 credits, 3 or 6 hours on proficiency in process and the creation of a individual course of study and defines the projects The development and production of a printed personal visual language. Focus on achieving a in a written contract. A thesis committee to advise book or portfolio of works: design and formatting strong foundation in technical and conceptual the student through the thesis exhibition process of a publication including investigation of skills. Frequent faculty and visiting artist critiques is chosen during the fall semester. The evolution sequence, page design, and binding possibilities; encourage and evolution in ideas and imagery. of ideas and imagery is encouraged through hands-on experience in the preparation of images frequent faculty and visiting artist critiques. for press production, pre-press techniques, and PR 611 Prerequisite: PR 610 B. assisting the Master Printer in the printing. All Non-Toxic Printmaking Methods work is produced in the Borowsky Center for 3 credits, 6 hours PR 723 A/B Publication Arts, the University’s state of the art A range of printmaking media using non-toxic Bookbinding offset lithography facility. Students may choose to processes and materials. Designed for graduate 1.5 credits, 3 hours collaborate on projects or work independently. students who are experienced artists with an Continued investigation of the book structure at Prerequisite: Recommendation from the understanding of their personal imagery and an advanced technical level. Individual attention participant’s major department chair is required. approach to visual expression, but who are not to developing creative solutions to support book necessarily proficient printmakers. Students will content will start in the first semester. Through be offered a number of solutions to working in critiques and individual instruction the final the studio, solvent and acid free. Topics covered semester is devoted to developing structures that will include intaglio (using water process support thesis work. photographic plates) drypoint, relief, collograph, Prerequisite: PR 623 B. monotype, and screenprinting.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 173 PT 219 PT 236 Painting/Drawing Watercolor Figure Composition 1.5 credits, 3 hours 1.5 or 3 credits, 3 or 6 hours PT 101 A course in which the preferred medium is A drawing course emphasizing the development Freshman Painting transparent watercolor, the particular character- of images using multiple figure arrangements. 1.5 credits, 3 hours istics of which are explored. Both perceptual and Assignments are designed to foster awareness of Primarily an introduction to the decisions, non-perceptual approaches introduced. the significance of poses and groupings relative to general methods, and problems of painting. formal design virtues, narrative and symbolism. Students are introduced to oil painting with both PT 225 still life and figurative subject matter. Technical Figure Drawing PT 237 instruction related to the broad image 1.5 or 3 credits, 3 or 6 hours Representational Painting possibilities in painting. Students work from Students work from the clothed and nude model 3 credits, 6 hours setups, models and landscapes. and be introduced to the range of approaches A studio course addressing traditional and relevant to the act of direct observation. This contemporary concepts and approaches to PT 124 course encourages the students to clarify what representational images. Special emphasis is on Freshman Drawing they are looking for when they are drawing the the relation between content and form. 1.5 credits, 3 hours human body. Proportion, anatomy, psychology, Exploration in color, space, texture, shape, Designed to increase the beginning student’s posture, kinetics, weight, volume, tactility, and composition, and style will be evaluated in the awareness of drawing as an expressive pictorial environment, are a few of the considerations that context of intention, aspects of recognition, and form. It is meant to enrich rather than duplicate have an impact on the diverse ways in which precedent. Paintings will be generated out of the Foundation Drawing experience. Included in figure drawings can be made. direct observation of nature and human models the course of study is an investigative perceiving as well as from the students’ own resources. and representing of objects and scenes, mark- PT 226 Projects may focus on contemporary prototypes making as a conveyor of feelings, sensations, and Abstract Drawing (paintings since 1945), specific domains such as ideas, and compositional and stylistic strategies 3 credits, 6 hours American Portraiture, or paradigms from the that present meaning. The emphasis is always on An assignment/critique format, which examines entire lineage of East/West traditions of represen- the awareness of options for expression rather the nature of abstraction in the context of tational art. than on prescribed systems of drawing. drawing disciplines. Options in media, tools, methods, and formats considered in relation to PT 238 PT 202 A/B the purposes of a given project. In general, Abstract Painting Sophomore Painting abstraction calls for an appreciation of the 3 credits, 6 hours 3 credits, 6 hours intrinsic properties of the materials used in a The genesis of abstraction can be nature, idea, Studio work introduces the student to the domain work, the formal characteristics of tool-markings, emotion. An abstract painting is one in which the of painting through projects that cover not only and the significance of pictorial structures. pictorial form is primarily a product of invention the basic elements of form, color, and technique, and imagination. It may or may not reflect a but also the basic conceptual challenges unique PT 227 reality outside itself. Assignments investigate a to painting. Students are exposed to the origins Figure Painting range of concepts, sources, and procedures. and purposes of painting and the range of 3 credits, 6 hours possibilities offered by both traditional and Painting projects that develop awareness of the PT 240 contemporary approaches. many issues to be considered in creating forms Materials and Techniques that represent the human being. Working from 1.5 credits, 3 hours PT 211 live models as well as from other visual sources, The materials and processes used in making Painting Studio including those of photography and fine-art pictorial works of art. Information on the 1.5 credits, 3 hours masterworks, students investigate the variety of appropriate use of materials, such as pigments A general study of painting subjects, such as the conceptual and stylistic possibilities in depicting and painting supports, is given and explored still life, landscape, the city, the human figure the human figure. Concerns for gesture, weight, by the students. This course delves into and its environs. This course often includes a color, proportion, scale, apparel, portraiture, materials and processes to create aesthetically subtitle, such as Figure in the Landscape, which space and light, composition and narration, can significant surfaces. defines the thematic basis for the studio projects. all be a part of the circumstances in which the human figure is the center of interest. PT 241 PT 213 Color Studies Anatomy and the Figure PT 233 1.5 credits, 3 hours 1.5 credits, 3 hours Landscape Painting Studio work and independent projects consider An opportunity to investigate the basic visual 3 credits, 6 hours the purposes and effects of color organization, structure of the human figure-both skeletal and Painting the traditional subjects of the landscape: color perception, and color theory. Color is muscular. During the second semester, the land, city and country, water and sky, light and approached as emotive, symbolic, descriptive, human head is studied as well as basic positions air. An examination of how these subjects can be and structural. of the figure with their context. seen and interpreted.

174 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 PT 245 PT 402 A MFA in Painting Figure Drawing and Modeling Senior Painting 1.5 credits, 3 hours 3 credits, 6 hours Each summer session will begins with a Based on the concept that drawing and modeling Promotes the individual’s development of detailed review of the student’s previous are mutually supportive. Students draw from the identity as a painter. It simulates the studio- model using a variety of materials and based condition that the painter is likely to work, assessing progress, addressing approaches. They model in clay. Emphasis maintain as a professional artist. The painter is problems, and planning the summer’s is placed on the exploration of intentions the architect of the place where he or she will work. Ongoing individual meetings with and concepts and the development of initiate short or long term projects as needed. the studio mentor are augmented by visual perception. Within this context, the senior painting major group critiques at the beginning, middle, consolidates and develops issues that have and end of the summer session and by PT 264 emerged from coursework and study of prior occasional group or individual critiques Mixed Media and Painting and contemporary art. with visiting artists. Each summer’s course 3 credits, 6 hours One-on-one weekly critiques from faculty, concludes with planning for work to be A diversity of drawing and painting media and monthly senior group critique, and periodic continued on an independent study basis methods, including collage and construction are critiques from visiting artists insure the student during the academic year. Independent explored, discovered, invented, and intermixed diverse responses to recently developed work. The studio work is assessed at weekend in order to develop a versatile repertoire of senior painting faculty may assign specific critiques held at periodic intervals and at studio skills. projects if the student’s initiative requires the end of the fall and spring semesters. broadening or focus. PT 269 Prerequisites: PT 302 B and FA 333 B. The following courses are open to students in the Collage: The Constructed Image summer MFA program only. 3 credits, 6 hours PT 402 B Studio projects are assigned which promote the Senior Painting PT 610 development of images through the aggregation 3 credits, 6 hours Major Studio I of fragments. Collage as a principle of Continuing the structure of PT 402 A, the 6 credits, 10 hours construction re-examines compositional notions painting major formulates a senior thesis project. Evaluation of the student’s artistic involvement, of unity and harmony and can involve the Working with senior faculty who read and projecting and testing options for the direction of interaction of diverse and incongruous materials, critique early drafts, the student develops a the student’s graduate work. methods, styles, and/or images. formal, written thesis and a body of artwork be Open to SUMFA students only. presented at the end of the term in a senior PT 302 A/B thesis panel and exhibition. This panel is PT 611 Junior Painting comprised of studio faculty, liberal arts faculty, Major Studio II 3 credits, 6 hours and student peers. 6 credits, 10 hours Students maintain designated spaces in the Further exploration of the options, with increased Junior Studio where they can develop a more PT 451 awareness of theoretical issues and personal professional working routine. They are expected Advanced Painting Projects vision. Greater focus in the student’s work, with a to show increasing personal initiative and 1.5 credits, 3 hours view to completing the repertoire of skills and direction. Regular critiques on both an individual Closely tied to PT 402 B by supporting the expression in the medium needed to undertake a and group basis connect the student to the values working and thinking processes associated with thesis project. of the past and the present, stimulate interest in thesis development. Projects and critiques Prerequisite: PT 610. the major questions of our time, and provide entertain options in the formats, methods, and resources for progress. This course embraces lexicography of artworks with concern for PT 710 plurality of ideas about painting and, linked with questions of coherency, scope, intelligibility, Major Studio III the goals of FA 333, advocates a spirit of experi- appropriateness, ambition, and integrity. Students 6 credits, 10 hours mentation and research. are expected to test those assumptions, which Planning and initiation of a sustained body of limit progress and personal growth. mature work to be presented in a thesis exhibition PT 334 during the following summer. Junior Drawing Prerequisite: PT 611. An advanced studio in drawing extending knowledge, experience and authority in drawing See complete course listing as a form-making act in the painting process and under Master of Fine Arts. as a form of expression in its own right. Students will be guided through various aspects of the uses of pictorial elements (line, tonality, surface, etc.) in the making of images that express content and meaning. References to contemporary and historical sources will be investigated.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 175 SC 260 A/B SC 431, SC 432 Sculpture Structure of the Figure Advanced Figure Modeling 3 credits, 6 hours 3 credits, 6 hours All Sculpture classes are open on a studio Anatomical and morphological analysis of male Provides an atelier to continue figure modeling elective basis if prerequisites are met and and female bodies for artists through a three- on increasingly advanced levels, and a context to space is available. dimensional constructional method. Proportions, help formulate a personal figurative sculptural anatomic structure, surface topology, morpho- idiom. Works are sculpted at various scales and SC 101 logical variation, and the body in movement are independent projects are undertaken in consul- Freshman Sculpture covered. Directed toward two-dimensional artists tation with the faculty. Critiques involving the 1.5 credits, 3 hours as well as sculptors. The means by which the meaning and sculptural significance of the works An introduction to sculptural thinking and body’s salient features can be recognized from are an integral part of the ongoing class activity. methods using a variety of materials and any viewpoint in any pose is stressed. Prerequisites: FA 223 B or by permission. processes, including modeling and fabrication. May be repeated for credit. Form-making options are undertaken that are SC 321 especially suited to acquaint beginning students Carving SC 433 with the diversity of sculptural activity. 1.5 credits, 3 hours Projects in Figure Modeling Introduces the student to stone carving, one of the 3 credits, 6 hours SC 201, SC 202 basic methods of forming sculpture. Students Allows the student to move beyond modeling the Sculpture I learn to prepare, maintain, and use the tools of figure as an academic study. Exploration using 3 credits, 6 hours the carver. They are introduced to the character- the figure in expressive contexts is emphasized. Emphasizes the fundamental and formal aspects istics of suitable carving materials. Emphasis on Prerequisites: SC 202 and FA 223 B. of sculpture. Projects are assigned to help the the exploration of the formal and expressive May be repeated for credit. student experience and understand the unique potential of carved stone. expressive values of mass, space, plane, line, May be repeated for credit. SC 441, SC 442 texture, along with such visual phenomena as Advanced Projects balance, rhythm, scale, movement, and transfor- SC 333 3 credits, 6 hours mation. Introduces the student to a variety of Attitudes and Strategies: Sculpture Provides a studio context where maturing, self- materials and techniques. Assigned projects, 3 credits, 6 hours initiated areas of concentration in sculpture can group critiques and slide lectures are standard be developed to fruition on an advanced level. parts of this course. SC 401, SC 402 Whatever the direction, a critical emphasis is Sculpture III placed through both open and devised SC 220 A/B 3 credits, 6 hours assignments on how materials and forms Molding and Casting Terms like site-specific, monumental, genre, compatible to personal statements are found. 1.5 credits, 3 hours narrative, emblematic, environmental, etc., Prerequisites: SC 241 and SC 242, or by permission. Covers processes and techniques utilizing plaster, reflect the cluster of types of sculptural imagery. May be repeated for credit. rubber, plastics, clays, and wax for making hard This studio course is concerned with the and flexible molds and for casting sculpture in ideational and technical issues raised by various durable materials. Provides a thorough types of sculptural imagery which are assigned in foundation in foundry practices, including wax turn. The relationship that sculptures have with preparation, investing, pouring bronze or the context they exist in and the purpose they aluminum, chasing, finishing, and patinating serve is stressed. finished metal casts. Prerequisite: SC 202. May be repeated for credit. SC 421 SC 241, SC 242 Metals Introduction to Sculpture Projects 1.5 credits, 3 hours 3 credits, 6 hours Forming metal has contributed much to the An open studio oriented toward helping the history of sculpture, particularly in the present, development of individual initiative. How ideas where the idiom has become as familiar as are transformed into sculptural statements carving and modeling. Concurrently offering through aesthetic reasoning and the internal both basic and advanced technical instruction in logic of a sculpture’s color, material, and physical welding and forging, using both ferrous and non- construction. ferrous metals, this course is concerned with both the technical and aesthetic aspects of metal SC 251 sculpture. Theories of Structure May be repeated for credit. 1.5 credits, 1 hour 20 minutes Lectures and discussions of various concepts and philosophies of structure: mathematical, biological, linguistic, perceptual, etc., and their implications to the definition of art.

176 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 MFA in Sculpture TH 105 A Theater Arts Stage Combat I Each summer session begins with a 2 credits, 3 hours detailed review of the student’s previous TH 100 A/B The integration of aggressive acting intent and safe combat technique using both the unarmed work, assessing progress, addressing Acting for Non-Majors 1 credit, 1.5 hours body and the knife. issues, and planning the summer’s work. Corequisite: TH 103A, permission of the instructor. Ongoing individual meetings with the Introduces the non-actor to improvisation, studio mentor are augmented by group character development, and the basic idea of action and objective in performance. The first TH 105 B critiques at the beginning, middle, and Stage Combat II end of the summer session and by four weeks acclimate the new actor to being expressive in a group using body and voice 2 credits, 3 hours occasional group or individual critiques through improvisation, theater games, The integration of aggressive acting intent with visiting artists. Each summer’s course movement; breathing and relaxation techniques and safe combat technique using a saber or concludes with planning for work to be are also taught. The students are introduced to single rapier. continued on an independent study basis script analysis, and asked to write and develop Corequisite: TH 103 A, or permission of instructor. during the academic year. Independent monologues and create dramatic characters . studio work is assessed at weekend for performance. Grading is based on class critiques held at periodic intervals and at participation and progress with the work TH 109 A/B the end of the fall and spring semesters. on monologues. Voice and Speech for Actors I, II 2 credits, 3 hours The following courses are open to students in the TH 101 Linklater exercises are the basis of a course summer MFA program only. Neutral Mask designed to help the student find his/her “natural 1 credit, 3 hours voice,” and to integrate body, breathing, voice, SC 610 A sequence of instruction in mask/movement thought, and feeling into expression through Major Studio I techniques designed to remove all pedestrian speech. The student is given a practical 6 credits, 10 hours movement from the actor, thereby developing the understanding of the voice and how it works. Evaluation of the student’s artistic involvement, student actor’s movement vocabulary. Develops Tensions, which inhibit primary impulses, are projecting and testing options for the direction of students’ awareness of their own personal uncovered and dismantled. The function of the the student’s graduate work. movement habits, and their ability to drop their articulators is studied and they are examined for Open to SUMFA students only. habits in order to achieve neutral body blocks and exercised for release. movement. Exercises are designed to achieve Prerequisite: Permission of the faculty. SC 611 neutral body by beginning with simple actions, Major Studio II and progressing to object identification. TH 111 6 credits, 10 hours Makeup Further exploration of the options, with increased TH 103 A/B 1 credit, 1.5 hours awareness of theoretical issues and personal Acting Studio I, II Focuses on cosmetic application combined with vision. Greater focus in the student’s work, with a 3 credits, 6 hours thorough exploration of the relationship of view to completing the repertoire of skills and Introductory studio focusing on the appearance to character. The course emphasizes expression in the medium needed to undertake a fundamentals of acting, basic skills for stage the total visual impact of the character on the thesis project. communication, voice and movement exercises, audience, discussing in depth the contribution of Prerequisite: SC 610. centering techniques, and exercises designed to props and costume to the overall effect. The increase physical and emotional stamina, identify student is given clear directions on the basic SC 710 and strengthen poor technique, develop focus and techniques including methods and materials for Major Studio III concentration, and introduce the student to the all types of stage makeup, period makeup, 6 credits, 10 hours demands of the theater. In the process of fantasy, and the use of three-dimensional Planning and initiation of a sustained body of demystifying the craft, the student discovers the makeup and prosthetic makeup. mature work to be presented in a thesis exhibition energy, power, and vulnerability of self. during the following summer. Prerequisite: Permission of the faculty. TH 113 Prerequisite: SC 611. Encounters With Theater Arts TH103L 3 credits, 3 hours See complete course listing under Crew Designed to foster students’ intellectual Master of Fine Arts. 0 Credits, hours by assignment engagement with drama and theatre, from An extension of TH 120 and TH 121 for theater classical to contemporary, by introducing them to majors which includes four different production the basic terminology and methodology used in assignments for School of Theater productions. understanding plays and performances. A range Continues the classroom instruction of TH 120 of critical perspectives are applied to a variety of and TH 121 providing an increased plays from different periods and places; understanding of Technical Production. additionally, a number of contexts for theatre Prerequisite: TH 120, or TH 121. study are introduced, including theatre history and production elements.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 177 TH 114 TH 122 A/B TH 203 A/B Mask Characterization Music Skills I, II Acting Studio III, IV 1 credit, 3 hours 2 credits, 3 hours class, 1 hour lab 3 credits, 6 hours Introductory course in character development Skill training in sight reading, ear training, Course continues the work started in TH 103. focuses on a process designed to release and open keyboard and music theory, oriented to the needs Sensory/emotional work and its relation to the student’s emotional and physical range, of the musical theater performer. First year characterization is further explored, leading to an stimulate the imagination, place great emphasis focuses on rudiments of notation, pitches, in-depth study of motivation and subtext. on physical actions, acting with the whole body, intervals, rhythms, and simple chords. Students Sensory, emotional, and adaptation exercises, as and ridding the student of self-conscious learn to read from “lead sheet” notation. well as improvisation and two-character scenes mannerisms. Through the use of oversized masks Examples are drawn from musical theater and are used to deepen the actor’s ability to execute (and a series of challenging exercises), the classical repertoire. In-class exercises and drills honest and purposeful stage action and student is allowed the freedom to become are supplemented with computer-based communication. Emphasis is placed on the someone else. The work aims to integrate the instruction and keyboard lab. “truth of the movement.” Both performance student’s skills with his/her instincts, allowing Prerequisite: Permission of the faculty. and personal journals are maintained on a impulses and the imagination to flow in continuing basis, and outside rehearsals on conjunction with a flexible and vulnerable body. TH 122 L scenes are expected. All scene work is directed The work culminates with the presentation of a Music Skills Lab by the instructor, using an individualized hands- fully realized character, a synthesis of the entire 0 credits, 1 hour on approach. semester’s work. Supports Music Skills I and II. Prerequisite: TH 101. Corequisite: TH 122. TH 205 A Stage Combat III TH 115 A/B TH 141 A/B 2 credits, 3 hours Movement for Actors I, II Voice for Musical Theater I, II Intermediate course teaches the integration of 1 credit, 1.5 hours 1 credit, 1.5 hours aggressive acting intent and safe combat Introduces basic movement vocabulary in Introduction to the fundamentals of vocal technique using a broadsword and rapier modern dance using, primarily, basic improvisa- technique, vocal anatomy, and vocal performance and dagger. tional technique. The course is designed to for the musical stage. Examination of various Prerequisite: TH 105 B. provide the student with awareness of his/her vocal styles used in the musical theater, past body and the basic skills of movement and dance, and present. TH 205 B such as stretching, breathing, posture, coordi- Prerequisite: Permission of the faculty. Stage Combat IV nation, balancing, etc. Allows the student the 2 credits, 3 hours experience of creative application of movement TH 142 A/B Intermediate course prepares the student for the and movement expression through various forms TH 242 A/B National Stage Combat Proficiency Test and structures of improvisation. TH 342 A/B adjudicated the last day of class by a Fight Master Prerequisite: Permission of the faculty. TH 442 A/B from the Society of American Fight Directors. This Voice Lesson test includes unarmed combat, rapier-and- TH 116 1 credit, 1.5 hours dagger, and broadsword integrated into a Dance for Actors Individual (and, occasionally, small group) character-specific scene of dramatic conflict. 1 credit, 1.5 hours instruction in vocal techniques appropriate for Prerequisite: TH 205 A. A foundation course for actors which uses basic the musical theater, culminating in a jury Vaganova ballet technique to develop alignment, examination each semester. TH 209 A/B flexibility, coordination, and discipline, and Prerequisite: Permission of the faculty. Voice and Speech for Actors III, IV introduces the actor to the movement vocabulary 2 credits, 3 hours of this tradition. Development of body awareness TH 150 A/B Practical training in speech for the stage. with attention toward the verticality, two- Dance for Musical Theater I, II Emphasis on articulation and eliminating dimensionality, control and restraint of ballet. 1 credits, 3 hours regionalisms. During the course of the year the Dance technique training oriented to the specific student is expected to achieve a high degree of TH 120, 121 needs of the musical theater performer. Classes in proficiency in General American pronunciation. Stagecraft I: Scene & Lighting Tech jazz and ballet build strength and awareness and Resonance, placement and range are developed. Stagecraft II: Costume and Propery Tech extend the student dancer’s physical and Particular attention is paid to ending consonants, 2 credits, 3 hours expressive range. equating length of thought and length of breath, Introductory course in various phases of physical Prerequisite: Permission of the faculty. and key wording. production dealing with the stage, house, Prerequisite: TH 109 B. backstage personnel and their duties, construction and painting of scenery, stage lighting, costumes, props, and make-up.

TH 120 L, TH 121 L Stagecraft Lab 1 credits, hours as assigned Supports TH 120, TH 121 for Applied Theater Arts students. Corequisite: TH 120, TH121.

178 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 TH 213 TH 224 TH 309 A/B Script Analysis Acting Studio: Technique II Voice and Speech for Actors V, VI 3 credits, 3 hours 4 credits, 7.5 hours 3 credits, 3 hours Introduces the student to practical analysis of Refinement of the actor’s inner resources, and Involves the study of the key dialects of North texts/scripts. The course explores the concepts further development of the actor’s technique and America, the British Isles and Europe using the of conflict, human action, character, skills at textual analysis. Exploration of International Phonetic Alphabet as a guide. The action/reaction cycle, dramatic structure, relationship, point of view, circumstance, truthful dialects chosen are those for which there is most translations, and resources external to the script involvement, and the reality of doing. demand in dramatic literature; consequently (historical perspective). At the course’s end, the Prerequisite: Placement by the faculty. some time is spent on “Standard British,” student should possess a firm understanding of “Southern Irish,” “American Southern,” and the process involved in script analysis, be TH 227 “New York.” Approximately eight to ten dialects thoroughly familiar with the composite types of Fundamentals of Stage Management are addressed in depth. dramatic literature, begin to understand the 3 credits, 3 hours Prerequisite: TH 209 B. nature of an informed aesthetic, and understand An examination of the role of the stage manager the consequences of each element of a in theatrical production. Practice in the TH 311 A/B performance on its audience. techniques of pre-production activity, coordi- Theater History I, II Prerequisite: TH 113, or HU 110B for non-theater nating and maintaining rehearsal discipline, 3 credits, 3 hours majors. developing a prompt script, and calling a show. Two-semester survey of the history of theater: its Discipline History/Humanities Prerequisite: TH 121. dramatic literature, theater structures and production methods, styles of acting, and TH 215 A/B TH 241 historical trends, through readings, discussions, Movement for Actors III, IV Advanced Voice for Musical Theater and lectures. The course explores the history of 2 credits, 3 hours 2 credit, 3 hours theater through its artistic, spiritual, political, Utilizes intensive physical-emotional improvi- Foundations of singing-acting. Students are and cultural sources of empowerment. Students sation work, including exercises in Williamson introduced to techniques for handling the unique are provided with the historical background to technique, rhythmic movement, center floor challenges of acting while singing. Vocal apply acting, directing, and designing techniques work, stretches, and the use of physical impulse to technique and acting technique are integrated to the theater of other periods of history. expand emotional range. through intensive work on solo literature, Prerequisites: TH 213 Prerequisite: Placement by the faculty. musical scenes, exercises, and improvisations. Discipline History/Humanities. Prerequisites: TH 223, TH 122, and TH 141. TH 222 A/B TH 312 A/B Music Skills III, IV TH 250 A/B Musical Theater History I, II 3 credits, 3 hours class, 1 hour lab Dance for Musical Theater III, IV 3 credits, 3 hours Continued skill training in sight reading, ear 2 credits, 4.5 hours Two-semester survey of the history of the training, keyboard, and music theory, oriented to Continuation of the previous year’s dance American musical theater in the nineteenth and the needs of the musical theater performer. training. Technique training in jazz, tap, ballet, twentieth centuries. Students develop insight into Examples are drawn from a wide range of social dancing, and related subjects is continued, the writers, performers, and theater artists who musical repertoire. In-class exercises and with focus on the technical needs of the musical created the legacy of the musical theater in drills are supplemented with computer- theater performer. America, and examine representative works from based instruction. Prerequisite: TH 150 B. a variety of periods. Students undertake research Prerequisite: TH 122 B. Required of all Musical Theater majors. projects focusing on major performers, writers, directors, and choreographers. Artists and their TH 222 L TH 305 A/B work are studied in print and on audio and video Advanced Music Skills Lab Stage Combat V, VI recordings. 0 credits, 1 hour 2 credits, 3 hours Corequisite for Musical Theater majors: TH 318 Supports Music Skills III and IV. Advanced exploration of the text-specific Musical Theater Repertory. Corequisite: TH 222. challenges of fight direction and fight Discipline History/Humanities performance using a wide variety of weapons. TH 223 Weapons and texts change each semester. TH 315 A/B Acting Studio: Technique I Prerequisite: National Stage Combat Proficiency Movement for Actors V, VI 4 credits, 7.5 hours Test Recognition. 2 credits, 3 hours Study in contact and truthful response, Develops clarity and precision of movement conversational reality, concentration, through increased awareness of action and spontaneity, getting in touch with one’s own character. The student develops greater behavior and that of others. kinesthetic sense and enhances his/her capability Prerequisite: Placement by the faculty. for expressive movement. First term focuses on Laban efforts; second term on LeCoq techniques and period work. Prerequisite: TH 215 B.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 179 TH 317 TH 325 TH 351 Fundamentals of Directing The Art of Oral Interpretation Production Practicum 3 credits, 3 hours 2 credits, 3 hours 1-3 credits, hours by assignment Designed for actors engaged in training for Examines the elements of form and structure in Practical application of training to experiences in professional theater, this course is an overview of various kinds of literature, and applies that a wide range of production areas: dramaturgy, the directorial process. Discusses the various analysis to the craft of the performance. Studies design, technology, theater management, etc. facets of a director’s job, especially in the early begin with fairy tales, investigate modern and Required of all applied theater arts majors. phases of a production, e.g. working with the contemporary retellings of fairy tales, and May include realized studio, workshop or actor, casting, table work, and rehearsal, and continue with modern and contemporary short project assignments. culminates with each student directing a scene of stories. The techniques of oral interpretation- Prerequisite: 2 semesters of TH 103L. May be his/her own. The emphasis is on empowering the different than those used in a studio acting class- repeated for credit. actor in rehearsal through familiarization with focus on the meaning of literature via suggestive the directing process. vocal dexterity and subtlety of revelation, rather TH 400 A/B Prerequisite: TH 311 B, or TH 312 B. than explicit action. Students are required to Acting For Film I, II write papers analyzing the literature they choose 3 credits, 3 hours TH 318 A/B to perform. The course closes with a class Designed for acting students who want to gain Musical Theater Repertory performance. knowledge and experience in acting for film and 2 credits, 5 hours television. The primary goal of the class is to Scenes, songs, and dances are drawn from the TH 326 bring out each actor’s natural talent, which is diverse musical theater repertory, enabling the Audition Techniques often the most “marketable” in the film and student to develop versatility and a sense of style. 2 credits, 2 hours television industry. Each actor works on a Prerequisites: TH 222 B, TH 241 B, and TH 250 B. Focuses on the skills necessary to audition monologue or scene chosen in consultation with successfully for theatre, film and television. the instructor to make his/her work in front of a TH 320 Topics include cold readings, monologues, camera compelling, secure, and believable. Musical Theater Performance television commercials and dealing with agents Special video sessions take place throughout the 2 credits, 3 hours and casting directors. course to give each participant a valuable, hands- Elective course for non-major actors, singers, and Prerequisite: Placement by the faculty. on experience in acting for the camera. The dancers in which students can explore the craft of actors are able to see and evaluate each other’s the singing actor through exercises, improvi- TH 327 film work during a special screening session at sations, and repertoire study. Students learn and Fundamentals of Stage Management II the end of the course. Special benefit: the actors rehearse solos, scenes, and ensembles from the 3 credits, 3 hours use excerpts from their monologue/scene for musical theater repertoire. Emphasis is on Advanced study of the stage manager’s function a “video audition” commonly required by developing honesty, ease, and expressiveness in in theatrical production. Coordination of today’s casting directors, actor’s agents, and musical theater performance. production personnel, and the management film/TV directors. Permission of the instructor. responsibilities in the pre-rehearsal, rehearsal Prerequisite: TH 323. and production periods. TH 323 Prerequisite: TH 227. TH 405 A/B Acting Studio: Technique III Advanced Combat 3 credits, 6 hours TH 341 A/B 2 credits, 3 hours Studies in advanced acting. Further development Voice for Musical Theater V, VI Advanced exploration of the text-specific of performance technique as it relates to the 1 credit, 1.5 hours challenges of fight direction and fight rehearsal process. Special emphasis given to Styles of singing-acting. Students apply performance using a wide variety of weapons. clarity of behavior, characterization, action and integrated singing-acting technique to a diverse Weapons and texts change each semester. objective. Scene work used as a means of gauging range of period styles of musical theater. Solo Prerequisite: TH 305 B. the actor’s ability to apply studio work to text. literature from the 1860’s through the present Prerequisite: TH 223 B. day is examined. TH 415 A/B Prerequisites: TH 203 B, TH 222 B, and TH 241 B. Movement for Actors VII, VIII TH 324 2 credits, 3 hours Advanced Scene Study: Poetic Realism TH 350 A/B Continuation of TH 315. Work in LeCoq 3 credits, 6 hours Dance for Musical Theater V, VI movement. Spring term develops a senior Exploration of scene study methods as they apply 1 credit, 3 hours movement project. to dramatic works by such authors as Ibsen, Continued study of ballet and jazz technique and Prerequisite: TH 315. Strindberg, Wilde, Chekhov and Shaw, and musical theater styles. further development of actor’s attention to and Prerequisite: TH 250 B. application of behavioral specificity.

180 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 TH 417 TH 449 Internship Directing Studio 3-15 credits, hours by assignment UArts Course 3 credits, 3 hours Hands-on involvement with a professional A thorough investigation of the directing company. Placements may consist of adminis- UA 301 vocabulary, exercises in space and composition, trative or production support work, positions in Entrepreneurship and Business Practices exploration of scripts from the director’s point of assistance to directors, producers, stage managers 3 credits, 3 hours view, and practical experience with ground plans. or dramaturgs, literary management, casting, Intended to serve as a general introduction to the The student is asked to demonstrate his/her understudying or performance, and may be principles and practices that are common in the understanding of blocking values and textual outside of the Philadelphia area. business world and essential to entrepreneurial analysis by conceptualizing and then staging Prerequisite/corequisite: TH 419. practice. Students are exposed to the basic simple scenes. Introduces the basics of acting concepts, skills and resources necessary to build coaching and is coordinated with script analysis TH 450 A/B and maintain a small business. Using a and dramatic criticism. Dance for Musical Theater VII, VIII hypothetical or actual business idea as a starting Prerequisite: TH 317. 1 credit, 3 hours point, students develop proposals, identify an Continued study of ballet and jazz technique and audience, develop a marketing plan, address TH 419 musical theater styles. staffing, technology and real estate needs, discuss Business of Theater Prerequisite: TH 250 B. taxes, and the legal aspects of intellectual 1 credit, 2 hours property and entrepreneurship, emphasizing the Exploration of the business and legal aspects of TH 451 resources that exist locally and nationally to assist theater and the actor’s career: the roles of agents, Senior Project them in their pursuits. Writing for business, and managers, producers, and managing directors 3-6 credits, hours vary computer and presentation skills also cultivated are explored. Involves lectures on various topics Faculty approved and supervised capstone throughout this course. such as unions, contracts, taxes, management experience in a student’s area of concentration. and representation as well as occasional visits by May be a School of Theater Arts-sponsored project professionals in the field. or one with a reputable outside company Prerequisite: Placement by the faculty. recognized by the faculty and area professionals. Prerequisite: TH 351. TH 423 A Acting Studio: Verse Drama I TH 999 Independent Study 4 credits, 7 hours 1-6 credits Integrated voice and performance work on period Individual study, research, or project work in a scenes and monologues. Material to be covered particular area of interest not usually covered includes Greek to Restoration. within the School of Theater’s menu of course Prerequisite: TH 323 B. offerings. Such study requires the guidance of a theater faculty member and the approval of the TH 423 B Director of the school. Acting Studio: Verse Drama II 4 credits, 7 hours Continues the student’s training in the most advanced level of period and style work. Increased attention to voice work is supported by the use of texts from Greeks to Restoration. Exploration of comic techniques, heightened behavior and emotional support are involved. Prerequisite: TH 423 A.

TH 441 A/B Voice for Musical Theater: Cabaret/Audition VII, VIII 1 credit, 1.5 hours A Senior seminar in singing-acting. Students work on more demanding repertoire and on special performing challenges such as cabaret theater and auditioning. A Senior Showcase is prepared and performed, and professional outplacement issues are addressed. Prerequisite/corequisites: TH 303 A/B, TH 318 A/B, and TH 341 A/B.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 181 WM 243 WM 316 Writing for Film and Screenplay Analysis Adaptation from Non-fiction Television 3 credits 3 hours 3 credits, 3 hours A course devoted to the critical analysis of Writing course developing the craft of adapting screenplays. Students will be required to read non-fictional sources to the dramatic and WM 111, WM 112 numerous scripts and write critical papers on documentary form. Various genres of non- Traditions of Narrative I, II various dramatic structural principles fictional material, including, but not limited to, 3 credits, 4 hours highlighted. newspapers, periodicals, autobiographies, Two-semester studio writing course, which uses Prerequisite: WM 219, or permission of the biographies, memoirs, letters, diaries, and narrative examples from various genres to instructor historical texts are examined. Students learn to introduce dramatic structural elements such as manage the conceptual and technical challenges character, conflict and premise. Students are WM 251, WM 252 inherent in the adaptation of non-fiction for required to write extensively both in and out of Narrative Cinema I, II television and film. class. Two major creative written works required 3 credits, 6 hours Prerequisites: HU 110 B, and permission of the in each semester. Examines and analyzes film through the instructor based on review of a portfolio of written Prerequisites: Permission of the instructor and perspective of narrative structure. Various forms, work, or WM 112. review of a portfolio of written work. schools of film, styles, and genres from both the domestic and international film community are WM 317 WM 113, 114 studied chronologically, emphasizing the Episodic Television Writing Dramatic Structure I,II influence and integration of the various forms 3 credits, 4 hours 3 credits 4 hours with one another. Studio writing class which analyzes the specific An intensive year long writing course that The course requires supplemental weekly genre of episodic television writing. Students read introduces students to major principles of three screenings of the work being studied. scripts and view examples of various genres in act structure found in narrative screenplays. Students who have successfully completed the form, and work in teams to create original Focus on such topics as act design, creation of HU 248 A/B are not eligible to enroll for credit in written work. character, conflict, and setting. Students will be this course. Prerequisites: HU 110 B, and Junior status in the required to complete major written work and Open to all students. major or permission of the instructor based on a participate in workshops of written material. Discipline History/Humanities review of a portfolio of written work. Prerequisite: Permission of the instructor. WM 253 WM 321, WM 322 WM 214, 215 History of Television Advanced Screenwriting I, II Screenwriting I, II 3 credits, 3 hours 3 credits, 4 hours 3 credits 4 hours Provides an overview of the medium of television. Studio writing course preparing the student for An intensive screenwriting workshop building on The impact of television since its inception has the entire process of crafting a full length script the principles of dramatic structure. Students are become increasingly pervasive and influenced an for television, film or theater. In the first semester, required to complete a full length screenplay entire society through its ability to educate and students develop a concept, pitch the project, outline, and 50 – 70 pages of a completed full entertain. Video examples of the medium are prepare an outline/treatment for a full-length length script. supplemented by class discussion and reading work and draft the first act. The second semester Prerequisite: WM 113, 114; WM 219, or permission assignments. Two term papers, a midterm and is devoted to the completion of the full-length of the instructor final exam are required. work and the revision process. Open to all students. Prerequisite: WM 213, or permission WM 219 Discipline History/Humanities of the instructor. Writing for Film 3 credits, 4 hours WM 315 WM 323, WM 324 Studio writing class introducing students to the Adaptation from Fiction Advanced Playwriting I, II basic elements of screenwriting for film. Students 3 credits, 3 hours 3 credits, 4 hours are required to write dramatic exercises in class, Writing course developing the craft of adaptation, Studio course preparing students to write a full- as well as outside of class. Supplemental readings focusing on the use of fictional material as the length play. The first semester focuses on are discussed and film highlights shown to assist source for the dramatic form. The various genres development of a theme and preparation of a the students in their writing. of fictional material, including novels and short draft of the first act. The second semester is Prerequisite: HU 110 B. stories, are examined and students learn to devoted to the completion and refinement of the handle the conceptual and technical challenges piece, resulting in a full-length work. WM 241 inherent in the process of altering written text for Prerequisite: WM 213, or permission Arts of the Media the mediums of television and film. of the instructor. 3 credits, 3 hours Prerequisite: HU 110 B, or permission of the Introduction to the various production values, instructor based on a review of a portfolio which directly influence the character of the of written work. dramatic product. Subjects of study include music, cinematography, art and production design, editing, sound, costume design and special/ computer effects as they relate to the writer’s intention and the quality of the final product. Open to all students.

182 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 WM 341 WM 499 Acting/Directing for Writers Internship 3 credits, 3 hours 3 credits, 6 hours Studio course addressing the collaborative aspect Seniors are placed with regional companies to of dramatic production involving writers, actors, expose them to a real work environment in the and directors. Students are introduced to field of media. Placements vary and may include directing and acting, using their own dramatic local network-affiliated television stations, public texts as the source material. All students are broadcasting stations, film-production expected to have polished dramatic scenes already companies, or multimedia manufacturers. A written prior to the beginning of the course. paper or journal chronicling the experience is Prerequisite: WM 213 or WM 219. required upon completion of the internship. Corerequisite: WM 421. Open to seniors only. WM 343 Film Story Analysis 3 credits, 3 hours Explores dramatic structures and storytelling conventions of narrative films. Screenings, group discussions and analysis will highlight the devices employed by screenwriters to tell a good story. Weekly screenings followed by critical papers of each screening. Prerequisite: WM 213, or WM 219.

WM 411, WM 412 Senior Thesis I, II 3 credits, 3 hours The final writing project in the program and the development of the student’s portfolio of written work. Over the year, the student develops an outline/treatment and the completion of a full- length work. Prerequisite: WM 322.

WM 421 Business of the Writer 3 credits, 3 hours Provides the practical knowledge specific to the world of professional writing in film and television. Subjects include professional business practices, the selection and importance of a literary agent, resumé writing, the “art of the pitch,” the differences between working as a free- lance writer and life as a staff writer, and the respective issues facing writers in film and television. Prerequisite: WM 322, or WM 324.

WM 431 Interarts Project 3 credits, 6 hours Provides an opportunity for writers and students throughout the University to collaborate on a semester-long project. Students jointly submit project proposals for approval and develop them to completion. Emphasis is placed on the students’ ability to consider the artistic and technical implications of the combined media while successfully integrating art forms in a considered and polished final piece. Open to all students with permission of the instructor.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 183 184 UArts 2001 •2002 Graduate CourseCatalog Undergraduate and

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

186 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 5. Recommendations. Applicants are required to submit a letter of Transfer of Credit recommendation from a teacher, guidance counselor, or employer. Students may receive credit for courses taken at other regionally Recommendations should comment on the applicant’s demonstrated accredited institutions that are similar in content, purpose, and abilities in the arts, maturity, ambition, determination, and standards to those offered at The University of the Arts. A minimum seriousness of purpose. grade of “C” is required in order to present a course for transfer credit. 6. Personal Statement. All applicants are required to submit a 150- Only credits are transferable, not grades. 300 word statement that describes their personal reasons for choosing Candidates are given a preliminary transfer credit evaluation at the to study the arts and the influences that led to this choice. The time of admission; final award of transfer credit and placement level statement should be typed on a separate sheet of paper and attached to is subject to receipt of final official transcripts and verification by the the application. The applicant should list his/her name, Social registrar at the time of enrollment. Security number, and the semester for which he/she seeks admission on the statement. Residency Requirements 7. Artistic Presentation. Refer to the Portfolio and Audition The time it takes for a student to reach graduation will depend requirements published in the application packet. upon the time needed to fulfill The University of the Arts’ degree 8. Interview. Although not required, all applicants are encouraged requirements. to visit The University of the Arts and interview with a member of the Every transfer student must complete a minimum of four full-time Admission staff or University faculty. Applicants to the College of Art semesters in residence preceding graduation and must earn a and Design are expected to present their portfolio during the interview. minimum of 48 credits in studio and/or liberal arts courses. Applicants to the College of Performing Arts or the College of Media Transferable credits will be applied only to the specific studio and and Communication should be prepared to discuss their academic liberal arts requirements stipulated for a UArts degree. For this reason, record, personal achievements, extracurricular activities, and goals. transfer students may be required to remain in residence at the The interview also provides the applicant with an opportunity to ask University for more than the minimum four semesters and to questions about the University. Applicants should feel free to note complete more than the minimum 48 credits, regardless of the questions about the application process, programs of study, courses, number of credits earned at previously attended institutions. Transfer instructors, student life, or financial aid and bring these with them to credit is evaluated by the department chair or school director and the the interview. Director of Liberal Arts in consultation with the Office of the Registrar. 9. Financial Aid, Federal Loans, Scholarships. Obtain the Free Application for Federal Student Aid (FAFSA) from a high school College of Art and Design guidance counselor if applying for financial aid or scholarship. Upon completion of the preliminary credit evaluation, the Submit the FAFSA to the Federal Student Aid Program by February 15 applicant will be invited to schedule an interview and portfolio review for priority consideration. List The University of the Arts as the with a faculty member from the major department. If unable to institution to receive your information. The Title IV Code for The attend a personal interview, refer to the University’s Portfolio and University of the Arts is 003350. Audition Brochure for specific requirements. Transfer Applicants Freshman Transfers Transfer students are admitted to The University of the Arts under Transfer students with fewer than 21 transferable liberal arts credits policies that vary from college to college. The University considers any and without qualifications for advanced standing in studio should applicant who has been enrolled in a college-level program of study expect to be registered for the Foundation Program and anticipate after secondary school to be a transfer applicant. Transfers enjoy a being enrolled at The University of the Arts for the equivalent of eight preferred position among applicants for admission since it can be semesters. Those who qualify for either the three-year program or assumed they have matured in their goals and have demonstrated advanced standing but wish to take advantage of the Foundation their abilities at the college level. Program and elective courses may also apply as freshman transfers. Transfer Application Requirements Three-Year Transfers The application process for undergraduate transfer students is the Applicants who have not had substantial studio instruction but who same as for freshmen with the exception that, in addition to the present a minimum of 21 transferable credits in liberal arts may process described in the above section, applicants must submit official qualify for the three-year transfer program. Under this program, transcripts from all colleges attended. Candidates should include a students have the opportunity to fulfill the College of Art and Design’s listing of any courses in which they are currently enrolled or intend to graduation requirements in three years. In the first year, the complete prior to matriculation at The University of the Arts. To aid in Foundation Program curriculum is combined with studies in the the assessment of transfer credits, a catalog containing the course major department. If approved by both the Foundation Program and descriptions, credit assignment, and credit-hour ratio for each college major-department chairpersons, the transfer student may attain third- attended should be sent to the Office of Admission. A minimum G.P.A. year status at the start of his or her second year. This program imposes of 2.0 is required for transfer. an extremely demanding schedule and is best suited to mature students who have definitely decided upon a major.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 187 Advanced Standing enrollment deposit that the student has submitted. The University Students transferring into the second- or third-year level studios of reserves the right to cancel the offer of admission if the student posts a major departments are considered advanced standing candidates. The deposit at another college or university. first year in the College of Art and Design includes 21 credits of studio classwork in the Foundation core (Drawing, Two-Dimensional Housing Deposits Design, Three-Dimensional Design, and an optional course, Time and University housing is open to new students entering in both fall and Motion) and elective courses. Students who have completed between spring semesters. Housing reservation forms are sent to all in-coming 18 and 21 credits in studio and who have studied in the foundation students upon receipt of the tuition deposit. The University will areas may be considered for advanced status. guarantee housing to all students who submit a housing reservation Decisions concerning admission to a major department, class and post a non-refundable $200 housing deposit by June 1. Although standing, and mandated prerequisites are made by major-department the University anticipates that it has adequate housing to meet the faculty upon an evaluation of the admission portfolio and student demand for on-campus living, there is no way to predict when preliminary transfer-credit analysis. University supervised housing may be filled, therefore, after June 1, space is available on a first-come, first-served basis. College of Performing Arts At the time of the entrance audition, the Audition Committee Deferred Admission evaluates the applicant’s performance with respect to the level of Undergraduate and graduate students who are admitted to The achievement required for advanced standing. Transfer credit in the University of the Arts and then wish to defer their admission must major may be granted for comparable previous undergraduate credit submit their requests, in writing, to the Office of Admission. If earned, up to the level of placement. Transfer credits may be granted permission is granted, a $300 nonrefundable tuition deposit must be toward the Liberal Arts requirements regardless of a student’s standing paid in order to confirm enrollment for the following semester or year. in the major. The number of Liberal Arts credits accepted for transfer Deferred students who enroll in a degree program at another is unlikely to change the length of time required to complete the institution in the interim will not retain their deferred status; they degree. Transfers to the College of Performing Arts are not given credit must reapply to the University as transfer students. for studio courses until after the completion of the first semester at Deferred candidates are also required to submit a statement of The University of the Arts. Transfer students to the College of activities and reaffirm their intent to enroll at The University of Performing Arts should assume that they will receive freshman status the Arts. Candidates seeking fall or summer enrollment must file unless advanced status is clearly indicated in their letter of admission. this statement by January 15; spring candidates must submit this statement by November 15. Students are permitted only College of Media and Communication one deferment. Transfer applicants to Writing for Film and Television, Multimedia, Those who are not approved for deferred admission may reapply for and Communication are evaluated on a case by case basis, depending the following year. A new application form must be filed with a on the nature of prior educational experience and demonstrated reapplication fee of $10; additional credentials may be required. creative abilities. Transferrable credits may be applied to major, Liberal Arts, and/or electives requirements. Early Admission Extremely capable students may be ready for college before they Application Notification have completed the normal four-year secondary school program. The Applications are reviewed on a rolling basis beginning in December University welcomes applications from those who feel they are for fall admission and September for spring admission. Priority is scholastically and artistically prepared, and sufficiently mature- given to fall candidates who file an application by March 15, personally and socially-to undertake college work. although the University will accept and review applications as long as Early Admission candidates must be able to fulfill either of the space in the class is available. All applicants are notified of the following conditions: Admission Committee’s decision in writing by the Director of 1. By taking an overload during the junior year of high school or Admission. Generally, students can expect to receive notification of the summer courses, the applicant is able to complete high school decision within two weeks of completing all admission requirements. diploma credit requirements and receive the diploma before enrolling at the University. Tuition Deposits 2. Under a written agreement, the candidate’s high school Applicants who are offered admission for fall enrollment are asked authorities grant the applicant a high school diploma upon to submit a $300 tuition deposit within three weeks of the offer of completion of the freshman year at The University of the Arts. admission to reserve a place in the entering class. Upon receipt of the tuition deposit a housing reservation will be sent to the student. The Conditional Admission tuition deposit may be refunded if the student notifies the Office of The University of the Arts has designed alternative admission Admission of their intent to cancel enrollment, in writing, prior to programs to consider those whose potential may not be indicated in May 1. standardized test scores or class rank, or who have had limited formal The University of the Arts subscribes to the May 1 Candidate’s training in the arts. General Reply Date and will honor any applicant’s written request to Offers of admission may specify one or more of the following defer the acceptance of the offer of admission until May 1. Requests conditions: for a refund of the tuition deposit that are postmarked after May 1 1. Pre-Freshman Enrichment Program. The admission of cannot be granted. After May 1 the University assumes that the freshman applicants to the College of Art and Design or the student’s tuition deposit to The University of the Arts is the only

188 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Multimedia program may be contingent upon successful completion College-Level Course Work of the University’s Summer Pre-Freshman Enrichment Program The University may also award credit for college work completed (PREP). This condition is made when the application review indicates while the student was still in high school. Applicants who have taken that additional preparation in studio is necessary to ensure the college courses should arrange to have their college transcripts sent to student’s success in the first year curriculum. PREP includes studies the Office of Admission for transfer-credit evaluation. Students should in drawing, two-dimensional, and three-dimensional design. Classes also send official descriptions of the college courses so that the are scheduled for a four-week session, with thirty hours of instruction University can make accurate evaluations. Transfer credit cannot be per week. PREP is a noncredit program, but grades are given to granted for courses that were taken to fulfill high school graduation measure performance. A minimum 2.0 (C) grade point average requirements nor for credits earned in a dual enrollment program indicates successful completion. that granted secondary school and college credit for the same course. 2. Academic Warning. Students admitted under Academic Warning Credit will not be granted for pre-college programs. must achieve a “C” (2.0) grade point average at the end of their first year of study in order to be promoted. International Baccalaureate 3. Academic Achievement Program. Applicants may be required to The University of the Arts recognizes the International participate in the Academic Achievement Program (AAP). The Baccalaureate Examination (IB). The University may award 6 credits purpose of the program is to provide developmental maintenance and toward the liberal arts requirements for a score of 4 or better in a transition services to students who, because of life circumstances, may higher level (HL) examination and 3 credits for a score of 4 or better not have achieved their potential in secondary school and need in a subsidiary level (SL) examination in an academic subject. An additional preparation in art and academics to ensure their success. official report of scores on the IB exams should be sent to the Office of AAP is funded by the Commonwealth of Pennsylvania’s Higher Admission for evaluation. Students are notified of the credits awarded Education Opportunity Act (ACT 101). Students selected to participate prior to registration. in the program must be Pennsylvania residents and meet the family income eligibility guidelines established by the Credit from Nonaccredited Institutions Commonwealth of Pennsylvania. Based on the applicant’s portfolio, credit may be awarded at the time of admission by the department chairperson of the intended Advanced Placement major. The maximum number of credits awarded may not exceed the number of credits earned at the nonaccredited institution (as adjusted CEEB Advanced Placement Program (AP) to conform with the University’s credit evaluation policies). These The University of the Arts may award three credits toward the liberal credits may be assigned to fulfill specific requirements of The arts requirements for a score of 4 or better in any CEEB Advanced University of the Arts degree as agreed upon by the department chair Placement Examination in an academic subject. An official report of or director, and the registrar. scores must be submitted to The University of the Arts directly from The College Board, Advanced Placement Program, Princeton, NJ. AP Credit by Portfolio/Audition credit is not given for studio art or performance. Students are notified A maximum of 18 credits may be granted to applicants by portfolio of AP credits awarded prior to registration. review for artistic experience independent of any course work. Credit by portfolio is granted only for studio work done prior to matricu- College Level Examination Program (CLEP) lation at The University of the Arts. Academic standing and course The University of the Arts cooperates with the College Examination credit based on portfolio review are determined by the appropriate Board in its College Level Examination Program (CLEP). Credits may department chairperson during the admission process. This portfolio be awarded for Subject Examinations in composition and literature, work cannot have been part of the assigned work for a secondary or foreign language, history and social studies, or science and math post-secondary course. depending on the score earned in the examination and other factors Applicants who qualify may be granted credit by audition in as follows: performance subjects. Audition credit requires the approval of the 1. The credit must be directly applicable to the student’s degree Audition Committee and the school director. Academic standing and requirements. course credit based on the audition are determined during the 2. The credits cannot be used to fulfill upper-level course admission process. requirements. 3. The total number of credits awarded through CLEP is limited to 12. 4. A score equivalent to the minimum acceptable score or higher as recommended by the American Council on Education is necessary.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 189 International Students 3. Certification of Finances. International students who plan to Applicants who are neither US citizens nor Permanent Residents enroll at the University are responsible for all of their educational and are considered International Students. The University encourages personal expenses for the full duration of their education at The international candidates with strong academic and artistic qualifi- University of the Arts. Certification that these financial obligations can cations to apply for admission. be met is required in order to qualify for the F-1 visa. A Certification of International students who apply to the University should follow Finances form is sent to international students upon receipt of their the procedures outlined in the appropriate section of this catalog. application. The form must be completed in English and certified by a International applicants should also be aware of the following bank official. This statement must declare the availability of funds of additional requirements and procedures: at least (US) $31,340 to cover the cost of one year of education and 1. English proficiency. Applicants to the undergraduate programs personal expenses. The I-20, used to apply for the F-1 visa, will not be whose first language is other than English are required to issued without a valid Certification of Finances. demonstrate their proficiency in English in one of two ways: 4. Financial Aid. International students may be considered for a Submit official scores from the Test of English as a Foreign limited number of University funded merit-based scholarships. These Language (TOEFL). A minimum score of 500 on the paper-based test scholarships cover partial tuition costs only. Need-based financial aid or 173 on the computer-based TOEFL is required for admission to the is not available. Students who are not US citizens or Permanent undergraduate programs, Residents may qualify for educational loans through an International or Student Loan Program (ISLP). Further information on the ISLP may Complete Level 109 in the English Language Program offered by be obtained directly from: any one of the more than 20 ELS Language Centers located throughout the USA. Information about these programs may be International Education Finance Corporation obtained directly from: 424 Adams Street Milton, MA 02186 USA ELS Language Centers http://www.IEFC.com 1357 Second Street, Suite 100 Santa Monica, CA 90401-1102 USA 5. Scholarships. A limited number of partial merit scholarships Telephone: 310-458-7400 may be awarded to international students who demonstrate Fax: 310-458-7404 outstanding academic and artistic achievement and potential. www.els.com International merit scholarship recipients are notified of the scholarship award within two weeks of the offer of admission. International candidates for admission to a graduate program whose first language is other than English must present an official Admission Requirements for Graduate and TOEFL score of 550 or above, if paper-based, or 213, if computer- Post-Baccalaureate Programs based, or complete Master’s Level 110 in the English Language The University of the Arts offers these graduate degrees: Program offered by any of the ELS Language Centers located throughout the US. Information about these programs may be Master of Fine Arts obtained directly from ELS Language Centers, as listed above. Book Arts/Printmaking 2. Transcripts/Mark/Grade Sheets. All applicants must provide a Ceramics complete, official transcripts from every school attended on the high Museum Exhibition Planning and Design school/secondary level and postsecondary level. Each transcript must Painting be translated into English by a certified translator and the translation Sculpture must be notarized. International students who wish to be considered for advanced Master of Arts standing and receive transfer credit for coursework already completed should submit an Evaluation of Foreign Educational Credentials Art Education Comprehensive Report from the Academic Credentials Evaluation Museum Communication Institute (ACEI). International applicants to the graduate programs Museum Education are also required to submit a Comprehensive Report from ACEI. It is the applicant’s responsibility to contract with ACEI directly for this Master of Arts in Teaching service. Instructions and application for foreign credentials evaluation Visual Arts can be obtained directly from: Music Education

Academic Credentials Evaluation Institute, Inc. Master of Industrial Design PO Box 6908 Beverly Hills, CA 90212 USA Master of Music Telephone: 310-559-0578 Jazz Studies Fax: 310-204-2842 www.acei1.com In addition to the graduate programs, The University of the Arts offers post-baccalaureate non-degree programs in Crafts and teacher certification in visual arts.Please refer to the Table of Contents to locate full program descriptions.

190 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Candidates for graduate admission are strongly encouraged to file 7. English Language Proficiency: Applicants for whom English is the admission application and complete all admission requirements not their first language are required to demonstrate proficiency in early. The University has established several deadlines, after which English. The Test of English as a Foreign Language (TOEFL) is candidates’ completed applications will be reviewed and notification required for applicants who have been educated in non-English- of admission and financial aid decisions issued. If space remains speaking countries. A minimum score of 550 on the paper-based test available in the entering class after the published application or 213 on the computer-based test is required for graduate admission. deadline, applications will continue to be accepted and reviewed on a 8. Financial Aid: Obtain the Free Application for Federal Student rolling basis until the class is filled. Aid (FAFSA) and a Stafford Loan Application if applying for financial Deadlines for application for admission to graduate programs are assistance. Submit the FAFSA to the Federal Student Aid Program by as follows: February 15 for priority consideration. The Title IV Code for The February 1 Priority Deadline for Summer MFA programs in University of the Arts is 003350. A Financial Aid Transcript (FAT) must Painting, Sculpture, and Ceramics; Early Action be requested from the Financial Aid Office of each college or postsec- Deadline for all other programs. ondary institution attended. The FAT should be sent to The University March 1 Priority Deadline for all fall programs; Deadline for of the Arts’ Office of Financial Aid. Please review the catalog section Summer MFA programs in Painting, Sculpture, and on Financial Aid for more complete information about application Ceramics. procedures. Graduate students who wish to be considered for grant assistance April 1 Deadline for all fall programs. should contact their department for additional information. Spring admission is possible in the post-baccalaureate programs 9. Special Requirements for graduate education applicants: and the graduate programs in Education only. Applications to these Students entering the Master of Arts and Master of Arts in Teaching programs should be submitted by November 15. programs should hold a bachelor’s degree in art or music, including at least 40 semester hours of studio credit with a “B” average. Transfer of Credit Applicants to the MA program in Museum Education must have A maximum of six credits may be transferred and applied completed 18 semester hours in Art History, including a compre- toward graduate degree requirements with the approval of the hensive survey course and a course in Twentieth-Century Art. program director and registrar. Only those graduate courses Deficiencies in this minimum must be made up as prerequisites or in which a grade of “B” or higher has been earned may be corequisites; a maximum of 12 such credits may be taken while a considered for transfer credit. matriculated graduate student. With approval of the program director, a maximum of six studio credits may be applied to the elective Graduate Application Requirements requirements in the program. All applicants for admission to graduate study at The University of the Arts must hold a bachelor’s degree from a US institution which is Graduate Portfolio and Audition Information accredited by a recognized regional association or have the equivalent Every student applying to the College of Art and Design must of a bachelor’s degree from a foreign institution of acceptable submit a portfolio of his/her work. Every student applying to the standards. College of Performing Arts must audition. An application must be 1. Application Form: All candidates are required to submit a filed with the Admission Office before a portfolio review or audition is completed graduate application for admission and $50 application scheduled. Please refer to the Graduate Application Form for specific fee. The fee for international applicants who are not US citizens or requirements, which may be obtained through the Admission Office. Permanent Residents is $75. The application fee will be waived for University of the Arts’ alumni. Crafts Studio Post-Baccalaureate Certificate 2. College Transcripts: An official transcript from each under- Admission to the Craft Studio Program is based on portfolio and graduate and graduate school attended is required of all applicants. interview. The program is designed for students who already hold an 3. Recommendations: Applicants are required to submit three undergraduate degree. Applications may be obtained from the Office letters of recommendation. Two of these recommendations must of Admission. See Bachelor’s Degree Holders in the Financial Aid come from professors or professionals in the area of the student’s section of the catalog for additional information. intended major who are familiar with the applicant’s capabilities and credentials. Post-Baccalaureate Pre-Certification Concentration in Art 4. Personal Statement: All applicants are required to submit a Education one- to two-page statement that describes their professional plans and Candidates for this program must hold a BFA or BA degree in Art, or goals. The statement should be typed on a separate sheet of paper and equivalent, with a minimum of 40 semester credits in studio and 12 attached to the application. Applicants should list name, Social semester credits in Art History with a minimum of a “B” average. The Security number, and the semester for which they seek admission on Post-Baccalaureate Concentration in Art Education is available to the statement. University of the Arts/College of Art and Design alumni only after all 5. Proof of Secondary School Graduation: An official copy of the pre-certification requirements have been met except AE552 and secondary school transcript or diploma is required of all applicants. AE659. The Commonwealth of Pennsylvania requires that the University Applications may be obtained from The University of the Arts Office maintain this information on file for all undergraduate and graduate of Continuing Studies. students. 6. Interview: A personal interview with the director of the program to which the candidate is applying is strongly recommended. Appointments should be scheduled directly with the department.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 191 A student without an approved leave of absence who does not Tuition and Expenses register each semester will be considered to have withdrawn from candidacy for the degree. Students who have not maintained Tracy Brown continuous registration must apply through the Office of the Registrar [email protected] for readmission to the program, and will be retroactively charged for Student Billing Office the intervening semesters. 215-717-6187 Schedule of Annual Graduate Charges and Fees 2001-2002 Academic Year Undergraduate Tuition and Fees Full-time tuition $18,630 (9-18 credits/semester) Annual tuition is charged to all full-time undergraduate students, Tuition per credit $ 938 with one-half payable prior to the start of each semester. Full-time General Student Fee $ 600 (all full-time students) students carry a minimum of 12 credits per semester and may carry up to 18 credits without incurring additional charges. Excess credits are subject to additional charges at the standard semester credit rate. Tuition Payments and Financial Permission of the dean of the appropriate college is required for a Responsibility student to carry more than 18 credits in one semester. Payment in full for each semester is required before students may In addition to the annual tuition charge, all students registered for attend classes. Tuition invoices are mailed to students each July and 12 credits or more are required to pay an annual general student fee. November. Students who have not made arrangements to pay their The general student fee is applied toward the cost of library facilities, tuition, fees, housing, and/or any other financial obligations to the studio and computer operations, orientation, student activities, and University before the first day of classes each semester are subject to special services, including health services, placement, and having their registration cancelled for that semester and losing their registration. The annual general student fee is not refundable. class places. Cancelled registrations can only be reinstated with the Students registering for fewer than 12 credits are charged per credit. approval of the Student Billing Office and are subject to a late There may be additional course fees or charges, which may include payment fee of $60. deposits, the cost of expendable materials, and lab fees in selected The first-semester bill must be paid by mid-August and the second- studio classes. Lab fees, in particular, are most common in the Crafts semester bill must be paid by mid-December. Any amount unpaid and Media Arts departments. Please contact those departments directly after the due date as indicated on the invoice is subject to a late for more information. In addition, private lessons for students who payment fee of $60 unless an alternative payment plan has been are not enrolled in the School of Music will carry an additional fee. arranged through TMS (see “Payment Plans”). Settlement of all Reservation deposits for housing and tuition are credited to the financial obligations of the University rests with the student or the student’s bill and are not refundable. student’s parents if the student has not attained independent adult status. Schedule of Annual Undergraduate Charges and Fees Failure to receive an invoice does not excuse a student from paying tuition and fees before attending classes each semester. Student 2001-2002 Academic Year accounts are considered settled when students receive Finance Office Full-time tuition $ 18,630 Approval and a validated ID card. (12-18 credits/semester) Any unpaid balance at the end of the semester will be referred to the Tuition per credit $ 802 University’s outside collection agency for collection and legal action. General Student Fee $ 600 (all full-time students) Students or their paying agents will be responsible for all collection Housing Fees costs and attorney fees. Housing: Furness Hall or 1500 Pine $ 4,400 – 5,300 Payment Plans 1228 Spruce $ 5,100 – 5,500 As a service to our students and their parents, the University offers 311 Juniper $ 5,500 – 5,800 the following commercially sponsored tuition payment plan. The Housing reservation deposit $ 200 plan allows for the total sum of all tuition and fees to be paid over ten Housing damage deposit $ 200 (refundable) months, from May through February. Tuition Management Systems, Inc. (TMS), offers a budget plan that Graduate Tuition and Fees allows you to pay all or part of your annual charges in ten monthly Graduate students are considered full-time if enrolled in at least 9 installments for a nominal annual administrative fee. A separate credits. Teacher Certification students in visual arts are considered insurance program is also available to participants with this plan. full-time at 9 credits. Full-time graduate students pay annual tuition For more information contact Tuition Management Systems, Inc., at plus the general student fee. General student fee charges are the same 1-800-722-4867. for graduate and undergraduate students. Tuition for part-time graduate studies is charged on a per credit basis. A student who has completed all the course requirements for the master’s degree and is currently working on the graduate project, either on or off-campus, must register and pay a graduate project continuation fee (equal to the cost of 0.5 credit/semester). This registration, through the Office of the Registrar, is required in each semester until all degree requirements are met.

192 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Tuition Remission May 1. The tuition deposit must be paid in US dollars within three weeks of the offer of admission. Please refer to the Admissions section Alumni Discount of this catalog for more complete information. Sons and daughters of alumni of The University of the Arts are eligible for a 10% remission on their tuition. To qualify, a student Late Registration must present to the Registrar an official copy of the long-form birth A late registration fee of $35 will be charged to any student certificate, which lists the names of both parents. The remission registering after the dates listed in the Academic Calendar. applies to each semester that the student matriculates on a full- time basis. Late Payment For purposes of this policy, alumni are defined as graduates who A late payment fee of $60 will be charged to any student failing to have received a diploma, degree, or certificate as a matriculated pay his or her tuition and/or housing bill by the due date. student in an undergraduate or graduate program from either the College of Art and Design or the College of Performing Arts, excluding Bad Check Penalty the Evening or Continuing Education Divisions of each College. The A $25 fine is charged for all checks issued to the University and not discount will be issued commensurate with the number of years that a paid upon presentation to the bank. A hold will be placed on all student’s alumni parents attended the University (i.e., if an alumnus official student documents until the original charge is paid in received a certificate from a two-year program, the discount would be addition to the fine. A “flag” will be placed on the student’s account offered for only two years). and, for a period of one year, payment with a personal check will not be permitted. At the end of one year the student may appeal to the Sibling Discount Billing Manager to review his/her payment history. All balances will Families that have two or more members simultaneously attending be referred to a collection agency if repayment is not made. The University of the Arts are eligible for a tuition remission. Presentation of the long-form birth certificate is required for each Transcript Fee sibling attending. The youngest member of the family may receive a A $5 fee is charged to students requesting an official transcript from 10% tuition remission each semester during which both are full-time the University. matriculating students. Tuition Refund Policy and Procedures Spousal Discount By registering for classes, students accept responsibility for paying A husband and wife attending The University of the Arts are eligible charges for the entire semester/term, regardless of the method of for tuition remission. Presentation of a certificate of marriage to the payment and attendance in class. Registrar’s Office is required. The second person of the married couple Students who are considering withdrawing (either from the to register at the University may receive a 10% tuition remission each University or individual classes) should seriously consider the semester during which they are both full-time matriculated students. financial consequences. Depending on the time of withdrawal, balances may still be owed to the University, the Federal Government Students are entitled to only one type of tuition discount (i.e., (if a Title IV program aid recipient), State Governments, Agencies, alumni discount, sibling discount, spousal discount, etc.) in any loan providers and other non-University grantors of scholarships and given academic year. For more information, contact the Office of the awards. Students are urged to meet with a financial aid counselor to Registrar at 215-717-6420. discuss the monetary impact of withdrawal and their eligibility for aid in the current and future semesters. Housing Fees General Refund Policy Students are not permitted to move into University housing until all tuition and fees are paid in full. A damage deposit is required of all Fall or Spring Semester students who live in University housing. This deposit is held in escrow Tuition Charged Tuition Refunded and will be refunded to the student after the apartment is vacated. Any Withdrawal occurring: charges for damage to the apartment will be subtracted from this Prior to first day of classes 0% 100% deposit. An additional Housing Reservation Deposit is required to Before end of second week 20% 80% reserve a space in University housing. This deposit will be credited to Before end of third week 60% 40% the student’s bill and is not refundable. After end of third week 100% 0% Special Charges and Fees Summer Sessions Application Fee Withdrawal occurring: An application fee of $50 is required with every application for Prior to first day of classes 0% 100% admission or readmission. Before end of first week 20% 80% Before end of second week 60% 40% Tuition Deposit After end of second week 100% 0% Once the student has been accepted for admission to the University, a $300 tuition deposit is required to reserve a place in the class. This The following items will be excluded from the refund calculation: deposit will be credited to the student’s bill and is not refundable after 1. The comprehensive fee.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 193 2. Supplies, which are considered 100% expended upon purchase. Retention of University Scholarships, Grants and Awards 3. Books, which are considered 50% expended during the first week Withdrawing students who have received University Scholarships, of classes and 100% thereafter. Grants and Awards are permitted to retain a portion of these funds as 4. The documented cost of any equipment issued to the student and an offset (payment) against tuition charges based on the duration of not returned in good condition. attendance. For those students not receiving any Title IV program aid, 5. Library fines and late fees. the portion retained is the same as the tuition charged under the 6. Security deposits, which will be returned separately once it has general refund policy. For example, a student without any Title IV aid been determined that no damages or fines have been assessed. withdrawing before the end of the third week of classes will be liable for 60% of tuition charges. This same student will also receive credit Retention of Federal Title IV Program Funds for 60% of any University aid awarded. Students should understand that withdrawing from the University If a withdrawing student received Title IV Program aid in may cause them to owe more money than if they had remained to addition to University Scholarships and Awards, the total amount complete the semester/term. of aid retained from both sources is calculated using the Federal Withdrawing students who have been awarded Title IV Program aid Title IV rules. funds are permitted to retain a pro-rata portion of these funds as an offset (payment) against tuition charges prior to completion of 60% of any Term or Summer Session. After the 60% mark, all such aid is Financial Holdings treated as 100% earned. Title IV Program, or Federal funds, would Students who do not satisfy their financial obligations to the include PELL and SEOG grants and Perkins, Stafford and PLUS loans. University will have a financial hold placed on their record. Such a For example, a student withdrawing during a Fall or Spring term hold may result in cancellation of the student’s preregistration and on the 20th calendar day after the start of classes, retains 19.0% of the will prevent the student from being permitted to register for future total Title IV aid awarded (excluding Federal Work Study). This courses until the financial hold is lifted. Furthermore, students with percentage is calculated by dividing the 20 days completed by the 105 outstanding financial obligations to the University will not be eligible total days in the term (including Saturdays, Sundays and holidays). to receive official copies of their transcripts or their diplomas. To avoid This retained aid is then applied against the remaining balance of incurring late fees and/or a hold on academic records, students are tuition charges calculated under the general refund policy. The expected to make arrangements to pay all tuition, fees, and dormitory balance of the Title IV aid—or 81.0%—must be returned to the charges by the due date on their bill. Students are encouraged to apply appropriate issuer. If this student also received University awards early for financial aid. (non-Title IV program), the same retention percentage would apply. If a student withdrew after 60% of the term was completed, or on the 63rd day, 100% of the aid would be retained. A student withdrawing during a Summer Session on the 20th calendar day after the start of classes retains 47.6% of the total Title IV aid awarded. This percentage is calculated by dividing the 20 days completed by the 42 total days in the session (including Saturdays, Sundays and holidays). This retained aid is then applied against the remaining balance of tuition charges calculated under the general refund policy. If this student also received University awards (non-Title IV program), the same retention percentage would apply. If a student withdrew after 60% of the term was completed, or on the 25th day, 100% of the aid would be retained. That portion of Federal Title IV aid which will be returned to the issuer must be repaid in the following order: 1. Unsubsidized Federal Stafford Loan 2. Subsidized Federal Stafford Loan 3. Federal PLUS Loan 4. Federal Perkins Loan 5. Federal Pell Grant 6. Federal SEOG Aid 7. Any other Title IV program aid 8. Other Federal, State, or private student financial assistance 9. To the student

194 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Financial Aid Deadlines Deadlines are used to assist the University in determining how many students wish to be considered for aid from the available funds. Aquila W. Galgon We also use deadlines so that we will receive the necessary [email protected] information, and be able to forward a response to you, in time for you Director of Financial Aid to make important decisions regarding your enrollment plans. Second Floor, Dorrance Hamilton Hall Students who miss the filing deadlines may not receive all of the 215-717-6170 aid for which they may have been eligible. Late applicants are also subject to out-of-pocket expenditures for aid, which has not been The University of the Arts offers a variety of financial aid programs processed, as well as the withholding of registration and class to assist students in meeting their educational goals. Aid may be attendance in the event of outstanding balances. offered in the form of grants, scholarships, loans, or employment, and All eligible students are considered for financial assistance is funded through federal, state, institutional, or private organi- regardless of filing date, depending upon availability of funds. zations. Grants and scholarships are considered gift aid and need not However, University-administered funds will not be used to replace be repaid. Loans, which must be repaid, are usually offered at a low federal or state grants or loans for which a student may have been interest rate and have an extended repayment period. eligible but for which he/she failed to apply successfully. Financial need is defined as the difference between the cost of education and the family’s federally calculated contribution to these Currently Enrolled Students costs, the Expected Family Contribution (EFC). Where need exists, The University of the Arts’ postmark deadline for submission the University assists in meeting costs within the resources available of the FAFSA is March 15. to the institution. Incomplete applications, and applications submitted after March Eligibility for aid is based upon the applicant’s financial need, the 15, will be considered only after on-time applications have been ability to meet individual program requirements, and the availability awarded. Some types of aid (University Grants, Scholarships, SEOG of funding. Grants, Perkins Loans, Federal Work Study, and PHEAA Grants) are Typically, 75% of the University’s students enrolled on a full-time awarded on an on-time basis and may not be available to otherwise basis are eligible for some type of need-based aid. Therefore all eligible but late applicants. students, undergraduate and graduate, are encouraged to apply. Information on application procedures, types of aid, program New Students requirements, educational costs as determined by the University, and The University of the Arts’ postmark deadline for submission the students’ rights and responsibilities is detailed in the following of the FAFSA is March 1. pages. Most general questions will be answered in these pages. Contact Incoming students are considered on a rolling, funds-available the Financial Aid Office with any specific questions you may have. basis after the 1st. Applicants are advised to submit all application materials by March 1, or as soon as possible. Some sources of funding Eligibility Criteria (as above) are limited and will not be available to otherwise eligible In order to qualify for financial aid a student must: but late applicants. •Be a U.S. citizen, or eligible non-citizen per Immigration and Naturalization Service (INS) regulations. Award Letter Deadlines •Be admitted to the University. The response date on the award letter is the date by which the •Not have received a bachelor’s degree or its equivalent. Some University requests confirmation of the acceptance of the University’s forms of aid are offered to post-undergraduate students as specif- offer of financial aid. (Financial aid includes all offers of ically noted under “Bachelor’s Degree Holders.” scholarships, grants, loans, and work study.) Students are not •Not have received aid for the maximum number of allowable obligated to the University in any way by confirming the award, and semesters (8). will not be penalized in any way by doing so. By confirming the •Not have defaulted on a previous federal loan. award, the student reserves those funds. •Be matriculated in a program which terminates in a degree If the University does not receive a confirmation from the or certificate. student we will assume that he/she does not wish these funds to •Be enrolled as a full-time student. (A full-time student is one who be reserved, and will rescind the entire financial aid offer. is registered for at least 12 credits per semester.) The University offers some types of financial aid to part-time New students are strongly urged to confirm their awards from the students. For undergraduates, part-time is defined as 6-11.5 University of the Arts even if they have not made their final college credits. For graduate students, part-time is defined as 4.5-8.5 choice. credits. Some forms of aid are offered to less than full-time students as specifically noted under “Part-Time Students.” •Maintain satisfactory academic progress as defined by the University. •Apply for financial aid by the deadline. •Demonstrate financial need as determined by the analysis of the Free Application for Federal Student Aid (FAFSA).

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 195 Stafford/PLUS Application Deadline: Students can also file using software provided by the Department of The March 15, 2002 Stafford/PLUS deadline is a suggested Education by downloading the FAFSA Express from their Web page at deadline. Eligibility for these loans will not be affected if applications http://www.ed.gov/offices/OPE/express.html. are submitted after March 15. Students should submit loan Remember, no matter how a student decides to file, he/she should application(s) as soon as they have decided which college to submit only ONE application each year. attend in the fall because loan applications require 6-8 weeks of The paper FAFSA application must be mailed directly to the processing time. processor in the envelope provided and requires approximately 4 We cannot guarantee that loan applications, which are submitted weeks to process. after May 1, 2002 will be processed in time for fall billing. If a loan Transfer students must submit financial aid transcripts to the application(s) is submitted late, the student will be required to pay University. Federal regulations require that students have financial aid tuition from other resources and then wait to be reimbursed from transcripts sent from each post-secondary institution they have loan proceeds. attended in the current year, whether or not aid was received. All first-time financial aid applicants must have financial aid PHEAA State Grant Deadlines - All Students transcripts submitted from each post-secondary institution as above. The state’s deadline for receipt of the completed FAFSA application Transfer students should obtain the Financial Aid Transcript Form is May 1, 2002 for the following year (2002-2003). Applications from their previously attended institution. received after that date may render a student ineligible for PHEAA grants as well as the other types of aid specified above. Declining Financial Aid If a student declines his/her offer of financial aid or admission, the Duration of Eligibility University will rescind all offers of financial assistance (scholarships, Under federal and University guidelines, undergraduate students grants, loans, and work-study). If that student later decides to enroll may continue to receive financial aid for only eight semesters, or until at the University, he/she will be reconsidered for assistance at that the first baccalaureate degree or its equivalent has been earned. point. Eligibility for financial assistance may be greatly reduced at a Students are no longer eligible for aid once they have either later point, and will be determined on a funds-available basis. completed the requirements for the degree or have completed the equivalent number of credits. Title IV Code Students may not receive undergraduate grants to complete The University’s Federal Title IV code is 003350. minors, double degrees, or teacher certification programs, which extend beyond eight semesters. State Grant Information Students are not permitted to delay graduation in order to continue Residents of Pennsylvania (per PHEAA’s guidelines) will be their eligibility for aid. evaluated for a PHEAA grant by filing the FAFSA. Students can also exhaust their eligibility for financial aid by failing or withdrawing from courses. Residents of: Alaska, Connecticut, Delaware, District of If you have questions about your status please contact the Columbia, Maine, Massachusetts, Ohio, Rhode Island, Vermont, or Financial Aid Office. West Virginia. Students who are residents of these states and are currently Financial Aid Application Procedure receiving a state grant MUST file the Free Application for Federal Student Aid (FAFSA). A separate state grant application form may also Prerequisite need to be submitted to the higher education assistance agency in the To be considered for financial aid, students must be accepted for student’s home state. admission to the University or be currently enrolled and making If the state grant can be used in Pennsylvania, it is “portable.” satisfactory academic progress as defined by the University. Portable state grants may be less at UArts than if used at a college in a student’s home state. Requisite Residents of states not listed above are prevented by their state All students who wish to be considered for financial aid must from using their state grants in Pennsylvania. file the Free Application for Federal Student Aid (FAFSA). The information must be released to the US Department of Education and to the University. The FAFSA is basic to the University’s Financial Aid application process and is essential to the determination of the student’s eligibility for all types of aid (Pell, FSEOG, and PHEAA Grants, University Scholarships, as well as Federal Work Study and loans). A student cannot be considered for any type of financial aid until a correct and complete FAFSA has been processed. The University does not require the CSS, ACT, FAF, Profile, or other financial aid applications to be considered for financial assistance. The Department of Education has provided an easy way to apply electronically for aid. With Internet access, the FAFSA can be completed and filed at http://www.fafsa.ed.gov.

196 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Types of Aid PHEAA Grant Each student who completes a FAFSA will be considered for all of Awards are made to Pennsylvania residents who have not attained the following types of aid. Parental enrollment will not be considered the bachelor’s degree nor been aided for the maximum number of when eligibility for University aid is calculated. semesters allowed (8). The maximum grant in 2001-2002 is $3300. Eligible students must demonstrate financial need, Pennsylvania residency, and be enrolled for at least 6 credits. To continue to be Institutional Scholarships and Grants eligible for state grant assistance, a full-time student must complete a minimum of 24 credits per academic year. University Scholarships An award letter may indicate an estimated state grant amount; University Scholarships are awarded on the basis of academic however, eligibility is determined by the state, and official notification excellence and demonstrated talent. The Presidential, Promising is sent directly to the student beginning in May. Artist, and Artist Grant are types of University Scholarships. NOTE: Students must meet state residency requirements in Named Scholarships accordance with PHEAA guidelines. PHEAA’s filing deadline is The University offers a number of scholarships that have been May 1. donated by individuals or groups to help support promising artists. These named scholarships are awarded based on need and merit. Other states have scholarship programs for their residents. Information and applications are available from the respective State University Grant boards of education. These grant funds are need-based and are awarded by the Financial Aid Office to supplement all other financial aid assistance. Federal Supplemental Educational Opportunity Grant (FSEOG) Students must be enrolled for at least 12 credits in order to receive FSEOG is a federally funded University administered program. Institutional Aid, which is merit-based. These grants are awarded to needy students who do not hold a bachelor’s degree. Typically, FSEOG grants are first awarded to Peel Federal/State Grants recipients who have met the filing deadlines on a funds-available basis. Pell Grant The Pell Grant is a federally funded program that awards Outside Scholarships individual grants in amounts ranging from $400 to $3750 in 2001- The University encourages students to explore all options for 2002. Pell grants are awarded to students who have not received a outside scholarship assistance. Local businesses, foundations, bachelor’s degree nor been aided for the maximum number of churches, unions, civic organizations, etc., often sponsor scholarships semesters allowed. that can be used toward educational costs. Eligibility is determined by the federal government and notification A good place to begin the search for outside scholarships is on-line is sent directly to the student in the form of a Student Aid Report at www.fastweb.com. This is a free scholarship search service. (SAR), which should be received 4 weeks after the FAFSA has been The University of the Arts does not recommend that students pay filed. The SAR should be reviewed for accuracy and corrected if fees for financial aid information. necessary. The correct SAR should be retained by the student as confir- As a service to students, the Financial Aid Office maintains a mation of receipt of the FAFSA. Students must enroll for at least 3 scholarship notebook containing useful information about such credits in order to be eligible for the Pell Grant. funding. This notebook may be viewed in the Financial Aid Office. The Financial Aid Office must be notified if any additional awards are received. Notification of all grants and scholarships will be included in the award letter. Student Loans Student loans are available at low interest rates (capping at 8.25%), and with extended repayment terms to assist students in meeting both tuition and living expenses. Because loan indebtedness has serious implications, students should carefully consider the amount of their borrowing (both yearly and cumulative) and borrow the minimum necessary to reasonably meet those expenses, which remain above the Financial Aid Award. Students wishing to borrow should secure an application from the bank, savings and loan, or credit union of their choice. All students, regardless of state of residency, may borrow from Pennsylvania banks and are urged to do so. The Financial Aid Office can provide an application from one of our recommended lenders.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 197 All students must use the new Stafford application called the Loan applications are available from the lender of the student’s Master Promissory Note (MPN). Returning Students may secure a choice. The parent must borrow from the same lender the student has MPN from the same lender used previously. New Students’ award letter chosen for the Stafford loan, unless that lender does not participate in package should include a MPN. the program. A PLUS loan cannot be approved until a complete FAFSA Students who have previously received a Stafford using a MPN are has been processed. not required to file another MPN for 10 years. Typically the loan application process requires 6-8 weeks. In order Students who use PHEAA lenders must submit all loan applications to deduct the anticipated proceeds from a PLUS loan from the invoice, (MPN and PLUS) directly to PHEAA. Students who use out-of-state the loan must have been approved. Therefore, parents wishing to use guarantors must submit loan applications to the University’s PLUS proceeds toward the fall balance must submit a complete Financial Aid Office. application by March 15 in order to deduct the amount of the Students are encouraged to use a lender having PHEAA as a anticipated loan check from the fall invoice. guarantor. PHEAA has reduced the fees charged on student loans and provides financial incentives during repayment. NJ Class Loan If the student has previously borrowed under any of the student If a student’s parent is a New Jersey resident, he/she may be loan programs, he or she is encouraged to use the same bank to avoid interested in the NJ Class loan, which may allow payments to be having multiple loan payments upon graduation. (Pennsylvania deferred while the student is enrolled. For information and borrowers are required to use the same lender.) application forms call 1-800-792-8670. www.state.nj.us/treasury/osa All loan applications are based on the FAFSA application; thus this application is prerequisite to the filing of the loan application. Federal Stafford Student Loan (Stafford) While the loan application is an element of the Financial Aid Applications for the Stafford loan are available from the lender of application process, it is also a separate transaction between the the student’s choice. Students may choose to use a bank, credit union, student and his or her bank. It is critical that the student understand or savings and loan association. that it is he or she alone who is responsible for repaying funds The University is pleased to recommend a preferred lender to those borrowed, and that for most students this will be the most serious students who have not previously borrowed. Please contact the long-term financial obligation yet undertaken. Financial Aid Office for additional information. All first-time borrowers are required to attend an Entrance A Stafford loan cannot be approved until a complete FAFSA has Interview before loan funds will be released by the University. been processed. Students wishing to use proceeds from the Stafford Additional information will be available at orientation and loan must submit a complete application by March 15. Students who registration. use Pennsylvania lenders must submit the loan application directly to All students must submit the Stafford Loan Application by the lender. Students who use out-of-state lenders must submit the March 15. loan application directly to the Financial Aid Office. Graduating students who have borrowed under any federal loan Per federal regulations, only one Stafford or PLUS loan may be program (as well as those who leave the University prior to processed for each student. graduating) are required to attend an Exit Interview. Students intending to discontinue enrollment at the University must contact PLUS/Stafford the Financial Aid Office. The lender will deduct origination and insurance fees from Stafford and PLUS loans before they are disbursed. These fees can total up to Student Loan Programs 4% of the principal amount borrowed. Thus, the amount available from the loan to pay educational costs is always less than the amount Federal Perkins Loan (Perkins) initially borrowed. This is a federal loan, which is need-based and is awarded by the Students who are in default on a federal loan are not eligible for University. The Federal Perkins Loan is currently offered at a fixed 5% Stafford or Perkins loans, or other financial aid while enrolled at The interest rate and is repayable to the University over a maximum ten- University of the Arts. year period. Repayment begins nine months after graduation or Students and their parents are strongly urged to make an cessation of at least half-time enrollment at an eligible institution in appointment in the Financial Aid Office to discuss questions regarding an approved program of study. any of the student loan programs. Because Perkins loan funds are limited, this loan is offered to the PHEAA Loan Line (to check on the status of your loan): earliest applicants whose Expected Family Contribution (EFC) is 1-800-692-7392. www.pheaa.org lowest. Perkin loans are usually awarded to freshman and sophomore Remember: students (junior and senior students have greater eligibility for If a student uses his/her Stafford or PLUS loan proceeds toward the Stafford loans). Notification of eligibility for this loan is included in fall invoice, he/she must submit the loan application(s) by March 15. the award letter. Disbursement Amount Parent Plus Loan For Undergraduate Students (PLUS) The lender will deduct origination and insurance fees from The parent of a dependent student may borrow up to the cost of Stafford, PLUS, and other alternative loans before they are disbursed. education (which includes living expenses) minus any other These fees can total up to 4% of the principal amount; thus, the financial aid the student is scheduled to receive. Repayment begins 60 amount available from the loan to pay educational costs is always less days after loan funds have been disbursed. The PLUS loan interest rate than the amount borrowed. is variable and caps at 9.0%. Approval for the PLUS loan is based upon credit history.

198 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Student Employment Additional steps are required to claim these forms Federal Work Study (FWS) of financial aid: FWS is a federally funded program administered by the University. Eligibility for this program is based upon the availability of funds to Federal Work Study the University and the student’s EFC. In order to claim a FWS award the student must locate a job on The Financial Aid Office will make a determination of the student’s campus. Once hired, the student must come to the Financial Aid eligibility to earn money through the FWS Program. Notification of Office to complete the necessary payroll paperwork. Students cannot eligibility will be included in the Award letter. work, nor can they be paid, until this paperwork is submitted and A FWS award is not an offer or a guarantee of a job; it is the proper identification is documented. FWS cannot be deducted from amount a student is eligible to earn should she or he secure a job. the tuition invoice. Work study awards are not applied against the invoice. Payment is made directly to employed students by University payroll check. Pell Grant Eligible students are permitted to work up to twenty hours weekly Approximately 4 weeks after the FAFSA is filed, the student will when classes are in session. Students are paid at least minimum receive a Student Aid Report (SAR). This document will notify a wage and hours may be arranged to accommodate the class schedule. student as to Pell grant eligibility. The 2001-2002 FWS award can be used between July 1, 2001 and The award letter will list the Pell Grant amount. Changes to the June 30, 2002. FAFSA information may affect the student’s Pell Grant eligibility. Jobs are usually available throughout the University in the areas of security, University offices, the library, et cetera. Positions require Perkins Loan various levels of skill and experience. To claim these funds the student must endorse a Perkins For students who are interested in working in the larger promissory note in the Student Billing Office. Funds cannot be community, there are several off-campus work study positions credited until a complete, correct note is negotiated. available. These jobs are located at sites such as community and arts organizations, theaters, and museums. PLUS and Stafford Loans The Student Employment Handbook, containing information These loans must be applied for through the student’s lender. about job openings and additional information for fall placement, is Proceeds from these loans are disbursed to the University may require available in the Financial Aid Office in late summer. the borrower’s signature. Stafford loan checks will be available in the Finance Office for signature; PLUS checks will be mailed to the parent Non-Federal Work Study (NFWS) borrower. Students who do not qualify to work under the Federal Work Study Most Stafford loans will be disbursed to the University electronically program may work on-campus under the NFWS program. and will not require the student’s signature. If a student loan is Information about job availability and placement is as listed in the disbursed by check, it cannot be credited to his/her account until Federal Work Study section. he/she signs the check.

The Student Employment Handbook details all of the regulations The award notice is subject to revision under the following governing the Federal and non-Federal Work Study programs. circumstances: 1. If government funding levels to the University are reduced, Students are reminded that falsifying time cards is a criminal individual awards will be adjusted accordingly. offense, which can subject them to criminal prosecution, disciplinary 2. Verification - The Financial Aid Office is required by federal action, expulsion, and loss of all financial aid. regulation to resolve any discrepancies in information submitted per verification with that already in a student’s file. Any discrepancies may result in revision to a student’s aid amounts and/or types. Award Notification 3. As above, if at any point in the year we become aware of Award letters will be sent to new students beginning in March and information that conflicts with other documentation in the student’s to returning students beginning in June. The Financial Aid Office staff file, we will resolve the discrepancy and revise the award accordingly. will be available to counsel students at any point during the 4. Outside Scholarships - Per federal regulation a student is not application process. Students should be aware that some aid is permitted to be “overawarded.” That is, a student’s total amount of conditional on the availability of funds to the University, and if these scholarships, grants, loans, and work study may not exceed the funds are reduced, the University will reduce aid accordingly. student’s calculated need. If a student would be overawarded due to Students must return a signed award letter with acceptance of aid. an outside scholarship, we are required to adjust the other elements of Failure to return the award letter may result in cancellation of aid. the aid package to eliminate the overaward. We encourage students to If an award is estimated, that means some additional step must be seek outside scholarships, and will adjust institutional aid only if taken before the student can receive those funds, like completing absolutely necessary. verification. To receive the Stafford the student must submit the loan 5. The University may substitute other aid funds of equal application and his/her check must be disbursed. He/she must amount and type at any point in the year at its discretion and endorse the Perkins loan promissory note in order for this loan to be without any notice. credited to his/her account.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 199 Special Circumstances Academic Progress Students who receive assistance in any form, which includes but is Income Reduction not limited to University grant, scholarship, State grant, Federal Pell The FAFSA collects information about a family’s income and assets Grant, FSEOG, FWS, Federal Perkins Loan, Federal PLUS/Stafford, et from the previous year (2000). For most people this information is a cetera, must maintain satisfactory academic progress in their good predictor of the current year’s (2001) income, since most people program of study in order to continue to receive those funds. do not experience wide swings in income from year to year. Satisfactory academic progress for students at the University is If, however, a family’s income in the current year will be significantly defined as different (more than 10%) from last year’s, the family should notify the (1) earning between 12 and 18 credits each semester, and Financial Aid Office in writing, including all available documentation. (2) maintaining a minimum cumulative and semester grade point Reductions in income which are caused by involuntary job loss, average (GPA) of at least 2.0 (“C” average). unusually high unreimbursed medical expenses, separation, divorce, If a student’s semester or cumulative grade point average is below death of a wage earner, or the like will be considered. 2.0 (“C” average), he or she is automatically placed on academic If a family’s circumstances meet these criteria the University will warning/probation and required to attain at least a 2.0 cumulative calculate the financial aid award based upon the estimated current grade point average by the end of the next semester, and meet other year (2001) figures for the fall semester. At the end of the fall semester requirements as specified by the dean’s office. the family will be required to provide documentation (such as final Students may be required to maintain a GPA higher than 2.0 in pay stub, or an estimated 2001 return) for evaluation of the spring some departments or majors. Thus, it is possible to be placed on semester’s award. Academic Warning/Probation at higher GPAs. Unfortunately, the University is not able to consider reductions in A student who does not meet the above-cited grade point income due to voluntary job changes, back taxes owed, high average and credit load requirements will jeopardize his/her consumer debt, multiple mortgages, employment bonuses received in financial aid eligibility. the previous year, self-employment losses, fluctuations in income Students who have had two semesters of academic censure from commission sales, or discretionary purchases. (Warning, Initial Probation, Final Probation) are not eligible to receive financial aid of any type during a third semester of academic Divorce or Separation censure. When a married student or parent separates from or divorces Students who receive University-sponsored scholarships may be his/her spouse subsequent to the filing of the financial aid required to maintain a GPA greater than 2.0 (“C” average). The application, the custodial parent should notify the Financial Aid student will be notified of specific GPA requirements when receiving Office in writing. notification of the scholarship. In the case of separation or divorce the Financial Aid Office is Students who have been dismissed from the University are not permitted to discuss the student’s record only with the custodial parent. eligible for financial assistance of any kind during the first semester of re-enrollment, when the first semester of re-enrollment is at least the Death student’s third semester of censure. Sadly, the University occasionally is called upon to assist a student whose parent or spouse has died subsequent to the filing of the Insufficient Credit Accumulation financial aid application. Should this occur, the Financial Aid Office In addition to the qualitative standard (GPA), students are also should be contacted immediately, and it will offer every assistance required to meet a quantitative measure of academic progress (rate of possible. credit accumulation). Students who receive merit- and/or need-based aid must earn sufficient credits each semester toward graduation. Dependency Override Students who enroll for at least 12 credits during a given semester The Financial Aid Office is occasionally asked to re-evaluate a must complete, with a grade of “D” or higher, at least 12 credits in student’s status due to the student’s assertion that he or she should be order to continue to receive financial assistance. considered independent of parental support. Although 12 credits is the minimum per-semester credit accumu- The guidelines for dependency are set by federal law, and thus each lation to maintain eligibility for financial assistance, the student will student must first be evaluated against them. A dependent student is NOT be on track to graduate in four years at this rate. Also, “D” grades someone who is younger than twenty-four (24), is not a veteran, is will cause the student to fail the qualitative (GPA) progress standard. not a graduate or professional student, is not married, is not an Each student’s total credit accumulation is reviewed at the end of orphan or ward of the court, or does not have legal dependents. each semester. Students who complete fewer than 24 credits per An independent student is someone who is older than twenty-four, a academic year will be placed on FINANCIAL AID PROBATION for the veteran, a graduate or professional student, married, or has legal following semester. If, by the end of the probationary semester, the dependents. (See the FAFSA.) student has not earned at least 36 credits (for the three-semester Federal and institutional policy is that the first responsibility for period being reviewed), the student then loses his/her eligibility for college costs is the student’s and his/her family’s; thus appeals are financial assistance. Students may fail the quantitative standard rarely granted. regardless of GPA. A student who wishes to be considered independent must write a The student’s eligibility for financial assistance will be restored letter of appeal to the Financial Aid Office. The letter must clearly state when the student has earned at least 36 credits and has met all other the reasons for appealing the dependency status. The student will be academic progress requirements. required to document his/her means of support as well as other items. Please contact the Financial Aid Office for additional information.

200 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 PHEAA Grants Change in Enrollment Status The state grant agency requires that a student earn a minimum of Unless specifically designated otherwise, all awards are issued based twenty-four (24) credits each academic year in order to continue to upon the student’s anticipated enrollment as a full-time receive state grant assistance. Any student who earns fewer than 24 undergraduate (completing 12 credits or more per semester, in a credits will forfeit his/her state grant for the first semester of the degree-granting program). following year. Forfeited grant funds will not be replaced with Students who become less than full-time or who enroll as “non- University awards. degree” may lose their eligibility for aid in full or in part. The Financial Aid Office periodically reviews all student accounts and will immediately remove any aid credited to the account of a student who has failed to satisfy progress or enrollment requirements as above. Students who are considering withdrawing (either from the University or from individual classes) are urged to meet with a financial aid counselor to discuss the impact of the withdrawal on their eligibility for aid. Please read the information about refunds in the “Tuition and Expenses” section of this Catalog. Students are reminded that withdrawing from their courses (either in full or in part) may cause them to lose their eligibility for aid in current and future semesters. To avoid unexpected balances, students must contact the Financial Aid Office with any questions pertaining to this subject. Graduate Students Graduate students are eligible to apply for Stafford loans and should refer to the section on student loans for further information. Graduate students may also be eligible for assistantships or fellowships through the department in which they are enrolled. Contact the departmental office for additional information and application forms. Graduate students are required to maintain satisfactory academic progress in order to continue to receive financial aid as specified in this catalog. Students who have attained a bachelor’s degree or its equivalent are not eligible to receive Pell, PHEAA, FSEOG, FWS, Perkins, and most other forms of financial aid including institutional grants. Graduate students who are in default on a federal student loan are not eligible to receive assistance of any type while enrolled at the University. The following Web site is helpful for graduate students: www.gradschools.com. Summer MFA Students Students who enroll at least two times in the Summer MFA program may borrow under the Stafford Loan program. Students who matriculated as of June 2000 and follow the 12, 4.5, 4.5 credit pattern are permitted to borrow during all semesters of enrollments and qualify for deferments, these students may borrow up to $18,500. Students who matriculated prior to June 2000 and follow the 10, 3, 3 credit pattern are not permitted to borrow. During the fall and spring semesters, Summer MFA students who are enrolled less than half-time are not permitted to borrow and do not qualify for deferments. For the summer of 2002, Summer MFA students who enroll for 10 credits may borrow up to $9,200, less any other aid.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 201 Transfer Students International Students Transfer undergraduates are eligible for aid and should apply Students who are neither US citizens nor eligible noncitizens (as following the same application procedures as other undergraduates confirmed by the Immigration and Naturalization Service) are not (with exceptions listed below). eligible to receive any form of Federal Title IV financial aid while All transfer students must submit a Financial Aid Transcript (FAT) enrolled at The University of the Arts. from each prior post-secondary institution attended in the current International students will be reviewed for scholarships when year, whether or not financial aid was received while enrolled. offered admission. Those students who demonstrate exceptional Financial aid will not be awarded to students from whom the artistic ability in their portfolio review or audition will be considered required FATs have not been received. for the University’s Scholarship Program. Transfer students who have borrowed the undergraduate International students may be eligible to borrow money through a maximum under the Stafford program are not eligible for continued very limited selection of loan programs. International students must Stafford assistance while enrolled at the University. have a US citizen co-signer. Contact the Financial Aid Office for Any transfer student who is in default on a federal loan is ineligible additional information. for financial aid of any type while enrolled at the University. Transfer students who enroll for the spring semester should be aware that financial aid received for enrollment during the fall semester at another institution is not transferable. Students must reapply for most forms of aid at the University. Contact the Financial Aid Office for additional information and instructions. Bachelor’s Degree Holders Students who have earned a bachelor’s degree or its equivalent and who enroll as undergraduates are eligible to apply for Stafford loans (with exceptions below). In some cases these students may also be eligible for University-sponsored aid. Students are not eligible to receive PELL, PHEAA, FSEOG and Perkins. Students who have already borrowed the undergraduate maximum under the Stafford program are ineligible for continued Stafford assistance while enrolled at the University. Those who are in default on a federal student loan are not eligible for aid of any type while enrolled at the University. Students must satisfy the financial aid transcript requirement as described under “Transfer Students.” Part-Time Students Part-time students who are enrolled in degree programs may be eligible for Pell, University, and PHEAA grants, as well as Stafford loans. Part-time students are subject to all requirements governing the financial aid programs, except that they be enrolled full-time. Part-time students are not eligible for merit-based aid. Part-time students should follow application procedures as detailed in this catalog. Continuing Education Students Students who enroll through the Continuing Education program are eligible for a very limited selection of loan programs. Continuing Education students are not eligible for any other type of financial aid. Contact the Financial Aid Office for additional information.

202 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Study Abroad and Off-Campus Study Reminders: Students who wish to study abroad or at another U.S. school for one 1. The study abroad program must be approved by both the or two semesters as part of the degree program at UArts will need the academic dean and the University’s Registrars office. Contact those advice and approval of their department chair and a written offices for additional information and procedures. agreement in advance of the courses and how they will transfer back 2. Students must begin all paperwork at least six months prior to into the degree program. This off-campus study is normally best done the semester abroad. in the junior year. Interested students should begin by making an 3. In most countries students will not be permitted to earn wages, so appointment in the Dean’s office to discuss their plans at least six they should be prepared to have sufficient spending money. months before the program begins. Appointments with the Registrar, 4. Students may not use financial aid for unapproved Financial Aid, and Billing Offices are also recommended at that time. programs abroad. If the student has financial aid, he/she should register during the In order to be eligible for financial aid, the student must enroll normal registration period. While away, the student should keep the through a college or university, which is approved for participation in Financial Aid office informed of any changes in status. the Federal Title IV programs. The following information should be used to assist in determining 5. Students may not use the extended payment plan (TMS) to pay if study abroad will be a viable option, and to help plan for the for tuition. financial responsibilities. 6. The student’s study abroad experience can be wonderful and yield a lifetime of terrific memories. The experience will be much Financial Aid, which can be used abroad: better if not marred by financial worries caused by incomplete paperwork. 1. Federal Pell Grant 2. Federal SEOG Students may find the on-line resource, www.studyabroad.com, 3. Federal Perkins Loan helpful in planning their experience. 4. PHEAA State Grant 5. Federal Stafford Loan For expanded information about Study Abroad, please contact the 6. Federal Plus Loan Financial Aid Office.

These forms of aid are subject to reduction if costs for study abroad programs are less than costs at The University of the Arts.

Financial Aid, which cannot be used abroad, includes all University sponsored aid such as:

1. Talent Scholarship 2. Presidential Merit Scholarship 3. University Grant 4. Promising Artist Award 5. Artist Grant 6. Named Scholarships 7. Graduate Grants, Scholarships and Assistantships

Students who plan to study abroad should apply for financial aid adhering to normal deadlines and procedures. Additionally, such students must provide The University of the Arts’ Financial Aid office with the following: 1. Contact person at coordinating university or college including their address, telephone and fax numbers. 2. Power of Attorney, duly executed. (If documents will require your signature in your absence.) 3. Consortium Agreement, completed. (Available from the Financial Aid Office.) 4. Contact financial aid office before final departure. It will be necessary to maintain close contact with our office to assure aid is processed before you leave the country.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 203 Budgets Part-time Students Educational costs include not only tuition and fees, but also Budgets for part-time students are determined on an individual indirect costs such as room, food, books, supplies, and personal basis. expenses. Direct costs reflect the actual amount a student will be billed by the University. Indirect costs are what a typical student might Tuition Tax Benefits expect for out-of-pocket expenses such as supplies, books, clothing, The Taxpayer Relief Act of 1997 includes tax credits for education. food, medical expenses, personal items, and transportation over a The Hope Scholarship is a tax credit of up to $1500 that covers 100% nine-month period. of the first $1000 in qualified tuition and related expenses, and up to Naturally, one’s own habits and personal spending patterns will 50% of the second $1000, required for enrollment during the first two dramatically influence these costs. Therefore, these are estimates only. years of college. These factors are used in formulating a student’s budget and The Hope tax credit is generally available for tuition and fees paid, determining financial need. The Financial Aid Office will assign each less grants and scholarships, for classes which begin on or after student a budget depending on the information provided on the January 1, 1998. The credit is phased out for single taxpayers with FAFSA. If the budgets shown below differ significantly from the adjusted gross income between $40,000 and $50,000 ($80,000 to expenses you expect to incur, please inform the Financial Aid Office. $100,000 for joint returns). Students who do not qualify for the Hope While certain academic departments may recommend that Scholarship may qualify for the Lifetime Learning Credit. students have their own computers, the University’s students are not For specific information about how these tax credits may affect you, required to provide their own computers. Therefore, the University will contact your tax professional. not accept responsibility for the funding of student-owned machines. Students interested in purchasing computers are welcome to contact the Academic Computing Office for advice on hardware and software selection and information on the educational discounts available. For more information, please refer to the Academic Computing section of this catalog. Estimated Expenses for 2001-2002 These figures are intended for your use in estimating your costs for the upcoming academic year.

Resident/ Commuter Off-Campus Graduate Tuition (12-18 credits)$18,630 $18,630 $18,630 General Fee 600 600 600 Room — 5,000 — Sub Total $19,230 $24,230 $19,230

Indirect Expenses Books & Supplies 2,000 2,000 2,000 Room 2,000 — 7,000 Food 1,800 1,800 1,800 Living Expenses 1,470 1,470 1,470 Total $26,500 $29,500 $31,500 Commuters Students who live within reasonable commuting distance of the University and reside with parents or relatives. Resident/Off-Campus Students who reside in University-owned housing or who reside in housing which is owned by neither the University nor their parents or relatives. Students who live within commuting distance of the University will not be funded as residents, or as off-campus. Graduate Students Most graduate students maintain their own homes and have correspondingly higher living expenses. Graduate students who live with parents or relatives will be assigned a commuter budget.

204 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Rights and Responsibilities For Additional Information The receipt of financial aid is a privilege, which creates both rights Listed below are numbers to call if a student receives an incomplete and responsibilities. notification or does not receive notification within six weeks of Students have the right to know the method used to determine their application filing. need; the right to have access to information and records used in determining need; and the right to be awarded aid as equitably as To check the status of your FAFSA: funds permit. 1-319-337-5665 Students applying for financial aid are responsible for accurately 1-800-4-FEDAID portraying financial resources and circumstances and notifying the www.fafsa.ed.gov Financial Aid Office of any changes in status; for applying in a timely manner; and for maintaining satisfactory academic progress and PHEAA Grant Line PHEAA Loan Line good standing. 1-800-692-7435 1-800-692-7392 Students who fail to maintain adequate progress will be placed on www.pheaa.org www.pheaa.org probation. Failure to correct academic deficiency will result in the loss of financial aid until the required credits and grade point average The University of the Arts Office of Financial Aid have been earned. 1-800-616-ARTS 1-215-717-6170 Students or parents who knowingly provide false information on www.uarts.edu fax 1-215-717-6178 any financial aid form (financial aid forms include but are not [email protected] limited to the FAFSA, verification forms, Work Study time cards and loan applications) will be denied financial aid and will be refused for Inquiries and requests for application forms should be directed to: all subsequent years without the possibility of appeal. Additionally, The University of the Arts students so identified will be billed for all aid disbursed and may face Office of Financial Aid prosecution by the Department of Education, which may result in 320 South Broad Street fine, imprisonment, or both. Philadelphia, PA 19102 While the Financial Aid Office staff is available to assist students through the application process, it is the student’s responsibility to see to the correctness and completeness of his or her application. If a student receives notification that his/her FAFSA or loan application is incomplete, the student must determine what is necessary to complete the application(s) and submit the required information. An application for financial aid will have no effect on the decision concerning admission. The admission decision is made without access to financial aid data. Application for 2002-2003 • File the 2002-2003 Free Application for Federal Student Aid (FAFSA) by March 15, 2002. • Register for the Fall 2002 semester in April 2002. Additional Sources of Financial Aid A helpful way to begin the search for additional financial assistance is on the Internet at www.fastweb.com. Additional financial aid Web sites are listed below. Students are cautioned not to pay for financial aid information; these are free Web sites. The financial aid office also maintains a notebook of scholarships. www.pheaa.org www.fafsa.ed.gov www.finaid.org www.fastweb.com www.cashe.com www.ed.gov www.usagroup.com www.cns.gov

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 205 Jefferson Family Medicine Associates Student Services Telephone: 215-955-7190 Location: 9th and Chestnut Streets John Klinzing, Dean of Students Scheduled visits: 8:00 am to 7:00 pm M T [email protected] 8:00 am to 5:00 pm W Th F 1st Floor, 1500 Pine Street 8:00 am to 12 noon Saturday 215-875-2229 Same Day Area: 8:30 am to 4:00 pm M T W Th F Evening hours are held once a week. The Student Services Division consists of a group of professionals If an ambulance is necessary, the student will be billed for this committed to assisting students of the University in reaching their service. The cost of the emergency room visit is the responsibility of goals. The division provides students with opportunities to develop the the student. interpersonal, leadership, organizational, and communications skills Because of the high cost of medical care, The University of the Arts that will serve them on a personal and professional level. The office of strongly recommends that students have adequate health insurance to the Dean of Students administers and coordinates student services cover unforeseen illness or accident. For those students not enrolled in and represents student concerns to campus groups, faculty, staff, an insurance program of their parents and who need low-cost and administration. insurance, the University offers various insurance plans. Information and brochures may be obtained at the Health Office. Counseling Center Health Records Attending college can be a time of major adjustment for both All entering students must have a physical exam, complete the undergraduate and graduate students. There are times when students Student Health Form, and file it with the Office of Health Services. In need support to help them work through this transition. The addition, the Commonwealth of Pennsylvania insists that universities University of the Arts Counseling Center offers counseling and screen for immunization deficiencies of all first-time students. workshops that can provide this support. Students failing to meet these requirements will not be allowed to If a student is seeing a psychiatrist at home, the University attend classes. recommends that he/she establish a relationship with a professional Anne Whitehead, Director closer to the University. This will help monitor symptoms and Anderson Hall Office: 215-717-6230 medications in a more consistent way and provide a more immediate 333 South Broad Street, Room M-36 level of care should a crisis arise. Counseling and Health Services can help with referrals to other professionals. Terra Building Office: 215-717-6232 All counseling and medical issues are strictly confidential. 211 South Broad Street, 4th floor, Room 40 As with medical emergencies, students are strongly encouraged to carry health insurance for psychological emergencies. Student Activities/Special Events Brian Hainstock, Director of Counseling The Student Activities Office sponsors a variety of activities to 215-875-5004 complement the academic programs. Annual events include a Gershman YM/WHA Halloween party, a Fall Carnival, and the popular UArts Late Night 401 South Broad Street, Room 412 Skate. Other events include Grocery Bingo, open mike nights, and trips to New York and Washington, D.C. Students play a major role in determining the character of the Health Services student life program. There are many opportunities for involvement The University maintains a health office with a Registered Nurse and leadership. The University Student Council helps develop, plan, from Monday through Friday, during the academic year and for six and implement changes that benefit the student body. Students are weeks in the summer. First aid is rendered, minor illnesses treated, welcomed and encouraged to join this organization, which acts as the and appropriate referrals to other health professionals are made. voice of the student body in the University governance system. Health counseling is offered, emphasizing disease prevention, health Student clubs and organizations also contribute to campus maintenance, stress control, and wellness activities. activities, and students are encouraged to investigate the opportunities Medical services are offered to UArts students by contractual these groups have to offer. Organizations include the African agreement with Jefferson Family Medicine Associates (JFMA), a group American Student Union, the Hip Hop Club, Christian Fellowship, and of physicians who specialize in Family Medicine Practice. Students the Gaming Society. may use these doctors as they would use their family physician at To encourage participation in sports and physical fitness, the home and need only a referral from the University’s nurse to obtain University offers partially subsidized membership in a local fitness an appointment. Besides treating acute and chronic illnesses, there center. For more information about any of these opportunities, are services for Drug Abuse, Sexually Transmitted Diseases, Birth contact the Student Activities Office. Control, and Mental Health. University of the Arts students are not Shontae Khaleel White, Director charged for these office visits. There will be charges for these services if 215-875-2257 specialists are called in, if X-ray or laboratory work is needed, and for [email protected] emergency room visits. 1500 Pine Street, Room 101 In the event of an emergency after office hours, JFMA physicians are on call 24 hours a day, seven days a week, and may be reached by phone.

206 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Residential Life referred to the services by their instructors, students are also welcome The University of the Arts has made a strong commitment to to avail themselves freely of these support services. providing a supportive living/learning environment. The University For more information, please contact: has four residence halls on campus. All residence halls are furnished Anita Lam, Director and have separate bathroom and kitchen facilities in each apartment. Academic Support Services Each building has laundry facilities and 24-hour security and 215-875-2262 maintenance. All residence halls are “smoke free.” 1500 Pine Street, Room 102 Furness Hall is a historic remodeled building highlighted by its high ceilings and tall windows. It is a four-story building with two Academic Achievement/ACT 101 Program separate wings and has large studio and one, and two bedroom The Academic Achievement/ACT 101 Program (AAP) is part of the apartments, housing three to four residents. Higher Education Opportunity Act of the Commonwealth of The 1500 Pine Street Residence Hall is a ten-story building, which Pennsylvania. At The University of the Arts, the purpose of the has studios and one and two bedroom apartments, housing two to five program is to provide developmental maintenance and transition residents. It features hardwood floors and a studious environment. services to students who need preparation in arts and academics. The 1228 Spruce Street Residence Hall is a recently acquired eight- Students selected to participate in the program must be Pennsylvania story building with studio apartments housing two students. It residents with financial and/or academic needs. With the extra features walk-in closets. support of the AAP, these students become a highly motivated, cohesive The 311 Juniper Street Residence Hall is also a recently acquired group whose determination to succeed is reflected in their high and newly renovated twelve-story building with one and two bedroom retention and success rates. apartments housing two to four students. It features spacious kitchens Each year, a small number of students receive conditional with built-in microwave ovens, air conditioning, wall-to-wall admission to the University under the Academic Achievement/ACT 101 carpeting, and internet/cable hookups. Program. These students are mandated to attend the Summer Bridge All living environments are supervised by specially selected Resident Intensive, receive tutoring and counseling during the semester, and Assistants. RA’s are upper-class students, trained in peer advising and attend a midsemester review to ensure their success the first two years. crisis intervention, who assist students in their adjustment to college To further assist these students, the University also awards an AAP as well as to life in the city. The residence program is supervised by the Grant to them so they will be less burdened by financial demands and Director of Residential Life. can focus on their education. Students receive a housing packet outlining all facilities and For more information, contact the Academic Achievement accommodations after they are admitted to the University. All new Program. students are guaranteed housing if their housing deposits are received Anita Lam, Director by June 1. On-campus housing for students after their first year is 215-875-2262 determined on a first-come first-serve basis. 1500 Pine Street, Room 102 The Residential Life Office assists students in finding off-campus accommodations through its off-campus housing service. Early inquiries regarding this information are strongly recommended Learning Skills Specialist The University is committed to supporting students with learning Glenn Smith, Director disabilities to ensure that they have an equal opportunity to 215-875-2214 participate and succeed in completing their coursework. The Learning 1500 Pine Street, 1st floor Skills Specialist provides reasonable academic accommodations to individuals with documented learning disabilities and serves as a liaison between the student and members of the faculty. To be eligible Meals for accommodations the student should submit a recent psycho- Almost all student residences feature separate kitchens within each educational testing evaluation, Individual Educational Plan or 504 apartment. Students prepare their own meals according to their document. It must be signed and dated by a psychologist, child study individual schedules and dietary preferences. In addition, the team members, or a learning disability specialist and contain a University maintains a cafe that serves breakfast and lunch and an diagnosis and recommendations for accommodation. If the condition optional meal plan. Snack and beverage vending machines are is medically related but affects how the individual learns, a letter from accessible at all times. a physician should be included. The Learning Skills Specialist assists all students, with and without Academic Support Services documentation, by working with them or providing referrals to other The Academic Support Services are available to all students as a University and community services that may help students in supplement to their classroom instruction. Tutors help students acquiring new learning strategies that will meet their individual develop skills in reading, writing, and other academic and studio needs. For additional information, please contact: areas, including successful classroom strategies and improvement of Lois Levine-Elman, Learning Skills Specialist study habits. 215-875-2254 Professional and peer tutoring are available to undergraduate 1500 Pine Street, Room 103B students for general skills and for specific subjects or courses. Computer-assisted academic instruction is also available. For assistance with any other type of disability, students should The International Student Advisor will also assist students from contact the Dean of Students at 215-875-2229. abroad in securing support services. Although students may be

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 207 International Student Services General Information In an effort to meet the special needs of the international student, the University has developed a network of University personnel and offices to provide specialized services to students from abroad. These Campus Security services are provided through the Office of Admission, the The University has security personnel in all of its buildings to International Student Advisor, the Director of Residential Life, and the provide 24-hour protection. Every semester, identification cards are Dean of Students. issued and validated by the Public Safety Office for all students, The University has designated one member of the professional staff faculty, and employees. Public Safety officers may deny access to as the International Student Advisor. In addition to serving as liaison University facilities for anyone not carrying a validated identification for students from abroad, the International Student Advisor will assist card. Spot checking of identification cards occurs throughout the day. the student in securing necessary services provided through the Complete identification checking occurs each weekday from 7:15 p.m. support areas of the University. Special programs designed to help until 8 a.m.; after 12 noon on Saturday until 8 a.m. on Monday; and international students include the following: ESL tutorial when classes are not in session. A limited escort service is provided for assistance for undergraduates, Immigration Service advisement, students living on or near the University’s campus. The general and Orientation. campus area is patrolled on a regular basis. Students interested in participating in the Residential Life program Campus Security also provides programs to develop student should contact the Office of Residential Life directly, as do all other awareness of safety and security concerns in an effort to diminish entering students. While there is no distinct residential program for exposure to loss. The campus Security Department administers the students from abroad, special efforts are made by the Office of University Safety Program to ensure the safety of all students, faculty, Residential Life to consider the needs of the international student. and staff. Likewise, the University Health Service, while meeting the needs of In the event of a family emergency about which it is necessary to all enrolled students, also considers the support needs of international contact students at the University, parents or guardians should call students. All international students should take special note of the 215-717-6401 at any time of the day. Security personnel will take the University’s requirement that they maintain or secure appropriate necessary information, contact the appropriate offices to locate the medical insurance coverage, either through their family or through student, and deliver the message. the medical insurance plan offered through the University. When in need of assistance, students are advised to contact either the International Student Advisor, Anita Lam, at 1500 Pine Street, School Closings Room 102, 215-875-2262, or the Office of the Dean of Student In the event of inclement weather, students should listen to KYW Services at 215-875-2229. 1060 AM radio for announcements of school closings. The University code number is 116. Career Services As students advance academically and artistically, it is important Automobiles for them to begin to develop a plan for their career in the arts. The Students living in the University’s residence halls are not permitted Career Services Office assists students by providing comprehensive to maintain vehicles (except bicycles) on campus. Any resident services and individual counseling tailored to their specific needs. student found to be maintaining a vehicle (except bicycles) on Services for students include the following: career counseling; campus will be subject to disciplinary action by the Dean of Students. assistance with resume writing, interview techniques and job search Such action may include dismissal from the residence halls. Students skills; career resource library and industry publications/periodicals; with disabilities may request an exemption from this rule from the Career Connections monthly newsletter; internship listings; job Dean of Students. listings including freelance projects, part-time jobs, summer jobs, audition opportunities, and full-time career opportunities; Veterans information on fellowships, grants and contests; annual Futures Fair As an accredited degree-granting institution, the University is (Career Day); Web site including on-line résumés, job listings and approved for the training of veterans. Information about education career links; graduate school information; and study-abroad benefits may be obtained from any VA office. information. The professionally trained staff of the Career Services Office provides assistance to both students and alumni of The University of the Arts. For additional information, please contact: Elisa Kurland, Director 215-717-6075 Dorrance Hamilton Hall, Suite 130

208 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Student Assistance General Provisions Code of Conduct In accordance with the Higher Education Amendments of 1998, The University of the Arts has available, upon request, information regarding academic programs, financial assistance, and institutional The University’s regulations governing nonacademic student policies and statistics. Plans to publish the information on the conduct safeguard the particular values and common welfare of the university’s Web site are currently being reviewed, and most of the student body and promote the best possible environment for study. information may be found in the university’s catalog. Membership in the University is regarded as a privilege, and the The Student Assistance General Provisions report includes student is expected to exercise self-discipline and good judgement. By information on the following: registration, the student acknowledges the University’s authority to Accreditation, define and enforce standards of acceptable conduct. Adjudication of Current degree programs including related facilities and faculty, alleged student misconduct is the responsibility of the Office of the Tuition, fees, and other estimated expenses, Dean of Students. A committee on campus standards, representing the Withdrawal and refund policies, student body, faculty, and administration, serves in an advisory Description of financial aid programs, including eligibility, award capacity to the Dean. The Campus Standards Committee may criteria, and application procedures, as well as students’ rights and recommend suspension, dismissal, or expulsion for student conduct responsibilities upon receiving financial assistance (such as considered unacceptable at the University. continued eligibility, exit counseling, and options for payment A complete set of rules and procedures is contained in the current deferral), code for student rights, responsibilities, and conduct. This Student Requirements for the return of Title IV grant or loan assistance, Code of Conduct may be found in both this Catalog and the Services available for students with disabilities, Student Handbook. Graduation rate. University policy provides that a student may be required to withdraw from the University for psychological/health reasons. A In addition, each October, the Public Safety Department publishes student who is withdrawn under this policy is one whose behavior an annual report on the university’s security policies and crime necessitates a leave from the University community. statistics, which is available to all current and prospective students and employees. Academic Honesty/Integrity Policy To request a copy of the Student Assistance General Provisions The University of the Arts does not condone any form of academic report, please contact the Office of the Provost, The University of the dishonesty, including cheating on exams, plagiarism, or similar types Arts, 320 South Broad Street, Philadelphia, Pennsylvania 19102. of behavior. Lack of knowledge of citation procedures, for example, is an unacceptable explanation for plagiarism. Penalties may include a University Computers, Telephones, reprimand, a failing grade for a particular assignment, a failing Equipment, and Resources grade in the course, and/or suspension from the University. The University of the Arts provides access to computing and information resources, telephones and other equipment and resources Sexual Harassment and Other for students, faculty, and staff to support the University’s mission of Prohibited Harassment teaching, creative exploration, research, and public service. The University of the Arts is committed to maintaining an Recognizing the value of such resources to our education and artistic environment in which students, faculty, and staff may pursue mission, the University has made substantial investment in such academic, artistic, and professional excellence. This environment can resources and equipment and expects them to be used for University be secured only through mutual respect and unconstrained academic purposes only, in accordance with University rules, policies, and and professional interchange among faculty, staff, and students. directives. No University resources or equipment may be used Faculty, staff, and students of the University are entitled to participate improperly by any faculty, student, or staff member, or for personal in and obtain the benefits of the University programs, activities, and gain or profit. employment without being discriminated against on the basis of their sex, race, religion, creed, age, ethnicity, national origin, pregnancy, disability, sexual orientation, or military status. The University regards any act of sexual harassment or harassment because of race, religion, creed, age, ethnicity, national origin, pregnancy, disability, sexual orientation or military status to be a violation of the standards of conduct required of all persons associated with the institution. The prohibition against sexual harassment and other forms of harassment applies to all interactions occurring on campus, in University facilities, or within the context of University- related activities. The rights defined by this policy apply to all University faculty, students, and employees and the obligations are binding on all faculty and staff as part of their employment regardless of tenure or years of service, and all students, regardless of academic status. Harassment constitutes a serious offense and the University will take all necessary disciplinary actions to eradicate it from the

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 209 University. Those who commit harassment prohibited by this policy are subject to the full range of discipline, up to and including Student Code immediate dismissal from the University faculty or employment, or expulsion from the University, as appropriate. The prohibitions set forth in this policy include acts of retaliation Part One — Student Rights, against members of the University community who have filed Responsibilities and Conduct complaints under this policy. I. Definitions Substance Abuse Policy As used in this Code, the following terms shall have the following The members of The University of the Arts community and their meanings: health and safety are of paramount concern. The University will not tolerate drug and alcohol abuse as it imperils the health and well- A. “University” means The University of the Arts and, collectively, being of its faculty, staff and students, and threatens the operation of those responsible for its control and operation. its educational programs. The use, possession, or distribution of illegal drugs and abuse of B. “Student” means all persons whose primary relationship to the other controlled substances, in or out of class, or on University University is as a student, presently registered at the University, either premises is inconsistent with law-abiding behavior expected of all full-time or part-time, pursuing undergraduate or graduate studies, students, and may result in discipline, up to and including expulsion. or continuing education courses. The University prohibits the illegal and/or unauthorized manufacture, sale, or delivery, holding, offering for sale, possession, C. “Instructor” means any person hired by the University to or use of any controlled substance as defined under the Pennsylvania conduct classroom or studio activities. Controlled Substance, Drug, Device and Cosmetic Act, 35 P.S. Section 780-102, the Uniform Controlled Substances Act, the Uniform D. “Student organization” means a group of students who have Narcotic Drug Act, or the Federal Food, Drug and Cosmetic Act, 21 complied with the requirements of the University for formal U.S.C. Section 301 et seq., on University property. recognition as set forth in Section IV of this Code. Such controlled substances for the purposes of this policy shall include but not be limited to alcoholic beverages, narcotics, E. “Group” means a number of students who have not complied hypnotics, sedatives, tranquilizers, stimulants, hallucinogens, and with the requirements for formal recognition as a student organi- other similar known or habit-forming drugs and/or chemicals as zation. defined under the aforesaid laws. F. “Student media” means either an organization whose primary purpose is to publish/prepare and distribute any publication/presen- Smoking Policy tation on the University campus or a regular publication of any The University of the Arts maintains a smoke-free environment. student organization. Smoking is permitted only out of doors. G. “Custodian” means the administrative officer of the University Solicitation with applicable supervisory authority. In an effort to assure a productive and harmonious work environment, persons not employed by The University of the Arts may H. “Shall” is used in the imperative sense. not make solicitations or distribute literature at the University at any time for any purpose. I. “May” is used in the permissive sense. The University recognizes that students and alumni may have interests in events and organizations outside the University. However, J. All other terms have their natural meaning unless the context students and alumni may not make solicitations or distribute dictates otherwise. literature concerning these activities on the University campus or by electronic mail. II. Student Rights A. This Code recognizes that the students of the University, as members of an academic community, are entitled to the rights set Workplace Violence forth herein, including, to the extent provided by applicable law, the The University is committed to maintaining a safe working, right to be free from discrimination and harassment based on gender, learning, and living environment for all members of the University religion, race, national origin, creed, disability, or sexual preference. community. Threats, acts of aggression, and violence are unacceptable in the B. The University reserves the right to change the provisions of this University community. Any such threat or violence act, regardless of Code as it deems necessary. In addition, except to the extent expressly intent, will be considered serious misconduct and may be the basis for provided herein, the Code is not intended to deal with academic disciplinary action, up to and including dismissal. issues, financial obligations, or residence assignments: the University In additional, the University prohibits the possession of firearms, retains its traditional powers in these and all other areas of campus explosives and other dangerous weapons on campus and at University life. functions off campus.

210 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 III. Campus Expression B. Any individual, group, or organization requesting space must A. Discussion and expression of all views are permitted within the inform the University of the general purpose of the function so that University, subject to requirements for the maintenance of order. the University may schedule an appropriate location. Support for any cause by orderly means, which do not disrupt the operation of the University, is permitted. The University retains the C. Allocation of space shall be based on the demonstrated needs of right to act to protect the safety of individuals, the protection of the organization, group, or individual, as determined by the Office of property, and the continuity of the educational process. Facilities Management. D. Preference may be given to programs designed for audiences B. Students, student groups, and student organizations may invite consisting primarily of members of the University community. and hear any speaker of their choosing, subject to the requirements, set forth in Section V below, on the use of University facilities. E. Conditions may be imposed to regulate the timeliness of the requests, to determine the appropriateness of the space assigned, to C. All University students have the right to express their views, both regulate time and use, and to insure proper maintenance. individually and collectively, on issues relating to University policy, F. Charges may be imposed for any special services required in through the Student Council. connection with the event. IV. Student Organizations G. Physical abuse of assigned facilities will require restitution for A. Student organizations may be established within the University all damages and may result in limitation on future allocations of for any legal purpose, upon recognition by the Office of Student space to offending parties. Activities. To apply for recognition, the proposed organization must submit a list of its officers and a copy of its constitution and bylaws. VI. Student Rights and Residence Halls Where a proposed student organization is affiliated with an A. Resident students can have a representative voice in making extramural organization, that organization’s constitution and bylaws recommendations with respect to the policies of the University’s must also be submitted to the Office of Student Activities. residence program.

B. Any group which has been in existence for at least one academic B. The University shall, to the extent set forth herein, respect each year must apply for recognition as a student organization in order to resident student’s right to privacy. The University may conduct room continue to receive benefits from the University. searches of resident students in good standing only 1) with the consent of the student; 2) in conjunction with legal authorities who C. Recognition of a student organization by the University does not have obtained a search warrant; or 3) to insure compliance with imply approval by the University of the aims or objectives of the University regulations, as reflected in the Residence Contract. organization. University personnel’s entrance to rooms, unless for an emergency, apparent breach of University regulations, or conditions beyond the D. After recognition, all amendments to a student organization’s control of the University, shall be announced 24 hours in advance. If constitution or bylaws must be submitted to the Office of Student the University determines that a danger to the safety of the University, Activities four weeks prior to the effective date. the residents, or the community exists, consent to enter and search a room will be considered implicit. E. Any organization which engages in illegal activities on or off campus shall have sanctions imposed upon it, including withdrawal C. When a resident student requests maintenance service for his/her of University recognition. room, consent to enter shall be considered implicit. Such service calls will be arranged 24 hours in advance whenever possible. F. Membership in all campus organizations shall be open, within the limits of their facilities, to any member of the University VII. Access to Student Records community who is willing to subscribe to the stated aims and In 1974, the Congress of the United States enacted the Family objectives of the organization and to meet its stated obligations. Educational Rights and Privacy Act, Public Law 93-380, as amended, setting out requirements designed to protect the privacy of students. G. Discrimination by any student organization on the basis of Specifically, the statute governs 1) access to records maintained by gender, religion, race, creed, national origin, disability, or sexual certain educational institutions and agencies, and 2) the release of preference is prohibited. such records. In brief, the statute provides that such institutions must provide students access to official records directly related to themselves V. University Facilities and an opportunity for a hearing to challenge such records; that University facilities may be assigned to organizations, groups, and institutions must obtain the written consent of the student before individuals within the University community for regular business releasing personally identifiable data from records to other than meetings, for social programs, and for programs open to the public. specified exceptions; and that students must be notified of these rights. As such, all students of The University of the Arts have the A. The Office of Facilities Management shall have the responsibility following rights with regard to educational records maintained for assigning University space to campus organizations, groups, and by the University: individuals. A. The right to review educational records which are maintained by the University. These records generally include all records of a personally identifiable nature; however, they exclude the financial

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 211 records of parents and confidential letters and statements of G. Requests to inspect and review records may be made by recommendation received prior to June 1, 1975. completing an “Access Request for Educational Records,” which is B. Records which have been created or maintained by a physician, available in the Office of the Registrar. Upon receipt of a request an psychiatrist, psychologist, or other recognized professional or parapro- appointment will be made to review records within 45 days. fessional while an individual has been a student at the University, are not available for review; however, the student does have the right to H. If a student believes any information in the file is inaccurate or select a physician or other appropriate professional, at personal misleading, that individual may request, in writing, the custodian of expense, to review these records on the student’s behalf. the record to amend, delete, or otherwise modify the objectionable C. University educational records are maintained by the following: material. If said request is denied, the student may request that a 1. Office of the Registrar hearing be held to further pursue the request. At this hearing, the 2. Office of the Dean of Students student may be represented by a person of his or her choice, if so 3. Financial Aid Office desired. If after the hearing the request to amend is again denied by 4. Finance Office the University, the student has the right to place in the file a statement 5. Office of Continuing Studies or other explanatory document, provided that such statements or 6. Some educational records may also be maintained by the Dean documents relate solely to the disputed information. of the College, academic major departments, and the Academic Support Services Office. I. If a student believes that any of his or her rights hereunder have been violated by the University, he or she should make such facts D. The University may not generally release any information known to the Dean of Students in writing. If the Dean of Students does outside the University, which is maintained in educational records not resolve the matter and the student still feels that his or her rights without prior consent or waiver. However, the University does have the have been violated, he or she may so inform the Department of right to release the following information: Education in writing. 1. Name 2. Address J. Release of information from permanent records to outside parties 3. Telephone listing requires the student’s explicit consent. Those exceptions, which do not 4. Date and place of birth require the student’s consent, are: 5. Major field of study 1. Compilation of general enrollment data for reports required by 6. Participation in officially recognized activities US Government and Commonwealth of Pennsylvania authorities 7. Dates of attendance 2. Participatory information-sharing with educational service 8. Degrees and awards received associations such as the College Scholarship Service and the 9. The most recent previous educational institution attended by American Council on Education the student. 3. Information about an individual student in the event of a If a student does not wish any of this information made public, personal emergency which is judged to threaten the health either in a directory of students or in any other manner, the student and/or safety of that student must inform the Office of the Registrar no later than the end of 4. Compliance with judicial orders and lawfully issued subpoenas the third week of classes each semester of the information not 5. Response to inquiries by parents of dependent students (see to be released. section K) 6. Reference by appropriate University of the Arts’ faculty and E. The permanent record maintained by the University will professional staff consist of: Any release of information as outlined above which identifies an 1. Directory information as noted above individual student and requires that student’s consent will be logged 2. Application for admission in his or her permanent record. 3. Applicant’s secondary school records 4. Cumulative University of the Arts records of grades, credits, grade K. As provided by the Act, the Office of the Registrar will respond to point average, and academic actions valid requests by parents of dependent students for grades and related 5. Correspondence (or copies thereof) re: admission, enrollment, cumulative information. Although the student’s consent is not registration, probation required, he or she will be informed that such a request has been 6. Student petitions made. 7. Disciplinary actions A dependent student is defined as one who is declared a dependent 8. Departmental appraisals and evaluations of student progress by his or her parents for income-tax purposes. The University, however, will continue to mail semester grade reports and actual transcripts of F. The permanent records of the University do not include: records directly to the student at his/her permanent address. 1. Parents’ and students’ confidential financial documents 2. Counseling psychologists’ files L. Requests for the records of a deceased student must be 3. Health Office files accompanied by a notarized statement from the executor of the estate 4. Faculty and staff memoranda/files retained for of the deceased approving the release of records. Requests concerning personal/professional use students who have long been deceased will be evaluated by the University based on legitimate educational interest.

212 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 VIII. Violation of University Standards O. Failing, after a warning, to wear clothing or foot covering while The University reserves the right to impose discipline for any attending classes or utilizing any University facility; misconduct which adversely affects the pursuit of the University’s stated purposes and objectives by the University community. In P. Smoking on campus property, except in designated areas; addition, the specific types of misconduct listed below may subject a student to disciplinary action by the University: Q. Consuming food or beverages in areas designated “No Food or Beverages”; A. Cheating or plagiarism in connection with an academic R. Unauthorized consumption, possession, distribution, transfer, or program at the University; sale of alcoholic beverages anywhere on University property;

B. Furnishing false information to the University with the intent S. Failing to comply with the directions or instructions of University to deceive; officials, relating to the provisions of this Code or other regulations which the University may adopt; and C. Unauthorized use of, or misuse, including mutilation and/or defacing, of educational materials, University records, or University T. Soliciting or assisting another student to do any act which could property; subject him/her to discipline for violation of University standards or regulations. D. Forgery, alteration, unauthorized use or misuse of any official University document, name, symbol, record, or student or faculty IX. Disciplinary Actions identification card; The University may impose discipline on a student for a violation of any University standard according to the procedures set forth in Part E. Theft, misappropriation, vandalism, grossly negligent damage, Two of this Code. The penalties for a violation are set forth below. One or arson to any University property or private property of any or more of the listed penalties may be imposed at the discretion of the member of the University community or any other person on University. The maximum penalty is expulsion from the University. University property; A. Warning: A notice to the student orally or in writing, that contin- F. Threat of, or actual infliction of, bodily harm or physical abuse uation or repetition of conduct found to be a violation may be cause or injury to any member of the University community or any other for additional disciplinary action. A copy of a written warning is person on University property; retained by the Office of the Dean of Students until the student leaves the University; it does not become a part of the student’s file. G. Physical obstruction or verbal disruption of teaching, research, disciplinary proceedings, or authorized University programs, events, B. Fine: A money penalty, intended as a deterrent, to cover the costs functions, or activities; of replacing physical property of the University damaged or stolen by the student. The payment of any fine by a student shall in no way H. Obstructing access to any University building or other facility; limit the right of the University to seek complete restitution through unauthorized use or occupation of any University meeting facility, civil proceedings. classroom, common indoor or outdoor area, faculty office, or any other component of the University physical plant or property; C. Other: The assignment of appropriate tasks for the purpose of restitution and/or exclusion from participation in privileged or I. Use, possession, distribution, transfer, or sale of illegal narcotics, extracurricular activities for a period not to exceed one year. hallucinogenic agents, or drugs anywhere on University property; D. Disciplinary Probation: Disciplinary probation is an official J. Construction of or actual possession of firearms or other written notice to a student that violations of University regulations or inherently dangerous weapons or explosive materials, policies, or patterns of behavior contrary to University standards or including fireworks; expectations, will not be tolerated. Repeated offenses will result in more severe action, including possible suspension or expulsion from K. Violation of any criminal statutes of the United States or the the University. Disciplinary Probation lasts for a stated period of time Commonwealth of Pennsylvania, or ordinances of the City of and a copy of the probation notice is maintained in a disciplinary Philadelphia, which occurs on University property or which directly file in the Office of the Dean of Students until a student leaves affects the University community; the University.

L. Resisting campus security guards acting in the proper E. Suspension: Suspension is the termination of student status and performance of their duties on University property; separation from the University until a specified date. Suspension means the loss of all rights and privileges normally accompanying M. Failing to repay, by agreed deadlines, monies borrowed from student status. Suspension is imposed in instances of serious official student loan funds; misconduct. Upon termination of the period of suspension, the student shall be considered for readmission in compliance with N. Failure by a resident student to abide by the University Residence academic standards then in effect, provided that the student is Hall Contract and any other rules and regulations of the University academically eligible for re-admission. Suspension is recorded in a applicable to resident students; disciplinary file in the Office of the Dean of Students.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 213 F. Dismissal: Dismissal is the termination of student status and designee, and Section III. The decision of the Campus Standards separation from the University. Dismissal means the loss of all rights Committee or Provost is final. No further appeal may be taken. and privileges normally accompanying student status. Dismissal is imposed in instances of more serious misconduct. Upon imposition of E. If the Dean’s preliminary investigation indicates sufficient this action, the student shall be issued terms for re-admission, evidence to warrant penalties which may include suspension, including, but not limited to, the first date by which the student is dismissal, or expulsion, the Dean of Students or his/her designee shall eligible to reapply for admission and conditions related to the cause of prepare and serve on the student a written complaint setting forth the dismissal; the student must also be in compliance with academic nature, time, and place of the hearing. standards in effect at the time of re-application. If denied re- admission, the student may re-apply after one year, although terms F. Service of the complaint shall be hand-delivered to the student or issued at the time of dismissal remain in effect. The imposition of this by certified mail, return receipt requested, on the student, with date, action is recorded as dismissal from the University on the transcript. time, and place of hearing set out. Dismissal is recorded in a disciplinary file in the Office of the Dean of Students. A grade of “W” for administrative withdrawal shall be G. The student shall have the right to file countercharges against received for each course for which the student is enrolled at the time the party who filed the charges against him/her. the dismissal is issued. H. If more than one charge arises from the same incident, all such G. Expulsion: Expulsion is a permanent termination of student charges shall be heard at the same time. status and permanent separation from the University. Expulsion is imposed in instances of the most serious misconduct or in instances I. The student shall be given the opportunity of defending his/her of continued serious misconduct usually, though not necessarily, conduct before the Campus Standards Committee within two following the imposition of probation or suspension. This action is academic weeks of receipt of the complaint OR of having the charge recorded as expulsion from the University on the transcript. Expulsion resolved in an administrative hearing within one academic week of is recorded in a disciplinary file in the Office of the Dean of Students. receipt of the complaint, unless the Dean determines that the A grade of “W” for administrative withdrawal shall be received for complaint must be handled by the Campus Standards Committee. If each course for which the student is enrolled at the time expulsion is the Campus Standards Committee is not in session at the time or issued. during the two weeks after a complaint has been filed, an adminis- trative hearing will be conducted. Part Two - The Hearing Process II. Administrative Hearings I. Initiation of Disciplinary Proceedings A. If a student wishes to acknowledge that he/she has violated a A. Charges of a violation of the Code may be filed against a student, standard or regulation as charged, thereby waiving his/her right to a student group, or student organization by any member of the formal hearing before the Campus Standards Committee, he/she University community. When a complaint is filed against a student must sign a waiver to that effect. Upon the presentation of this waiver organization, the appropriate officers shall act as representatives in to the Dean of Students, or his/her designee, the Dean shall determine the disciplinary proceedings. the appropriate disciplinary action and impose it.

B. The charges shall be filed in writing with the Office of the Dean B. If a student wishes to deny that he/she has violated a standard or of Students. Upon such filing, the Office of the Dean of Students shall regulation as charged, but waives his/her right to a formal hearing notify the student of the charges and of the procedures to be followed. before the Campus Standards Committee, he/she must sign a written waiver to that effect. Upon presentation of this waiver to the Dean of C. The Office of the Dean of Students shall make a preliminary Students, or his/her designee, the Dean and a staff member to be investigation of all charges. If the Dean determines that there is no designated by the Dean shall hear the evidence by and against substance to the charges, they will be dropped. The person charged the student. and the complainant will be so informed. Also, in cases in which the Campus Standards Committee is not in session at the time or during the two weeks after a complaint has been D. If the Dean’s preliminary investigation indicates that the charges filed, the Dean or his/her designee shall hear the evidence by and warrant a warning, fine, disciplinary probation, or other location as against the student. described in Part One, Section IX, the Dean of Students or his/her designee shall meet with the student to discuss the charges and issue C. At the hearing, the student shall have the right: the imposed penalty. The issuance of such penalty shall terminate the 1. to be present; complaint procedure. 2. to be informed of the evidence against him/her; The student shall have the right to appeal the decision of the Dean 3. to present evidence on his/her behalf; of Students or his/her designee to the Campus Standards Committee 4. to have adequate opportunity to respond to the evidence; and c/o the Dean of Student Services Office, or if the Campus Standards 5. to have the assistance of an advisor of his/her choice who is a committee is not in session, to the Provost within ten calendar days of member of the University community. notice of the imposition of discipline. The appeal shall be in writing and shall be a reasonable expression of the student’s desire to appeal D. If, after the administrative hearing, the Dean of Students or the decision. A hearing will proceed as described in Part Two, Section his/her designee determines that the student warrants only a warning, II, in which instance the Provost will serve as the Dean of Student’s the warning will be given by the Dean and the matter shall be deemed closed.

214 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 E. If, after the administrative hearing, the Dean of Students or 5. Prior to each hearing, any member of the Committee who has a his/her designee determines that the violation warrants censure, particular bias, ethical conflict, or personal relationship with or probation, suspension, the levying of a fine, or expulsion, such animosity against the charged student or complainant which discipline shall be applied, and the student shall be informed in he/she believes would prevent him/her from rendering an writing of such discipline. objective recommendation shall excuse him/herself from partici- pating in that hearing. F. If, after the administrative hearing, the Dean of Students or 6. The hearing shall be conducted in a manner to do substantial his/her designee determines that the student has not violated a justice and shall not be unduly restricted by legal rules of standard or regulation, he/she will inform the student and the procedure or evidence. The Chairperson shall take notes of the complainant, and the matter shall be deemed closed. evidence and testimony presented. The charged student, or his/her advisor, may take written notes of the evidence and III. The Campus Standards Committee testimony presented. The Campus Standards Committee is in session as of the first day 7. Only Committee members, the charged students, their advisors, of classes through the last day of classes during the fall and complainants and witnesses, if any, and the Dean of Students, spring semesters. shall be allowed to attend the hearing. A. Power: The power to review complaints or charges against 8. If two or more students are charged within the same complaint, students, student groups, or student organizations by a member of the individual hearings shall be permitted when requested by any University community is vested primarily in the Campus Standards of them. Committee. This committee serves as a recommending body to the 9. The Chairperson shall open the hearing by stating the charges Dean of Students. and the procedures to be followed. 10. The Chairperson shall ask the student whether or not he/she B. Membership: The Campus Standards Committee shall be has violated each standard or regulation charged. composed of eight members: 11. The complainant shall present his/her evidence first, including 1. four students designated by the Student Council; any witnesses he/she may have. 2. two administrative staff designated by the Staff Council; and 12. The charged student shall then present his/her evidence, 3. two faculty members designated by the Faculty Council. including witnesses, if any. 13. Witnesses shall not be sworn. Any witness may be questioned by C. Chairperson: The Chairperson shall be chosen by the Dean of any party to the action and by any member of the Committee. Students. The Chairperson shall serve as an ex-officio member, voting 14. The complainant and the charged student (or his/her advisor, if only in the event of a tie. desired) may offer summations.

D. Jurisdiction: F. Committee Deliberations and Recommendations: 1. The Campus Standards Committee shall be the principal body 1. At the completion of the testimony, the members of the to hear charges of student misconduct or noncompliance with Committee shall retire to another room or clear the hearing the Code. room in order to deliberate. 2. The Campus Standards Committee shall have the authority to 2. No evidence other than that received at the hearing and prescribe supplementary rules of procedure consistent with that contained in the student’s file shall be considered by requirements contained herein. the Committee. 3. The Campus Standards Committee shall have the authority to 3. Confidentiality shall be maintained by all participants. Cases develop and recommend to the Dean of Students appropriate shall be discussed only while the Committee is in session. policies, statements, and revisions to the Code and to any other 4. Recommendations in all cases shall be determined by a simple official University document that pertains to student welfare. majority vote. 5. Within three academic days after the conclusion of the hearing, E. Hearings: the Committee shall prepare in writing findings of fact and 1. An action before the Campus Standards Committee shall conclusions as to the validity of the charges, and a recommen- commence by notification from the Office of the Dean of Students dation for appropriate action, and transmit that information to to the Chairperson of the Committee. the Dean of Students. 2. In order to conduct a hearing, there must be a quorum, which 6. Within that same time, the Committee shall notify the charged consists of 50% of the membership of the Committee. Majority, as student by letter delivered in person or by certified mail of the used in this Code, means a majority of a quorum. Committee’s recommended action to the Dean of Students. 3. If, after proper notice of the complaint and the date, time, and 7. Within three academic days of receipt of the Committee’s place of hearing, the charged student fails to appear, and the recommendation, the Dean of Students shall notify the charged majority of the Campus Standards Committee is satisfied that the student by letter, delivered in person or by certified mail, 1) student had adequate notice and no valid excuse for his/her whether he/she accepts the Committee’s recommendation and the nonappearance, the Committee may then hold the hearing discipline recommended, if any and 2) if the student is found without the student. guilty of the charges, the discipline, if any, that will be imposed by 4. The student charged may be assisted or represented during the the Dean of Students. The Dean shall also inform the Committee proceedings by an advisor of his/her choice from within the of his/her decision. University community.

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 215 8. A written copy of the Committee’s findings and recommendation and the Dean’s decision shall be placed in the student’s file, and University Guidelines for shall remain there for the period of the student’s enrollment plus Responsible Computing one year. IV. Appeal The University of the Arts provides access to computing and A. The student shall have the right to appeal the decision and/or information resources for students, faculty, staff, and other authorized the discipline imposed by the Dean of Students or his/her designee, to users in support of the University’s mission of teaching, creative the Office of the Provost within ten calendar days of the receipt of exploration, research, and public service. Computing resources notice of the imposition of discipline. include host computer systems, University-sponsored computers and workstations, and peripherals, software, and electronic files. Proper B. The appeal shall be in writing and shall be a reasonable use demonstrates respect for intellectual property, ownership of data, expression of the student’s desire to appeal the decision. systems security mechanisms, and each individual’s rights to privacy and to freedom from intimidation, harassment, and unwanted C. Upon receipt of such notice of appeal, the Provost shall advise annoyance. the Dean of Students or his/her designee that such an appeal has been Under the auspices of the Provost’s Office, all University computer filed. The Dean or his/her designee shall then make the record of the systems, including user files, may be monitored and/or confiscated at proceedings available to the Provost. any time should any portion of the system be threatened, or its integrity, security, or proper use be in question, or for any reason, at D. In his/her discretion, the Provost may give the student an the sole discretion of the Provost’s Office. Members of the University opportunity to present additional information and his/her reasons for community should understand that all computer files and communi- appeal, and may request additional information from the Dean of cations are subject to review, and should not expect such files and Students or his/her designee. Unless otherwise requested by the communications to be private. Provost, all information must be submitted in writing only. All users of the University’s information and technology resources are expected: E. Upon consideration of the record and any additional to respect the rights of others and not use such resources to information requested, the Provost shall make a final decision and threaten, harass, intimidate or insult others, or to engage in unlawful, instruct the Dean of Students to impose appropriate discipline, if any. defamatory or obscene activity; to abide by all applicable licenses, copyrights, patents, intellectual F. The decision of the Provost is final. No further appeals property rights, contracts, security agreements, and other restrictions; may be taken. and to use such resources solely for University-related activities and Note: The University and the student may both retain an attorney at purposes. his/her own expense and have that attorney present provided that 1) The University reserves the right to restrict or rescind computing an in-person proceeding is permitted by the Provost pursuant to privileges, or the use of any other University facilities or resources, in subparagraph D and 2) neither attorney assumes an active role in the accordance with this and other applicable University policies when the conference. user has exhibited inappropriate behavior in the use of such Note: In cases in which the Provost is appointed the Dean of resources. Other discipline and remedial measures may be Students’ designee, the President will substitute for the Provost in the appropriate, as set forth in other applicable University policies. appeal process. The same policies and laws that govern faculty and student publications in traditional media are applicable to publications in V. Administrative Suspension computer media. With few exceptions, Web pages, electronic mail, A. If a charge has been filed against a student, the status of the and electronic files may not contain copyrighted material without the charged student within the University shall not be altered prior to a approval of the owner of the copyright. Likewise, theft or misuse of hearing and action by the Dean unless 1) the continued presence of private property-whether it be tangible or intellectual property-is the student on the University campus shall be found by the Dean of prohibited. Students in his/her judgement to constitute a serious threat to the student or the community; or 2) the off-campus conduct of the Examples of Inappropriate Behavior student is deemed by the Dean of Students to be deleterious to the This policy covers all types of inappropriate behavior. The following student’s welfare or to that of the University community. types of activities are selected examples of behaviors that are B. Where the Dean of Students concludes that either of such unethical, unlawful, and/or inappropriate. situations exist, he/she may, in his discretion, place the student on Attempting to alter system, hardware, software, or account configu- probation or suspension pending final disposition of the charges ration. Accessing or monitoring another individual’s accounts, files, against him/her. software, electronic mail, or computer resources without the C. The administrative suspension and probation recognized in this permission of the owner. Section are in addition to the University’s right to impose the Misrepresenting your identity, role or the identity of any other emergency removal from the University’s campus and community of person in any type of electronic communication. a student. The Dean of Students shall have the sole discretion to Misrepresenting or implying that the content of a personal home determine whether to substitute the procedures of emergency page constitutes the views or policies of the University, altering the withdrawal for the procedures of this Code for student misconduct. University’s official web site or related pages without prior authori- zation in writing.

216 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Misusing the University’s computing resources so as to reduce their efficiency or to affect access to the detriment of other users. Continuing Education Programs Producing chain letters or broadcasting messages to individuals or lists of users, or producing any communication that interferes with the work of others. The Center for Continuing Studies Breaching or attempting to breach computer security systems, with 9th floor, Terra Building or without malicious intent. 215-717-6095 Engaging in any activity that might be harmful to systems or to any stored information such as creating or propagating viruses, The Center for Continuing Studies at The University of the Arts is worms, Trojan horses, or other rogue programs, disrupting services, or dedicated to providing adult learners with diverse continuing and damaging files. professional education opportunities. Credit and noncredit continuing Violating copyright and/or software licenses agreements. education courses in fine arts, crafts, computer graphics, design, Using computing resources for commercial or profit-making creative writing, photography, film, new media, recording purposes without the written authorization from the University. engineering, arts education, and arts administration are available Downloading or posting to University computers, or transporting year-round, in convenient evening and weekend classes. The Center across University networks, material that is illegal, proprietary, in also offers specialized certificate programs, as well as customized violation of University contractual agreements; or in violation of training solutions for corporate and organizational clients. University policy. The Center for Continuing Studies is home of the University’s Violating local, State or Federal laws. Professional Institute for Educators (formerly the New Studies Center), founded in 1973 to serve the continuing education and The University considers any violation of these regulations to be a certification compliance needs of professionals in the field of serious offense. Violations may result in revocation or restriction of education. A full program of non-matriculated credit courses is computer privileges; disciplinary action as outlined in the Code of offered for teachers interested in continuing their education. Most Student Conduct, the Faculty and Staff Handbooks, and other classes meet during weekends throughout the year. The Professional University policies and procedures; or may be referred to local, State, Institute also conducts unique educational and cultural travel/study and/or Federal authorities. abroad seminars. The above policies supplement the University’s Code of Conduct The Center for Continuing Studies is also the home of the Pre- and all existing policies. College Programs, featuring the Saturday School and the Summer Institute. The Saturday School provides high school-aged students the opportunity to study visual arts, media, and writing in a college environment. The Summer Institute offers high school juniors and Academic Computing seniors intensive training in visual and performing arts, including fine arts and crafts, media and communications, jazz instrumental Ken Kramar performance, drama, and musical theater. Campus housing is Supervisor of Academic Computing available, as are talent and need-based scholarships. 215-717-6020 Catalog brochures are available for all of the Center’s program offerings. Please refer to these for specific listings and registration The department of Academic Computing is dedicated to the support procedures. Please note that the degree programs at the University and integration of appropriate digital technology within the have specific course and curriculum requirements. Courses taken in University’s academic programs. The department maintains 22 the Continuing Studies program are rarely accepted by the University’s separate computer labs equipped with industry-standard software degree programs to fulfill degree requirements, and may not exceed located throughout the campus, including additional facilities in our a total of 6 (CS) credits. However, persons seeking admission to a new, state-of-the-art Terra Building. In addition to word processing degree program can apply to have these credits evaluated at the labs and multiple high-end graphics labs using enhanced Power time of admission to determine if they may be accepted for degree Macintosh G4’s, three music labs and an animation lab, the transfer credit. University hosts a New Media Center comprising of two dual-platform digital laboratories that enable the integration of animation, For additional information about the programs of the Center for graphics, text, music and sound. The University is proud to be a Continuing Studies, please visit our web site at www.uarts.edu, or member of the New Media Centers, a group of the nation’s leading contact: academic institutions and technology corporations dedicated to the advancement of technology in education. Continuing Education Open access to the computer labs is available daily to facilitate 215-717-6095 individual exploration and to ensure adequate time outside of class Professional Institute for Educators for independent work. Students are not required to bring personal 215-717-6092 computers, but may find it beneficial to have their own depending on Pre-College Saturday School their major, individual schedule, and needs. And Summer Institute Students interested in purchasing their own computers are 215-717-6430 welcome to contact the Academic Computing office for advice on hardware and software selection and information on the educational Dance Extension discounts available. The University does not accept responsibility for 215-717-5110 the installation, maintenance, repair, or security of student-owned Corporate Training Solutions computers. 215-717-6091

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 217 The University of the Arts

Administration

Miguel Angel Corzo President, CEO

Virginia Red Provost, COO

Rona Sebastian Vice President, Strategic Initiatives

Stephen Tarantal Dean, College of Art and Design

Neil Kleinman Dean, College of Media and Communication

Jack Dewitt Acting Dean, College of Performing Arts

Peter Stambler Director, Division of Liberal Arts

Barbara Elliott Director of Admission

Aquila W. Galgon Director of Financial Aid

Carol Graney Director of University Libraries

John Klinzing Dean of Students

Nancy McCool Acting Registrar

John Trojan Chief Financial Officer

Laura J. Zarrow Assistant Provost for Academic Affairs

218 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Board of Trustees 2001-2002

Ronald J. Naples, Chairman Life Trustees Miguel Angel Corzo, President Dorrance H. Hamilton Melissa Heller Batzer H. Ober Hess, Esq. George A. Beach ‘58 Sam S. McKeel Sigrid Berwind Irvin J. Borowsky Emeritus Trustees Ira Brind Mary Louise Beitzel ‘51 Ronald L. Caplan Nathaniel R. Bowditch Karen Daroff Schuyler G. Chapin Eleanor L. Davis Thomas V. Lefevre Deanna DeCherney ‘66 Sondra Myers Anne F. Elder Ronald K. Porter Charles B. Grace, Jr. Philip H. Ward, III Regina A. Henry Dorothy Shipley White Stephen R. Holstad Richard P. Jaffe, Esq. Emeritus Faculty Berton E. Korman Edna Andrade William G. Krebs ‘66 Morris Berd Al Paul Lefton, Jr. William Daley, Elaine Levitt University Distinguished Professor Jeff Lotman Albert Gold Seymour G. Mandell Kenneth Hiebert Noel Mayo ‘60 Robert F. McGovern Francis J. Mirabello, Esq. Oscar Mertz, Jr. Adolf A. Paier Richard Stetser Suzanne F. Roberts Steven B. Rossi Ernestine Ruben Jerry J. Siano ‘57 Judith F. Terra Harriet G. Weiss George A. Weymouth Albert E. Wolf

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 219 220 C F Faculty Index Campbell, Mark 33 Fambrough, Charles 80, 91, 100 Cantera, Christine 45 Farnum, Richard 23 A Carbone, Denise 39 Farr, Chris 80, 91, 100 Adkins, Paul 79, 91 Carlano, John J. 49 Farrell, Russell 45 Adorno, Paul 55, 63, 73 Cassells, Caroline 23 Felton, Richard 43 Agudelo, Juan Sebastian 23 Chant Bohn, Donald 23 Fielder, Mari 81, 103 Akerley, George 49, 79, 91, 100 Chernoff, Eddie 72, 75 Finn, Kevin 23 Allemann, Hans 43, Childs, Jennifer 81, 103 Fischbeck, Manfred 79, 81, 83, 103 Allen, Carl 91, 100 Chittum, Donald 79, 91 Fish, Alida 49 Almquist, Jan 43 Chorpash, Rama 47 Fishman, Janet 23 Andrade, Edna 33 Church, Sharon 34 Flanagan, Eileen 23 Antinoff, Steven 23 Ciccimaro, Gene 79 Floyd, Cheryl 23 Citron, Harvey 41 Fogel, Harris 49 B Clark-Schock, Karen 57 Foulks, Renee 45 Clearfield, Andrea 79, 91 Fox, Lisa 79 Bach, Laurence 43, 49 Cleighton, Karen 81, 103 Foxman, Diane 55, 63 Badach, Justyna 49 Cohen, Raye 55, 61, 63 Frazure, Laura 41 Baguskas, Eugene 37 Coleman, Connie 49 Fuiano, Louis 111 Baird, Irene 81, 03 Colton, Kali 103 Fuld, Rachel 34 Baker, John 23 Columbus, John 49 Funderwhite, Dorothy 43 Bardarson, Lisa 79, 83 Comberg, David 47 Barkat, Jonathan 45 Connolly, John 43 Barrick, Rick 49 G Conwell, Charles 81, 103 Barron, Kenny 91, 100 Gallagher, James 80, 91, 100 Cooper, Charles 33, 37 Barton, Carol 39 Garton, William 80, 91, 99 Csaszar, Tom 67 Bears, Kim 79, 83 Garvin, Christopher P. 110, 111, 114 Curry, Lawrence 23 Bedno, Ed 73, 75 Gelles, Judy 49 Bedno, Jane 71, 72, 73, 75 Genovese, Richard 80, 91, 100 Bell, Larissa 83 D Gerber, Nancy 57 Bennehum, Ninotchka 79, 83, Daley, William 34 Germer, Mark 91 Berg, Stephen 23 Darway, Christopher 34 Gerth, Jean 47 Berger, David V. 33 Davenport, Nancy 23 Giacabetti, Thomas 80, 91, 100 Berkheiser, Megan 45 David, Wayne 79 Giguere, Ralph 45 Bertini, Peter 79, 83 Deibler, Seán 79, 91, 99 Gilbert, Charles 81, 103 Beskrone, Steve 79, 91 Deneen, David 49 Gilbert, Nan 102, 103 Biancosino, Anthony 79 DeWitt, Jack 23, 78 Giordano, Steve 80 Blake, John 79, 91, 100 Dicciani, Marc 79, 89, 91, 99, 100 Gist, Linda 45 Bogle, Elizabeth 72, 75 Didier, Mary Ellen 23 Glanden, Don 80, 91, 100 Boman, Hans 83 DiMasi, Geoff 111 Glazer, Susan B. 82, 83 Boston, Lowell 33, 49 DiMedio, Annette 79, 83, 91, 99 Goltz, Janice 80, 91, 99 Brandt, Susie 34 DiPalma, Joseph 45 Goltz, Robert 80, 91, 99 Braun, Shimon 79. 83 Dockery, Samuel 79, 91 Goodman, Eileen 33 Brecker, Randy 91 Donahue, Larry 34 Gordon, Regina 99 Brock, William 79 Dornfeld, Barry 72, 111, 112 Gorny, AP. 67 Brosh, Robert 79, 91, 100 Drodvillo, Debra 43 Gostin, Arlene 55, 63 Brown, Bill 33 Druckrey, Inge 43 Graham, David 49 Brown, Brian 79 Duff, DeAngela 111 Graney, Carol 8 Bruno, Jimmy 79, 91, 100 Dulik, John 80 Grant-Kennedy, Mary Ellen 81, 103 Burnette, Allegra 72, 75 Dupree, James 39 Greco, Marie 43 Byrd, Robert 45 Durso, Samuel 23 Green, James 39, 66 Greenberg, Theodore 80, 91, 100 E Greenland, Theresa 81, 83, 103 Ebbenga, Eric 81, 103 Grossman, Gayanne 79 Ebner, Craig 80, 91 Grothusen, Michael 33 El-Omami, Anne 61, 63, 71, 72, 73 Guido, Anthony 47, 69 Episcopo, Dominic 49 Gury, Al 45 Erlich-Moss, Janyce 49 Eubanks, Robin 91, 100

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 221 H K M Haddad, Orlando 80, 91, 100 Kanter, Gabrielle 34 MacConnell, Kevin 80, 91, 100 Hall, Rick 80 Kantra, Nancy 81, 83, 103 Mach, Katharina 23 Hamilton Sperr, Portia 72, 73, 75 Karmatz, Anne 23 Madara, Jay 83 Hartl, Dave 80, 91, 100, 111 Karros, Alec 34 Mail, Barbara 34 Hartley, Neill 81, 103 Kaye-Huntington, Susan 57 Makins, James 34 Hayes, Clyde Michael 83 Keefer, Jeannine 23 Marcus, George 23 Haykin, Asya 83 Kennedy, Michael 80 Marino, Tony 80, 91, 100 Heller, Nancy 23, 83 Kerber, Ronald 80, 91, 100 Martin, Kip 81, 83, 103 Henderson, Linda 81 Kern, Jeffrey 80, 91, 99 Martin, Mary 23 Henriques, Rex 81, 103 Kery, Peter 43 Martin-O’Shia, Troy 103 Herdman, Gerald 33, 37 Kettner, David 37 Martinez, Gabriel 49 Hiebert, Kenneth 43 King, Paul 45 Martino, Pat 80, 91, 100 Hobbs, Jr., Johnnie 81, 103 Kleinman, Neil 110 Masucci MacKenzie, Gina 23 Hollerbush, Matthew 49 Knebl, John 80, 91, 99 Maute, Christopher 80 Horvath, Sharon 37 Knobler, Nathan 37, 39, 61, 63, 66, 69, 72, 73, 75 Mazzeo, Frank 80, 91, 100 Hotchkiss, Richard 80, 91 Kohler, Lucartha 34 McCormick, Rod 34 Housner, Luke 80 Koppe, Connie 81, 103 McDaniel, Drucie 81, 103 Howard, Eugene 23 Korb, Barbara 23 McGovern, Robert 33 Howard, Sabin 45 Koresh, Ronen 79, 83 McMahon, Scott 39 Howey, David 81 Kostova, Elizabeth 23 McSorley-Kery, Deborah 43 Hsu, Saine 83 Koval-Bauer, K. Lynne 111 Meashey, Kelly 80, 91, 100 Hunt, Jamer 23, 47, 69, 72 Kruty, Peter 66 Mele, Marianne 78, 79 Kutner, Neil 83 Meneghini, Tammy 81, 103 I Kyle, Hedi 39, 66 Mercuri, Patrick 80, 91, 100 Iannacone, Richard 83 Mertz, Jr., Oscar 33 L Miceli, Tony 80, 91, 100 J Lam, Anita 23 Milder, Jonas 47, 69 Jackson, Joseph 80 Lamas, Andrew 23 Milekic, Slavko 55, 61, 63, 69, 72, 73, 75 Jaffe, Jeanne 41, 67 Lanning, Joan 83 Miller, Howard 80 Jaffe, Steven 33, 37 Larimore, Jack 34 Miller, Tamar 37 Jahn, Roland 34 Larson, Cris 23 Misgalla, Molly 79, 83 Jarvis, Jeff 91, 100 Lefevre, Sharon 23, 111 Mitnick, Larry 33, 47, 61, 63, 66, 69, 72, 73, 75 Jernigan, John 23 Lengauer, Maria 55, 63 Moore, Carol 58, 61, 63, 66, 67, 69, 72, 73, 75 Johnson, Edward 103 Levis, John 83 Morgo, Jennifer 80, 91 Johnson, Elsa 33, 41 Lewandowski, Niles 32, 33 Motzer, Tim 83 Johnson, Lois M. 39, 66 Lewis, Earl 45 Muellner, Nicholas 49 Johnson, Marc 80, 91, 100 Liddy, Michael 45 Murphy, Mary 67, Jones, Micah 80, 91 Lisak, Rebecca 81, 103 Myers Brown, Joan 83 Juska, Elise 23 Lister, Peter 39 Myers, Chris 23, 43 Loebell, Larry 111 Losso, Ernest 81, 103 N Love, David 33 Nakashima, Mashiko 41 Lowery, Tom 83 Neff, Brie 79 Lowry, Susan 37 Neff, Eileen 37, 67 Luppescu Sklaroff, Carol 83 Nero, Joseph 80, 91, 100 Lynn, Jenny 49 Netsky, Stewart 24 Newer, David 81, 103 Nichols, Gerald 37, 67 Nichols, Martha 24 Nolan, Paul 24 Noujain, Elie 24 Novelli, Martin 24

O O’Brien, Tim 45 O’Reilly, Michael 49 O’Shia, Troy Martin 81, 103 Oldham, Anna Michelle 103 Osayande, R. Jeannine 79, 83

222 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 P S T Paglia, Camille A. 111 Sachs, Sid 24 Tanyol, Denise 24 Pap, Andrew 79, 83 Sakatani, Kenneth 55, 61, 62, 63, 73 Tarantal, Stephen 26, 45 Parker, Barry 41, 67 Saler, Karen 33 Terruso, Gene 82, 102, 103 Parker, Kris 34 Salicondro, Anthony 81, 91, 99, 100 Thomas, Craig 81, 91, 100 Pasternak, Theodore 80, 91, 99 Saper, Craig J. 24, 111 Thomas, David 81, 91 Patton, Christopher 24 Saperstein, Elizabeth 111 Thomas, Ron 81, 91 Paxson, James 80, 91, 100 Saylor, Steven 111 Tocchet, Mark 45 Pearce, Jeannie 49 Schaechter, Judith 34 Tomlinson, Lynn 50 Pedicin, Jr., Michael 80, 91, 100 Schaeffer, Pearl 79, 83 Townsend, Clista 103 Pedretti, Michael 82, 103 Schwass-Drew, Laurel 39 Tracy, Neal 82, 103 Pepe, Diane 33, 34 Sciolla, Anne 81, 91, 100 Treacy, Tricia 50 Petto, Andrew 24 Seale, Sloan 111 Tropea, Elise 79, 83 Phelan, Mary 39, 66 Seelig, Warren 34 Twiss, Joan 82, 103 Phillips, John 41, 49 Sender, Katherine 111 Pindell, Reginald 80, 91 Sergeev, Mikhail 24 U Pitts, Trudy 80, 91, 100 Serpentelli, John 50 Ulitsky, Fabian 24 Porett, Tom 72, 73, 75 Shanker, Jennie 41, 67 Urrutia, Maria 82 Posner, Aaron 82, 103 Shaw, Martha 24 Proud, Barbara 49 Sherman, Jon 79, 83 V Pryor, Peter 82, 103 Shmerler, Deborah 43 Van Keuren, Sarah 39 Purves-Smith, Phyllis 45 Shockley, Ed 82, 103 Vanderakis, Connie 79, 83 Putterman, Boris 33, 37 Siembora, Patricia Marie 34 Vassallo, Judith 24 Simon, Edward 91, 100 Veasley, Gerald 91, 100 Q Simon, Marlon 81, 91, 100 Viguers, Susan T. 24, 66 Quaile, Michael 80, 91, 100 Sklaroff, Carole 79 Villafranca, Elio 81, 91, 100 Slenn, Suzanne 79, 83 R Slutsky, Valentina 83 W Smigiel, Frank 24 Rabbai, George 81, 91, 100 Walczak, Marek 69 Smiley-Grace, Leigh 103 Raine, Patricia 82, 91, 103 Walsh, Diane M. 111 Smith, Patricia M. 39, 65, 66 Ramey, Kathryn 49 Ward, Stanley 24 Snizek, Suzanne 81 Rankin, III, David 45 Wasko, Dennis 81, 91, 99, 100 Snow, Faye 79, 83 Reeder, Rosae 39 Watson, Faith 24 Solot, Evan 81, 91, 100 Reeder, Steve 24 Webb, D’Arcy 82, 103 Sorlien, Sandy 50 Reuterberg, Tina 67 Webster, William 24 Spencer, Lori 39, 66 Rice, Danielle 72, 73 Weinberg, Carla 24 Spolum, David 24 Rice, Robin 24, 66, 67, 72, 73, 75 Weinberg, Wendy 50 Spring, Noah Brodie 24 Richman Beresin, Ann 23 Weisberger, Barbara 83 St. David, Wayne 83 Robbins, Owen 82, 103 Weiss, Burton 24 Stalek, Adrienne 26 Robert, Catherine 24 Welsh, Stephen 83 Stambler, Peter 19, 24 Robinson, LaVaughn 79, 83 Weneck, Nanci 81 Stasis, Patricia 81, 91 Robinson, Leo 33 Wexler, Jayne 50 Staven, Karl 50 Rodriguez, Maria 50 White, Helena 103 Stein, Andrew 24 Rodriguez, Susan 55, 61, 63 White, Susan 66 Stein, Leah 79, 83 Rosati, Anthony 39 Woodin, John 50 Stein, Robert 45 Rose, Kathy 50 Wright, Joanne 55, 63 Rose, Peter 50 Stern, Mike 91, 100 Rossman, Michael 32, 33 Stetser, Richard 33 Y Stewart, Lizbeth 34 Roth, Barent 47 Yanoviak, Ken 50 Roth, Roger 45 Stewart, Patricia 24 Stimson, Edward 81 Rudolph, Thomas 81, 91, 99, 100 Z Rudolph, William 24 Stoppleworth, Rick 82, 103 Zaccagni, Bill 81, 91, 100 Ruzicka, Pavel 47, 69 Sukol, Dena 24 Zelinsky, Chris 43 Ryder, Jeff 111, 116 Sundstrom, Lisa 79, 83 Superior, Roy 34 Zinman, Toby 24 Suplee, Barbara 55, 61, 63, 73 Zizka, Jiri 82, 103 Swana, John 81, 91, 100 Szabo, Eva 79, 83

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 223 224 Advisors 106 Change of Address 10 Index AICAD 31 Change of Major/Degree Program/College 11 Alumni Discount 193 Change of Name 10 A Animation 53 Class/Lesson Cancellations or Lateness of Absence 11, 14, 106 Course descriptions 168 Instructor 14 See also - Attendance Animation Drawing Minor 29 CLEP 189 Academic Achievement/ACT 101 Program 207 Appeal 15, 216 Closings, School 208 Academic Advising 10, 28 Application 193, 205 Code of Conduct 209 Academic Calendar 4 Application Notification 188 Code, Student 210 Academic Computing 217 Applied Theater Arts Program 102 College Level Examination Program (CLEP) 189 Academic Grievance Procedure 15 Course descriptions College of Art and Design 7, 26, 187 Academic Honesty/Integrity Policy 209 See also - School of Theater Arts College of Media and Communication 7, 110, Academic Policies and Procedures 9 Art Education 188 Academic Progress 88, 92, 107, 200 Concentration in Educational Media 62 College of Performing Arts 7, 78, 188 Academic Regulations 55 Course descriptions 118 College-Level Course Work 189 School of Dance 87 Master of Arts in 61 Communication 112 School of Music 92 Pre-Certification in 30, 55 Course descriptions 120 See specific College, Department, or Program Art Education, Master of Arts in Teaching in Commuters 204 Academic Review 14 Visual Arts 63 Composition 91 Academic Support Services 207 Course descriptions 118 Course descriptions Academic Warning 14 Art Therapy 57, 120 See also - School of Music Access to Student Records 211 Concentration 30, 57 Concentrations 12, 29, 30, 36 Accreditation 6 Course descriptions 120 Conditional Admission 188 ACT 101 Program 207 Association of Independent Colleges of Art and Conduct, Code of 209 Acting Program 102 Design (AICAD) Mobility Program 31 Continuing Education Programs 217 Course descriptions Attendance, Absence 11, 14, 92, 106 Continuing Education Students, See also - School of Theater Arts Auditing a Course 13 Financial Aid 202 Activities, Student 206 Audition, Credit by 189 Cooperative Program with Philadelphia Additional Information, Financial Aid 205 Audition, Graduate 191 University 31 Address, Change of 10 Automobiles 208 Counseling Center 206 Administration 218 Award Notification 199 Course, Auditing a 13 Admission 186 Course Descriptions Advanced Placement 189 B Art Education 118 Advanced Standing 188 Bachelor’s Degree Holders, Financial Aid 202 Art Therapy 120 Application Notification 188 Bad Check Penalty 193 Communication 120 Audition, Credit by 189 Ballet 82, 83 Ceramics, MFA Summer 127 Conditional Admission 188 See also - School of Dance Ceramics, Painting or Sculpture, Summer Crafts Studio Post-Baccalaureate Board of Trustees 219 MFA in 155 Certificate 191 Book Arts Minor 29 Crafts 123 Credit by Portfolio/Audition 189 Book Arts/Printmaking Dance 127 Deferred Admission 188 Course descriptions 171 Dance Courses for Dance and Non-Dance Early Admission 188 Borowsky Center for Publication Arts 27 Majors 131 Graduate Admission 190 Budgets 204 Electronic Media 132 Graduate Application Requirements 191 Ensembles 167 Housing Deposits 188 C Fine Arts 132 International Baccalaureate 189 Calendar, Academic 4 Foundation 134 International Students 190 Campus Expression 211 Graduate Seminars 138 Portfolio, Credit by 189 Campus Map 229 Graphic Design 135 Post-Baccalaureate Programs 190 Campus Security 208 Illustration 154 Readmission 12 Campus Standards Committee 215 Industrial Design 151 Residency Requirements 187 Cancellations, Class/Lessons 14 Jazz Studies 166 Transfer Applicants 187 Career Services 208 Liberal Arts 138 Transfer of Credit 19, 187, 191 CEEB Advanced Placement Program (AP) 189 Master of Arts in Teaching in Tuition Deposits 188 Center for Continuing Studies 217 Music Education 165 Advanced Computing and Simulation Ceramics, Master of Fine Arts in, Summer Master of Industrial Design 153 Laboratory 27 Program 67 Media Arts 168 Advanced Placement 189 Course descriptions 133, 155 Multimedia 157 Advanced Standing 188 Change in Enrollment Status 201 Museum Studies 158

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 225 Course Descriptions continued E Fine Arts 37 Music 161 Early Admission 188 Course descriptions 132 Painting/Drawing 174 Education Digital Concentration 30 Painting, Summer MFA in 175 Dance Education, Bachelor of Fine Arts 82 Foreign and Summer Study Programs 13, 30 Printmaking/ Book Arts 171 Master of Arts in Teaching in Foundation Course descriptions 136 Printmaking/ Book Arts, Master of Arts 173 Visual Arts (MAT) 63 Foundation Program 32 Private Lessons 167 Master of Arts in Art Education 61 Freshman Common Core 18 Sculpture 176 Concentration in Educational Media 62 Freshman Transfers 187 Sculpture, Summer MFA in 177 Course descriptions 118 FSEOG 199 Theater Arts 177 Music Education - Undergraduate and UArts Course 181 Graduate Studies 90 G Video/Animation 168 Music Education, Master of Arts in General Information 208 Writing for Film and Television 182 Teaching (MAT) 90, 99 GPA 13 Course Substitutions 11 Music Education, Course descriptions, Grades Crafts 34, 36 Master of Arts in Teaching, 165 Change of 14 Course descriptions 123 Educational Media, Concentration in, Grade Point Average (GPA), Computing 13 Crafts Studio Certificate Program 60 Master of Arts in Art Education 62 Grading Policies 13 Crafts Studio Post-Baccalaureate Certificate 191 Electronic Media 132 Grading System 13 Credit by Portfolio/Audition 189 Course descriptions 132 Incomplete (“I”), Grade of 14 Credit Distribution 28 Employment, Student 199 Pass/Fail 13 Credit Duplication 59 Enrolled Students 19, 195 Graduate Credit from Nonaccredited Institutions 189 Enrollment Status 201 Admission Requirements 190 Credit Load/Overloads 10 Enrollment, Verification of 9 Application Requirements 191 Credit, Insufficient Accumulation 200 Ensembles 89, 167 Audition 191 Credit, Transfer of 59 Exchange, Graduate Study, Vermont College of Art and Design Credit-Hour Ratio 19, 26, 78 Studio Center 67 Graduate Programs 58 Cross-College Elective Options and Exhibition Program 27 College of Performing Arts, Graduate Prerequisites 13 Exit Requirements for the Master of Music Programs 90, 93, 99, 100 Curriculum - See specific Department, Program, in Jazz Studies 93 Credit, Transfer of 59 or School Exit Requirements for the MAT in Music Double Degree Policies 59 Education 93 Electives Policy, Summer 59 D Expenses 204 Graduate Degree Candidacy Dance 83 and Completion 15 Course descriptions 127 F Graduate Students, Expenses 204 See also - School of Dance Facilities 32, 39, 82, 89, 100 Graduate Students, Financial Aid 201 Deadlines, Financial Aid 195 Faculty Advisors 92 Graduates Enrolled in an Undergraduate Dean’s List 13 Faculty - See specific College, Department, Course 13 Declaration of Major, School of Dance 83 or Program Portfolio 191 Declining Financial Aid 196 Index 221 Probation and Dismissal Policies 15 Deferred Admission 188 Federal Grant Programs Seminars 138 Degree Candidacy and Completion 59 Federal Perkins Loan (Perkins) 198 Thesis Continuation Fee 58 Degree Program, Change of 11 Federal Stafford Student Loan (Stafford) 198 Thesis Grading 58 Degree Programs 7 Federal Supplemental Educational Opportunity Thesis/Project 62 Degree Requirements 11 Grant (FSEOG) 197 Transfer of Credit 191 Dependency Override, Financial Aid 200 Federal Work Study (FWS) 199 Tuition and Fees 192 Digital Fine Arts Concentration 30 Federal/State Grants 197 Graduation, Conferral of Degrees and Digital Technology/Electronic Media 27 Fees 193 Diplomas 15 Diploma Program in Music 90 Figurative Illustration Minor 29 Graduation Requirements 15 Disciplinary Actions 215 Film/Video 52 Music 93 Disciplinary Proceedings, Initiation of 214 Course descriptions Graduation with Honors 15 Discount, Tuition 193 Film/Video Minor 29 Graphic Design 43 Dismissal 15, 59 Film and Television, Writing for 116 Course descriptions 135 Drop/Add 11 Course descriptions 182 Dual Concentration 36 Final Probation 14 H Duration of Eligibility, Financial Aid 196 Financial Aid 195 Health Records 206 Financial Aid Application Procedure 196 Health Services 206 Financial Aid, Additional Sources of 205 Hearing Process 214 Financial Holdings 194 Hearings, Administrative 214

226 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 History of The University of the Arts 6 Media Arts 27, 49 Teacher Program 60, 70 Honors, Graduation with 15 Course descriptions 168 Pre-Certification Concentration in Art Education Housing Deposits/Fees 188, 193 Midyear Admission 32 55, 191 Minors/Concentrations 12, 29, 110 Printmaking/Book Arts 39 I Mission Statement 6 Course descriptions 171 Illustration 45 Mobility Program (AICAD) 31 Printmaking/Book Arts, Master of Arts Course descriptions 154 Modern Dance 82, 83 Course descriptions 173 Incomplete, Grade of 14 See also - School of Dance Private Lessons 13, 167 Independent Study 12 Multimedia 114 Probation and Dismissal Policies 59 Index 225 Course descriptions 157 Programs of Study - See specific College, Faculty Index 221 Multiple Media Concentration 36 Department, Program, or School Industrial Design 47 Museum Studies 71 Course descriptions 151 Course descriptions 158 R Industrial Design, Master of, Museum Communication, Master of Arts 71 Readmission 12 Course descriptions 153 Museum Education, Master of Arts 73 Refund Policy 193 Information Architecture Minor 110 Museum Exhibition Planning and Design Registering for Other Categories of Study 12 Initial Probation 14 Master of Arts 75 Registration 10 Initiation of Disciplinary Proceedings 214 Music - See School of Music Registration, Late 10 Institutional Scholarships and Grants 197 Music Education - Undergraduate and Graduate Residency Requirements 187 International Baccalaureate 189 Studies 91 Resident/Off-Campus, Expenses 204 International Student Services 208 Musical Theater Program 102 Residential Life 207 International Students 190 See also - School of Theater Arts Responsibilities 87 International Students, Financial Aid 202 Responsibilities and Conduct, Student Rights, Internships 12, 30 N 210 Name, Change of 10 Retention of Federal Title IV Program Funds 194 J New Media Center 112 Retention of University Scholarships, Grants and Jazz Studies, Master of Music in 90 New Students 19, 195 Awards 194 Jazz/Contemporary - See Instrumental or New Students, Financial Aid 195 Return Degree Program 26 Composition under School of Music NJ Class Loan 198 Rights and Responsibilities, Financial Aid 205 Jazz/Theater Dance 82, 83 Non-Federal Work Study (NFWS) 199 See also - School of Dance Non-Matriculated Students 10 S Nonaccredited Institutions, Credit from 189 Schedule Revision 11 L Nondiscrimination Policy 2 Scholarships 194 Late Payment 193 Notice of Deficiency 14 School Closings 208 Late Registration 10, 193 School of Dance 82, 78, 79 Lateness of Instructor 14 P Academic Progress 88 Learning Skills Specialist 207 Painting/Drawing 37 Certificate in Dance 82 Leave of Absence 11, 58 Course descriptions 174 Course descriptions 127 Lessons, Attendance at 92 Painting, Master of Fine Arts in, Summer Dance Studies 83 Liberal Arts 18 Program 67 Ensemble Requirements 87 Common Core 18 Course descriptions 155, 175 Facilities 82, 89 Course descriptions 138 Parent Plus Loan For Undergraduate Students Performance Requirements 87 Loan Programs, Student 197, 198 (PLUS) 198 Physical Demands of the Program 87 Part-Time Students, Financial Aid 202 Professional Standards and Behavior 88 M Part-time Students, Expenses 204 Responsibilities 87 M.C.P Hahnemann University 57 Pass/Fail Option 13 Senior Dance Concert 87 Major - See specific College, Department, Payment Plans 192 Regulations/ Requirements 87 Program, or School Pell Grant 197, 199 Student Evaluations 87 Major Areas of Study 26, 78 Perkins Loan 198, 199 Major Program Requirements 28 PHEAA Grant 197, 201 See specific College, Department, PHEAA State Grant Deadlines - All Students 196 Program, or School Photography 51 Major, Change of 11 Photography Minor 29 Majors 12, 29, 82, 90, 110 PLUS 198 Map, Campus 228 Portfolio, Credit by 189 MATPREP 90 Portfolio, Graduate 191 Meals 207 Post -Baccalaureate Programs Certificate in Crafts 7

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 227 School of Music 78, 79, 89 Stafford Loans 198 Tuition and Expenses 192, 193 Academic Progress 92 State Grant Information 196 Deposit 188, 193 Applied Workshops 92 Student Activities 206 Payments and Financial Responsibility 192 Attendance 92 Student Classification, Undergraduate 10 Refund Policy and Procedures 193 Attendance at Lessons 92 Student Code 210 Remission 193 Composition, Bachelor of Music 90 Student Employment 199 Tuition Tax Benefits 204 Instrumental Performance in Student Exchange 31 Typography Minor 30 Jazz/Contemporary Music, Student Loan Programs 197, 198 Bachelor of Music 90 Student Organizations 211 U Vocal Performance, Bachelor of Music 90 Student Records, Access to 211 UArts Course 181 Certificate in Music 90 Student Responsibility 10 Undergraduate Curriculum - See specific Change of Major Teacher 92 Student Rights 210 Department or School Course descriptions 161 Student Rights and Residence Halls 211 Undergraduate Degree Requirements 15, 18 Diploma Program 90 Student Services 206 Undergraduate Programs 28, 90 Faculty Advisors 92 Studio Photography Minor 30 Undergraduates Enrolled for Graduate Credit 13 Graduate Programs 90 Studios and Facilities 67 University Computers, Telephones, Equipment, Graduation Requirements 93 Study Abroad and Off-Campus Study, and Resources 209 Jury Examinations 92 Financial Aid 203 University Facilities 211 Jury Recital Requirements 92 Substance Abuse Policy 210 University Libraries 8 Major Areas of Concentration 90 Summer Graduate Electives Policy 59 Master of Arts in Teaching - Summer MFA Students, Financial Aid 201 V Corequisite Program 90 Summer Study Programs 13, 30 Vermont Studio Center Master of Arts in Teaching in Music Education Summer Program, Ceramics, Painting, or Graduate Study Exchange 67 (MAT) 90 Sculpture, Master of Fine Arts in 67 Veterans 208 Master of Music in Jazz Studies 90 Course descriptions 133, 155 Video/Animation 168 MATPREP 90 Suspension, Administrative 216 Violation of University Standards 213 Professional Standards and Behavior 92 Programs of Study 90 T W Special Regulations/ Requirements 92 Teaching Withdrawal from a Course 11 Undergraduate Programs 90 Certification Program 61 Withdrawal from the University 12 School of Theater Arts 78, 81, 102, 177 Master of Arts in Teaching in Workplace Violence 210 Absences 106 Visual Arts (MAT) 63 Writing for Film and Television 116 Academic Progress 107 Master of Arts in Teaching, Course descriptions 182 Advisors 106 Music Education (MAT) 90, 99 Writing Standards 19 Call Boards 106 Course descriptions 165 Course descriptions 177 MATPREP 90, 93 Crew Assignments 106 Pre-Certification in Art Education 30, 55 Evaluations 107 See also - Education Facilities 102 Technology Competencies 62 Physical Demands of the Program 107 Thesis Grading 58 Professional Standards and Behavior 107 Thesis/Project 62 Stage Combat Program 103 Three-Year Transfers 187 Sculpture 41 Title IV Code 196 Course descriptions 176 Transcript Fee 193 Sculpture, Master of Fine Arts in, Transcripts 9 Summer Program 67 Transfer 187 Course descriptions 155, 177 Applicants 187 Sexual Harassment and Other Prohibited Application Requirements 187 Harassment 209 Credit Policy and Requirements 19, 187, 191 Sibling Discount 193 Students, Financial Aid 202 Smoking Policy 210 Trustees, Board of 220 Solicitation 210 Special Charges and Fees 193 Special Circumstances, Financial Aid (Income Reduction, Divorce or Separation, Death) 200 Special Events 206 Spousal Discount 193

228 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 Campus Map Juniper Street 13th Street 15th Street Broad Street

Walnut Street

6

Locust Street

5

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

2 9

Lombard Street 1 UArts Dance Theater 2 1500 Pine Dorm 3 Furness Dorm 4 Hamilton Hall 5 Merriam Theater 6 Terra Building 7 Chambers-Wylie Church South Street 8 Anderson Hall 9 The “Y” 10 Arts Bank 10 11 311 Juniper St. Dormitory 12 1228 Spruce St. Dormitory

The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 229 230 The University of the Arts Undergraduate and Graduate Course Catalog 2001/2002 231 232 233