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College of Art and Design College of Media and Communication College of Performing Arts
Undergraduate and Graduate Course Catalog 2004 • 2005
320 South Broad Street Philadelphia, PA 19102 1•800•616•ARTS www.uarts.edu corr_ Front matter 04 8/24/04 10:19 PM Page 2
The arts have the power to transform society. They play an essen- Nondiscrimination Policy tial role in ensuring and enhancing the quality of life. The University The University of the Arts is committed to maintaining an envi- of the Arts is committed to inspiring, educating and preparing inno- ronment in which students, faculty, and staff may pursue academic, vative artists and creative leaders for the visual, performing, and artistic, and professional excellence. This environment can be media arts of the 21st century. secured only through mutual respect and unconstrained academic The University of the Arts is the nation’s only university devoted and professional interchange among faculty, staff, and students. exclusively to education and professional training in design, visual, Under the Civil Rights Act of 1964, Title IX of the Educational media, and performing arts. Located in the heart of Philadelphia, Amendments of 1972, other state and federal laws, and The The University of the Arts was founded in 1987 through the consoli- University of the Arts policy, the faculty, staff, and students of the dation of two century-old institutions: the Philadelphia College of University are entitled to participate in and obtain the benefits of Art and the Philadelphia College of Performing Arts. A third aca- University programs, activities, and employment without being dis- demic unit, the College of Media and Communication, was criminated against on the basis of their race, creed, color, ethnic established in 1996. Offering undergraduate and graduate degrees in background, national origin, gender, age, religion, disability, or communication, crafts, dance, graphic design, industrial and sexual orientation. museum exhibition design, fine arts, illustration, media arts, multi- The University also strictly prohibits any form of retaliation or media, museum communication, music, theater, writing, and reprisal against anyone reporting allegations of harassment or dis- museum and arts education, the University prepares its students to crimination, or cooperating in an investigation of such a report. assume over 150 careers in traditional and emerging arts and related Such retaliation shall be considered a serious violation of the fields. University’s nondiscrimination policy and shall be punishable by discipline up to and including termination, regardless of whether the The University of the Arts charge of discrimination is substantiated. However, if an employee, 320 South Broad Street student, or faculty member is found to have intentionally lied about Philadelphia, PA 19102 a claim of discrimination, or brought a claim in bad faith, knowing that the allegation of discrimination is false, then that employee, stu- 215-717-6000 dent, or faculty member may be subject to discipline or expulsion. Examples of prohibited retaliation include: threatening reprisals 1-800-616-ARTS against the person who complained or cooperated in an investiga- tion; unfairly changing a person’s evaluations, assignments, grades, http://www.uarts.edu or working conditions; or otherwise continuing any harassment or discrimination against such person. CEEB code 2664 The University of the Arts gives equal consideration to all appli- cants for admission and financial aid, and conducts all educational Title IV code 003350 programs, activities, and employment practices without regard to race, color, gender, religion, national origin, sexual orientation, ethnic background, or disability. Direct inquiries to the Office of the Dean of Students/ADA Coordinator, The University of the Arts, 320 S. Broad Street, Philadelphia, PA 19102; 215-717-6618. This catalog was updated as of July 2004. The University of the Arts reserves the right to revise any information herein at its discre- tion and without prior notice. Trademarked names appear throughout this catalog. Rather than list the names and entities that own the trademarks or insert a trade- mark symbol with each mention of the trademarked name, the publisher states that it is using the names only for editorial purposes and to the benefit of the trademark owner with no intention of infringing upon that trademark.
The University of the Arts¨ is registered with the U.S. Patent and Trademark Office, Reg. No. 2,341,258. UArts¨ is also registered with the U.S. Patent and Trademark Office, Reg. No. 2,677,865.
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The University of the Arts Contents
4 Academic Calendar 2004-2005 64 Graduate Programs Course Descriptions 66 Post-Baccalaureate Options The University of the Arts 68 Art Education 140 Art Education 71 Visual Arts 142 Art Therapy 7 Mission Statement 73 Book Arts/Printmaking 142 Communication 7History of The University of the Arts 75 Ceramics, Painting, or Sculpture 145 Crafts 7 Accreditation 77 Industrial Design 150 Dance 8 College of Art and Design 79 Museum Studies 154 Electronic Media 8 College of Media and Communication 80 Museum Communication 155 Fine Arts 8 College of Performing Arts 81 Museum Education 156 Master of Fine Arts in 8Degree Programs 82 Museum Exhibition Planning Ceramics, Painting, or Sculpture 9 University Libraries and Design 158 Foundation 10 Academic Policies and Procedures 83 Graduate Seminars 160 Graphic Design 17 Grading Policies 162 Graduate Seminars College of Media and 162 Liberal Arts Undergraduate Degree Communication 175 Industrial Design Requirements 178 Illustration 86 College of Media and Communication 180 Internships 21 Undergraduate Degree Requirements 87 Minors 181 Multimedia 23 Division of Liberal Arts 92 Communication 183 Museum Studies 94 Multimedia 186 Music 96 Writing for Film and Television 192 Music Education College of Art and Design 195 Media Arts 30 College of Art and Design College of Performing Arts 199 Printmaking/Book Arts 33 Undergraduate Programs 203 Painting/Drawing 34 Minors 98 College of Performing Arts 205 Sculpture 37 Foundation Program 99 Minors 207 Theater Arts 39 Crafts 104 The School of Dance 214 Writing for Film and Television 42 Fine Arts 108 Ballet 44 Printmaking/Book Arts 109 Jazz/Theater Dance General Information 46 Sculpture 110 Modern Dance 48 Graphic Design 111 Dance Education 218 Admission 50 Illustration 113 The School of Music 225 Tuition and Expenses 52 Industrial Design 119 Instrumental Performance 228 Financial Aid 54 Media Arts 120 Vocal Performance 238 Student Services 56 Photography 121 Composition 241 General Information 57 Film/Digital Video 127 The School of Music 242 Code of Conduct 58 Animation Graduate Programs 244 Student Code 60 Art Education 127 Master of Arts in Teaching Music 250 Academic Computing 62 Art Therapy 128 Master of Music in Jazz Studies 251 University Guidelines for 130 The School of Theater Arts Responsible Computing 135 Acting 252 Continuing Studies Programs 136 Applied Theater Arts 253 Administration 137 Musical Theater 254 Board of Trustees 138 Theater Design and Technology 255 Faculty Index 258 Index 264 Campus Map
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Academic Calendar 2004-2005 SUMMER 2004 July September Sunday, July 4 Wednesday, September 1 May Independence Day - University Closed FALL 2004 SEMESTER CLASSES BEGIN Monday, May 3 Spring 2004 semester classes end Monday, July 5 Wednesday, September 1 through Wednesday, University closed for observance of September 15 Monday, May 3 and Tuesday, May 4 Independence Day Drop/Add Period/Late Registration Registration for Summer I & II Semesters Wednesday, July 7 Monday, September 6 Tuesday, May 4 thru Friday, May 7 Summer New Student English Placement test Labor Day Ð (University Closed) Liberal Arts Examinations Friday, July 9 Tuesday, September 7 Monday, May 10 thru Friday, May 14 Summer I semester grades due to Registrar by PIE Fall 2004 Session begins Studio critiques and juries 12 noon Foundation summer semester begins Friday, September 17 Monday, July 12 Deans and Directors submit Spring 2005 courses Friday, May 14 Summer World of Dance begins to Registrar SPRING 2004 SEMESTER ENDS Summer Pre-College Institute begins Final grades due to Registrar by 12 noon Monday, September 20 Documents for students graduating May 2004 Wednesday, July 15 Continuing Education Fall 2004 Session begins due to Registrar Graduation Petitions for August 2004 due to Registrar October Saturday, May 15 Saturday, October 2 Student Residences close at 12 noon August Saturday School & Saturday Arts Lab begin Friday, August 6 Monday, May 17 SUMMER II SEMESTER ENDS Wednesday, October 6 SUMMER I SEMESTER BEGINS Summer World of Dance ends Students & Faculty follow Monday schedule of Continuing Education Summer I Session begins Pre-College Summer Institute ends classes
Thursday, May 20 Saturday, August 7 Friday, October 15 Awards Ceremony Ð (morning) Student Residences close at 5 p.m. Last day for removal of Spring 2004 incomplete Commencement Ceremony Ð (evening) “I” grades Monday, August 9 to Friday, August 13 Thursday, May 27 PIE Continuing Inspiration Session Monday, October 18 CPA/CMAC Academic Review Automatic conversion of “I” to “F” grade Thursday, August 12 Friday, May 28 Continuing Education Summer II Session ends Friday, October 22 CAD Academic Review Last day to withdraw with a grade of “W” Friday, August 13 Monday, May 31 CAD Summer MFA program ends Monday, October 25 through Friday, November 5 Memorial Day - University Closed Summer II Semester Grades due to Registrar by Advising for Spring 2005 Registration 12 noon June Saturday, October 30 Tuesday, June 1 Tuesday, August 17 Admission Open House Fall 2004 Application for readmission due CAD Summer MFA Program grades due to Registrar by 12 noon Thursday, June 10 and Friday, June 11 Fall 2004 Registration for Summer Foundation Saturday, August 28 students New Student English Placement Exam Summer II Semester Registration Student Residences open/Move-in
Monday, June 21 Saturday, August 28 through Tuesday, August 31 CAD Summer MFA program begins New Student Orientation
Friday, June 25 Monday, August 30 through Tuesday, August 31 SUMMER I SEMESTER ENDS New and Readmitted Student Advising/ Foundation summer semester ends Registration
Monday, June 28 SUMMER II SEMESTER BEGINS Continuing Education Summer I Session ends
Tuesday, June 29 Continuing Education Summer II Session begins
4 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 corr_ Front matter 04 8/24/04 10:19 PM Page 5
November SPRING 2005 March Monday, November 1 through Friday, November 5 Friday, March 4 Advising for Spring 2005 Registration continues January Last day to withdraw with a “W” grade Saturday, January 1 Monday, November 1 New Year’s Day Ð (University Closed) Monday, March 7 through Sunday, March 13 Deadline for Readmission Application for Spring Spring Break 2005 semester Monday, January 3 Student Residences remain open Administrative Offices open Monday, November 15 Tuesday, March 8 through Thursday, March 10 Graduation petitions for December 2004 due to Thursday, January 6 Administrative Offices Open Registrar CPA/CMAC Academic Review Monday, March 14 Monday, November 15 through Friday, Friday, January 7 Spring 2005 classes resume November 19 CAD Academic Review Registration for Spring 2005 Monday, March 14 through Friday, March 18 Tuesday, January 11 CAD Freshman major orientation week Thursday, November 25 PIE Spring 2005 Session begins Thanksgiving Day Ð (University Closed) Tuesday, March 15 Thursday, January 13 Financial Aid Applications Due Thursday, November 25 through Sunday, New Student Advising/Registration November 28 Student Residences open 9 a.m. Friday, March 18 Thanksgiving Vacation CAD Freshman major selections due to Registrar Student Residences remain open Thursday, January 13 through Friday, January 14 New student orientation Monday, March 21 through Friday, April 1 December Advising for Fall 2005 Registration Friday, December 3 Monday, January 17 Continuing Education Fall 2004 Session ends Martin Luther King Day Ð (University Closed) April Friday, April 1 Friday, December 10 Tuesday, January 18 Last day of Advising for Fall 2005 Registration Fall 2004 Semester classes end SPRING 2005 SEMESTER CLASSES BEGIN Saturday, April 2 Saturday, December 11 Tuesday, January 18 through Monday, January 31 Admission Open House Saturday School and Saturday Arts Lab end Drop/Add Period/Late Registration Monday, April 11 through Friday, April 15 Monday, December 13 through Friday, Monday, January 24 Registration for Fall 2005 December 17 Continuing Education Spring 2005 Session begins Examinations, critiques, and juries Friday, April 15 Monday, January 31 Continuing Education Spring 2005 Session ends Thursday, December 16 Last day of Drop/Add Period and Late PIE Fall 2004 Session ends Registration Saturday, April 16 Saturday School and Saturday Arts Lab end Friday, December 17 February FALL 2004 SEMESTER ENDS Friday, February 4 Final Grades due to Registrar by 12 noon Deans and Directors submit Fall 2005 courses to Student Residences close at 5:00 p.m. Registrar Documents for students graduating December 2004 due to Registrar Saturday, February 5 Saturday School and Saturday Arts Lab begin Saturday, December 18 through Sunday, January 2, 2005 Tuesday, February 15 University closed for winter vacation Graduation petitions for May 2005 due to Registrar
Friday, February 18 Deans and Directors submit Spring and Summer I 2006 courses to Registrar
Friday, February 25 Last day for removal of Fall 2004 incomplete “I” grades
Monday, February 28 Automatic conversion of “I” to “F” grades
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Academic Calendar 2004-2005 continued
May June August Monday, May 2 Wednesday, June 1 Friday, August 5 Spring 2005 Semester classes end Deadline for Readmission Application for Fall SUMMER II SEMESTER ENDS Registration for Summer I and Summer II 2005 semester Continuing Education Summer II Session ends Semesters Pre-College Summer Institute ends Thursday, June 9 and Friday, June 10 Summer World of Dance ends Tuesday, May 3 through Friday, May 6 Summer CAD Foundation Registration for Fall Liberal Arts Examinations 2005 Monday, August 8 through Friday, August 12 Summer II Semester Registration PIE Continuing Inspiration Session Monday, May 9 Foundation Summer Semester begins Monday, June 20 Friday, August 12 CAD Summer MFA program begins CAD Summer MFA program ends Monday, May 9 through Friday, May 13 Summer II Semester grades due to Registrar by Studio Critiques and Juries Friday, June 24 12 noon CAD Foundation Summer Semester ends Friday, May 13 SUMMER I SEMESTER ENDS Tuesday, August 16 SPRING 2005 SEMESTER ENDS Summer MFA grades due to Registrar by 12 Final grades due to Registrar by 12 noon Monday, June 27 noon Documents for students graduating May 2005 SUMMER II SEMESTER BEGINS due to Registrar Sunday, August 21 Thursday, June 30 PIE Summer II Session ends Saturday, May 14 Continuing Education Summer I Session ends Saturday, August 27 through Tuesday, August 30 Student Residences close at 12 noon New student orientation July Monday, May 16 Saturday, July 2 Saturday, August 27 PIE Spring 2005 Session ends PIE Summer I Session ends Student Residences open/move in SUMMER I SEMESTER BEGINS New student English placement exam Continuing Education Summer I Session begins Monday, July 4 Independence Day Ð (University Closed) Monday, August 29 and Tuesday, August 30 Tuesday, May 17 New and readmitted student PIE Summer I Session begins Tuesday, July 5 Advising/Registration Continuing Education Summer II Session begins Wednesday, May 18 PIE Summer II Session begins Wednesday, August 31 Awards Ceremony FALL 2005 SEMESTER CLASSES BEGIN Friday, July 8 Wednesday, May 18 Summer I Semester grades due to Registrar by Commencement Ceremony 12 noon
Thursday, May 26 Monday, July 11 CPA/CMAC Academic Review Pre-College Summer Institute begins Summer World of Dance begins Friday, May 27 CAD Academic Review Wednesday, July 13 Summer new student English Placement exam Monday, May 30 Memorial Day Ð (University Closed) Friday, July 15 Graduation petitions for August 2005 due to Registrar
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Mission Statement History of The University of the Arts The University of the Arts is devoted exclusively to education and training in the arts. Within this community of artists the process of learning engages, refines, and articulates all of our creative capabili- The University of the Arts is the largest comprehensive educational ties. Our institution was among the first to contribute to the formation institution of its kind in the nation, preparing students for profes- of an American tradition in arts education. We continue to develop sional careers in design, visual, media, and performing arts, and interpreters and innovators who influence our dynamic culture. emerging creative fields. The University of the Arts has evolved from two century-old insti- The University’s Mission: tutions: the Philadelphia College of Art and the Philadelphia College of Performing Arts. To educate and professionally train artists in the visual The Philadelphia College of Art was formed in 1876 along with and performing arts, in design, in media, and in writing; the Philadelphia Museum of Art. Initially known as the Pennsylvania Museum and School of Industrial Art, the institution was established To grant graduate and undergraduate degrees, diploma’s, in response to the interest in art and the Centennial Art Exposition. In and certificates in the arts; 1949, the school became known as the Philadelphia Museum School of Art, reflecting the expanded programs that trained artists in many To provide educational programs centered in the arts to other areas, including the fine arts. The school received accreditation multiple populations; in 1959, and in 1964 separated from the Museum to become the Philadelphia College of Art. Today, the College of Art and Design of To encourage relationships among the arts; The University of the Arts offers curricula in crafts, design, fine arts, media arts, museum communication, museum education, and art edu- To promote high standards in creativity and scholarship; cation. The performing arts programs of The University of the Arts date To prepare artists who will contribute responsibly from 1870, when three graduates of the Conservatory of Leipzig to our culture; opened one of the first European-style conservatories of music in America: the Philadelphia Musical Academy. The Philadelphia To challenge students to think critically, joining knowledge Musical Academy became an independent college of music in 1950, and skill to their individual creative vision; granting a Bachelor of Music degree after a four-year course of study, one of only eight such music colleges in the nation at the time. While To anticipate and to cultivate new art forms as they emerge. still offering only a music program, the school changed its name to the Philadelphia College of Performing Arts in 1976, the first such The University of the Arts offers instruction across a broad spec- college in Pennsylvania. One year later the former Philadelphia trum of artistic disciplines. We serve the community in which we Dance Academy became part of the Philadelphia College of reside, the professions for which we prepare new members and, ulti- Performing Arts, and in 1983 the School of Theater Arts was created, mately, the society whose culture we both sustain and advance. thus achieving the college’s ideal program of studies: dance, music, The University’s goal is to direct each student’s quest for creative and theater arts. self-expression toward a productive role in society. Our programs In 1985, the Philadelphia College of Art and the Philadelphia develop the student’s talent, aesthetic sensibility, conceptual and per- College of Performing Arts joined to become the Philadelphia ceptual acumen, cultural awareness, and professional expertise. The Colleges of the Arts, and in 1987, The University of the Arts was curricula integrate specific knowledge and skills needed for technical inaugurated. In the fall of 1996, the University created a new aca- mastery of the various arts disciplines with a significant examination demic unit, the College of Media and Communication, which of conceptual and humanistic studies. emphasizes the integration of art, technology, and communication. To this end, the University must gather and retain a distinguished The first two BFA degree programs offered by this new college were teaching faculty offering a breadth of professional expertise. Their Writing for Film and Television, and Multimedia; the third, a BS scholarly work and artistic exploration have national and interna- degree program in Communication, began in September 1999. tional consequences for the institution. Our educational programs seek to stimulate and influence not only our students but the very dis- Accreditation ciplines 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.
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College of Art and Design Degree Programs
The College of Art and Design offers the Bachelor of Fine Arts Bachelor of Fine Arts Master of Arts in degree in Animation, Crafts, Film/Animation, Film/Digital Video, (BFA) Teaching (MAT) Graphic Design, Illustration, Painting and Drawing, Photography, Acting Music Education Printmaking/Book Arts, and Sculpture. A major in Industrial Design Animation Visual Arts leads to the Bachelor of Science degree. Crafts offers a post-bac- Applied Theater Arts calaureate certificate program. Art Education offers a post- Ballet Master of Industrial baccalaureate pre-certification program. Crafts Design (MID) At the graduate level are programs leading to the degrees of Master Dance Education of Arts in Art Education, Master of Arts in Museum Communication, Film/Animation Master of Music (MM) Master of Arts in Museum Education, Master of Industrial Design, Film/Digital Video Jazz Studies Master of Arts in Teaching in Visual Arts, Master of Fine Arts in Graphic Design Book Arts/Printmaking, Master of Fine Arts in Museum Exhibition Illustration Jazz/Theater Dance Undergraduate Planning and Design, and a low-residency summer Master of Fine Certificate Arts in Ceramics, Sculpture, or Painting. Teaching certification is Modern Dance Multimedia Dance offered on a non-degree basis, either independently or in conjunction Music with an undergraduate degree in the College of Art and Design. Musical Theater Painting and Drawing Concentrations in Art Therapy and Digital Fine Arts are offered, as Photography Undergraduate well as seven minors. Printmaking/Book Arts Diploma Sculpture Music College of Media Theater Design and Technology Writing for Film and Television Minors and Communication Animation Bachelor of Music Book Arts (BM) Digital Film/Video The College of Media and Communication offers three degree pro- Jazz Studies : Composition Documentary Video grams. The department of Communication offers a Bachelor of Jazz Studies: Instrumental E-Music Science in Communication with concentrations in Advertising, Performance E-Publishing Digital Journalism, and Documentary Production. The department of Jazz Studies: Vocal Performance Figurative Illustration Multimedia offers a Bachelor of Fine Arts in Multimedia and a minor Film/Digital Video in Information Architecture. The department of Writing for Film and Bachelor of Science Game Design Television offers a Bachelor of Fine Arts in Writing for Film and (BS) Information Architecture Television. Communication Multimedia Industrial Design Music Education College of Performing Arts Narrative Video Post-Baccalaureate Photography Screenwriting Certificate Strategic Advertising The School of Dance offers Bachelor of Fine Arts degrees in in Crafts Ballet, Modern, Jazz/Theater Dance, and Dance Education, as well as Studio Photography a two-year Certificate in Dance. Typography Post-Baccalaureate Web Design The School of Music offers the Bachelor of Music degree in Jazz Teacher Program (non- Vocal Performance, Instrumental Performance with a jazz/contempo- Web Drama rary focus, and Composition. In addition, a four-year Undergraduate degree) Diploma and two-year Certificate in Dance or Music are offered. The Concentrations School of Music offers minors in E-Music and Music Education. Master of Fine Arts Art Therapy At the graduate level, the School of Music offers the Master of (MFA) Digital Fine Arts Arts in Teaching in Music Education and the Master of Music in Jazz Book Arts/Printmaking Pre-Certification in Art Education Studies. Ceramics The School of Theater Arts offers the Bachelor of Fine Arts in Museum Exhibition Planning Theater Arts, with majors in Acting, Applied Theater Arts, Musical and Design Theater and Theater Design and Technology. Painting Sculpture Master of Arts (MA) Art Education Museum Communication Museum Education
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Reference assistance and course reserves are available at each University Libraries University library location. The libraries provide other information services such as interlibrary loan, class instruction in research tech- Carol Graney niques and library use, and advanced electronic research capabilities [email protected] including discounted online database searching for students. The Director of University Libraries library maintains reciprocal use arrangements with other nearby aca- Greenfield Library, 1st floor Anderson Hall demic libraries. 215-717-6281 Albert M. Greenfield Library The University libraries are central to the educational mission of 215-717-6280 the University, enabling and enriching every student’s professional preparation and general education. Through the services the library Music Library staff provides, and through the materials it collects or to which it 215-717-6292 provides access, the University libraries seek to enhance teaching and improve learning, and to educate students in the arts to be suc- Visual Resources Collection cessful and productive users of information. 215-717-6290 The libraries of The University of the Arts include the following three campus locations: University Libraries’ Web site The Albert M. Greenfield Library, on the first floor and lower http://library.uarts.edu level of Anderson Hall (333 South Broad Street), serves as the main library for the campus, containing materials in many formats on art and design, communication, dance, theater, film and television, mul- timedia, liberal arts, and other general subjects. The Greenfield Library also houses the libraries’ administrative offices and technical services operation, as well as the library’s Picture File, University Archives, and the library’s Special Collections, with particular strengths in book arts and textiles. The Music Library, on the third floor of the Merriam Theater Building (250 South Broad Street), is a specialized library serving academic programs and interests in music. Its holdings and services are also important for students and faculty studying or needing information about dance, musical theater, and other areas related to music. The Music Library contains listening facilities for recorded sound in addition to general reading areas and a music education resource area. The Visual Resources Collection, on the mezzanine of Anderson Hall, houses a large collection of 35mm slides relating to subjects of interest to all University visual and performing arts programs and Liberal Arts courses. Light tables and slide carousels may be used for viewing the library’s and one’s own slides. The total holdings of the libraries are more than 108,000 books and bound periodicals, 16,000 music scores, 133,000 mounted and encapsulated pictures, 175,000 slides, and 19,000 items of recorded music in LP and CD formats. The library also has a growing collec- tion of audiovisual materials in videocassette, 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, the Visual Resources Collection 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.
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available for the requests to the Continuing Education Program Academic Policies or Professional Institute for Educators. and Procedures ¥ FedEx service is available for distribution only in the U.S. and incurs a $30 fee. The transcript request will be processed within one day and sent via FedEx overnight service. This service is Lynn Powell Dougherty not available for requests to the Continuing Education Program [email protected] or Professional Institute for Educators. Registrar ¥ International service is available for a $40 fee. The transcript Office of the Registrar request will be processed within one day and sent via DHL. This Second Floor, Dorrance Hamilton Hall service is not available for requests to the Continuing Education 215-717-6420 Program or Professional Institute for Educators. 215-717-6417 (Fax) ¥ Transcripts will not be processed if there is a financial hold on Office of Registrar email: [email protected] the account of the student. Please allow three to five working days to complete requests. The policies stated herein apply to all matriculated UArts under- Mail requests to: graduate and graduate students unless otherwise noted. Office of the Registrar The Office of the Registrar maintains all records and files relating The University of the Arts to the students’ academic life at the University. Students who are 320 S. Broad Street formally admitted to the University, have paid all applicable tuition Philadelphia, PA 19102 and fees, and have a program of courses approved by the required Attention: Transcript Requests advisor(s) are allowed to register. All students are advised to obtain a or copy of their curriculum requirements as soon as possible after Fax requests to: admission to the University and to check them against their tran- Office of the Registrar scripts after each term. Student copies of the transcript are available The University of the Arts upon request. Please note that course and program transactions and Attention: Transcript Requests changes become official only when properly processed through the 215-717-6417 Office of the Registrar. The Office of the Registrar maintains the official academic record Family Educational Rights and Privacy Act for each student and is responsible for certification of completion of (FERPA) requirements for graduation. (Please also see “Access to Student Records” in the Student Code located in the rear of this catalog.) The Family Educational Rights Transcript Request Procedures and Privacy Act (FERPA) of 1974 affords students certain rights Students may request a transcript by completing a transcript with respect to their educational records. They are: request form (available in the Office of the Registrar) or providing ¥ The right to inspect and review the student’s education records the following information: within 45 days of the day The University of the Arts receives a ¥ Name under which the student attended the University or any request for access. predecessor institutions ¥ The right to submit to the registrar, dean, head of the academic ¥ Current address and telephone number department, or other appropriate officials, written requests that ¥ Social security number identify the record(s) they wish to inspect. The University offi- ¥ Date of birth cial will make arrangements for access and notify the student of ¥ Last date of attendance the time and place where the records may be inspected. If the ¥ Major/Degree program records are not maintained by the University official to whom ¥ Address where transcript is to be sent the request was submitted, that official shall advise the student ¥ Signature Transcripts will not be released without the original of the correct official to whom it should be addressed. signature of the requesting student ¥ The right to request the amendment of the student’s education Fees: records that the student believes is inaccurate or misleading. Currently enrolled students can obtain an unofficial “student” ¥ Students may ask the University to amend a record that they copy of their transcript from the Office of the Registrar at no charge. believe is inaccurate and misleading. They should write to the Official transcripts are subject to the following fees: University official responsible for the record, clearly identify the ¥ There is a $5.00 fee for each transcript that is requested. Checks part of the record they want changed, and specify why it is inac- should be made payable to The University of the Arts. curate or misleading. Transcripts are mailed via U.S. Mail, normally within three to If the University decides not to amend the record as requested by five business days. the student, the University will notify the student of the decision ¥ Faxed requests will be subject to a $10 fee, processed within and advise the student of his or her right to a hearing regarding three to five business days, and sent via U.S. Mail. Faxed the request for amendment. Additional information regarding requests must include a credit card number, expiration date, and the hearing procedures will be provided to the student when an authorizing signature. The University accepts Visa or notified of the right to a hearing. Mastercard payments. ¥ The right to consent to disclosures of personally identifiable ¥ Emergency service requested via fax or U.S. mail is available for information contained in the student’s education records, except a $12 fee. Transcripts will be processed within one day of to the extent that FERPA authorizes disclosure without consent. receipt of request and sent out via U.S. Mail. This service is not One exception, which permits disclosure without consent, is
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disclosure to school officials with legitimate educational inter- Academic Advising and Student ests. A school official is a person employed by the University in an administrative, supervisory, academic, or research or support Responsibility staff position (including law enforcement unit personnel and Each student is responsible for observing all regulations in the health staff); or a person or company with whom the University catalog that may affect academic progress, financial obligations, has contracted (such as an attorney, auditor, or collection agent). relationships with University authorities, transferability of credits, A school official has a legitimate educational interest if the acceptance of credits for graduation, and eligibility to graduate. official needs to review an educational record in order to fulfill Academic advising at the University is designed to assist students his or her professional responsibility. in directing and completing their degree programs by providing ¥ The right to file a complaint with the U.S. Department of guidance through contact with informed advisors and information in Education concerning alleged failures by the University to various publications. Students are expected to refer to this catalog comply with the requirements of FERPA. The name and and course bulletins for information on policies, procedures, and address of the Office that administers FERPA is: deadlines. Students in doubt about any College or University regula- Family Policy Compliance Office tion should seek advice from their academic advisor or the Office of U.S. Department of Education the Registrar. 400 Maryland Avenue, S.W. In preparing for registration, students consult with their faculty Washington, D.C. advisors, who help them assemble schedules for the semester and who give final approval to all course selections. Students entering ¥ Directory Information Ð The University of the Arts has deter- the final year of the degree program are urged to consult with the mined that the following information will be considered Registrar to ensure that all major requirements will be completed on “directory information” and may release it without prior consent schedule for graduation. Meeting requirements for graduation is ulti- from the student: mately the student’s responsibility. Each student is responsible for Name knowing the specific requirements of his/her particular degree pro- Address gram and for tracking his/her academic progress toward the degree. Telephone listing Email address Student Email Date and place of birth Students are responsible for regularly reading and responding to Major field of study email sent by the University faculty, staff, and administration to the Participation in officially recognized activities students’ UArts email accounts. Each student is assigned an email Dates of attendance account upon enrolling, and is responsible for activating their Enrollment status account by the first day of classes of their first semester of atten- Degrees and awards received dance. In order to activate the account students must either go to Last institution attended Room 250, Hamilton Hall or contact Network Services at 215-717-6997 or via email at [email protected]. In accordance with the Family Educational Rights and Privacy Students are also expected to regularly check the MY UArts Act of 1974, students may request to have this information withheld portal for University-related announcements and notifications. The from public information. Students must file this request within the portal is the primary source for student information, which includes first three weeks of the semester. grades, class schedules, transcripts, degree audits, and GPAs. Please note that information such as this is no longer mailed to Verification of Enrollment students via U.S. mail, except upon request. Access to the portal, Students often need to send additional information concerning including student email, is available in the open computer labs on their enrollment to insurance companies, loan services, scholarship campus. programs, and other outside parties. Any request for verification of enrollment beyond the directory information listed above must be Change of Address made in writing and signed by the student wishing to release the It is essential that students keep the Office of the Registrar information. The request for verification must state exactly which informed of all current addresses: permanent and billing. Change of information the student wants released and who is authorized to Address forms are available in that office. Grades, schedules, and receive it. There is no fee for this service. The Office of the Registrar other important information are mailed to the addresses provided by will verify enrollment for a future semester only after the student has the student. registered in classes and has been cleared by the Student Billing Office. Normal service for other verifications of enrollment is three Change of Name to five working days from the time the request is received. Students must notify the Office of the Registrar of any change of name (through marriage, divorce, etc.) by bringing to the office an original legal document showing the change, which may be photo- copied by the Registrar and kept on file. The Registrar maintains all of the student’s records in one place to prevent future confusion with transcript requests, etc.
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Registration Students who subsequently enroll in a University of the Arts degree program may apply a maximum of six credits taken as a non- Official registration forms must be filed in order for the student to matriculated student to their degree at the discretion of the attend class. Students are responsible for: department director/chair. Non-matriculating students who are ¥ Knowing regulations regarding withdrawals, refund deadlines, simultaneously enrolled or have plans to enroll at another institution program changes, and academic policy. may transfer credits to that institution if they have received prior ¥ Registering each semester in accord with the posted schedule approval in writing from that institution. (see Academic Calendar). Failure to register will result in a late To enroll as a non-matriculated student, please contact the Office registration fee (see below). A student is not officially registered of the Registrar. Non-matriculated students must request permission until Finance Office clearance has been obtained. from the department chairperson or director for each course in ¥ Completing any prerequisites required for enrollment in a which they wish to enroll. Please be advised that there are no pay- course. Failure to complete prerequisites may result in cancella- ment plans or financial aid opportunities for non-matriculated tion of registration in the course requiring the prerequisite. students, and access is dependent upon the availability of space in ¥ Meeting any financial or academic criteria that have caused a their desired program. Non-matriculated students are otherwise gov- hold to be placed on a student’s record. erned by all the rules and regulations that apply to matriculated Place Holders students, including submission of proof of high school graduation prior to enrollment. During registration some students have trouble finding courses that fit in their schedules. As a result, they may not be able to register for Full-Time Credit Load/Overloads the 12-credit minimum necessary to maintain full-time status. In order Full-time undergraduate students are defined as those who are to allow such students to pick up a course(s) during the Drop/Add enrolled in at least 12 credits a semester. Students wishing to take period and thereby maintain their full time status for Financial Aid pur- more than 18 credits in a semester must obtain permission from the poses, a “place holder” is added to the student’s registration. It is dean of their college. Factors such as grade-point average and presumed that the student will find an additional course during the progress in meeting degree requirements will be considered in Drop/Add period. Prior to the beginning of the Drop/Add period, each giving permission for an overload. Excess credits are subject to student who has a place holder will be reminded, via mail, to register additional charges at the standard credit rate. Registration as Audit for the additional course(s). If the student does not register for addi- or Pass/Fail is counted the same as all other academic credit for the tional coursework by the end of Drop/Add, the place holder will be purpose of determining tuition. deleted. At that time, a list of non-full-time students in this status will Graduate students are considered full-time if enrolled in at least be generated for the Finance and Financial Aid Offices for review. nine credits per term. This may cause changes in status of the financial aid award and student International students must maintain full-time status. bill. Under no circumstances will a place holder remain on the registra- tion form after the Drop/Add period ends. Student Classification A student’s class status is determined by the number of credits Late Registration earned, regardless of the number of semesters of enrollment or the A late-registration fee of $35 will be charged to any student who student’s standing in his or her major program. Class status is a has not completed registration by the first day of term. Late registra- factor in determining financial aid eligibility and is one indicator of tion may jeopardize a student’s chance of obtaining his/her desired academic progress. Class standing is also used to prioritize sched- course schedule. uling during registration. Undergraduate class status is determined as follows: Matriculated Students U1 up to 29.5 credits Matriculated students are those who have applied, been accepted, U2 30 - 59.5 credits and enrolled in a degree program at The University of the Arts U3 60 - 89.5 credits during the semester for which they were admitted. Course credits U4 90 - 123 credits completed prior to matriculation at the University will not neces- U5 more than 123 credits sarily be accepted into the degree programs. In no case will more Graduate status is determined as follows: than six credits taken as a non-matriculated student at The G1 up to 17.5 credits University of the Arts be accepted into the degree program. Students G2 18 or more credits seeking degrees may enroll for part-time or full-time study. Transfer of Credit Non-Matriculated Students Students may receive credit for courses taken at other regionally A student who takes classes in a major department but is not accredited institutions that are similar in content, purpose, and stan- enrolled in a degree program at The University of the Arts and has dards to those offered at The University of the Arts. A minimum not submitted an application to the Office of Admission qualifies as grade of “C” in a course is required for consideration for transfer a non-matriculated student. credit. Only credits are transferable, not grades. Non-matriculated status provides opportunity to study with a spe- Candidates are given a preliminary transfer credit evaluation at cific professor, or pursue additional college-level instruction for the time of admission; final award of transfer credit and placement those who already hold a bachelor’s degree. level are subject to receipt of final official transcripts and verifica- Non-matriculated students may enroll for a maximum of 11.5 tion by the registrar at the time of enrollment. credits per semester and may not audit any classes.
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Credit from Nonaccredited Institutions second graduate degree will be charged the regular graduate tuition Based on the applicant’s portfolio or audition, credit may be rate in the semesters in which they are pursuing two degrees. awarded at the time of admission by the department chairperson/ director of the intended major. The maximum number of credits Change of Major/Degree Program/College awarded may not exceed the number of credits earned at the non- Students may request a change of major through the Office of the accredited institution (as adjusted to conform with the University’s Registrar. Students are advised to initiate the Change of Major credit evaluation policies). These credits may be assigned to fulfill Petition prior to registration for the upcoming semester. The petition specific requirements of The University of the Arts degree as agreed requires the approval of the appropriate chairpersons or directors of upon by the department chair/director and the Registrar. both the former and the intended new department or school. The stu- dent will be required either to present a portfolio or to audition as Credit by Portfolio/Audition part of the transfer review process. Please note that acceptance into a A maximum of 18 credits may be granted to applicants by port- new major program within the University may be contingent upon folio review or audition for artistic experience independent of any the successful completion of the courses in which the student was coursework. Credit by portfolio or audition is granted only for work enrolled at the time the application to make the change was sub- done prior to matriculation at The University of the Arts. mitted. Therefore, approval to change majors may be rescinded ¥ Academic standing and course credit based on portfolio review based on the result of that semester’s coursework. are determined by the appropriate department chairperson/director After completion of a change of major, students are advised to during the admission process. This portfolio work cannot have been review their degree program requirements with their new academic part of the assigned work for a secondary or post-secondary course. advisor, the department chair or school director, and the dean of the ¥ Audition credit requires the approval of the Audition Committee appropriate college. and the school director. Academic standing and course credit based on the audition are determined during the admission process. Change in Degree Requirements Students who have not completed degree requirements at the end of Graduate Double Degree Policies seven years from the date of initial matriculation may be subject to new Graduate students already enrolled in a master’s degree program degree requirements, which will be determined by the department at The University of the Arts may apply to simultaneously pursue a chairperson and the Office of the Registrar on a case-by-case basis. second master’s degree. A second degree may be added only after the successful completion of at least one semester of graduate study, Course Substitutions with a grade-point average of at least 3.0. Students interested in this Occasionally a student may not be able to enroll in the exact option must be aware that pursuing two degrees will likely require course required for the degree program, or the department may rec- additional time to complete and requires intensive advising and ommend an alternate course to better suit a specific academic goal. coordination of requirements. In these cases, the student is to request an approval for a course sub- Students interested in this option must request, in writing, that the stitution from the department chairperson or program director. The Registrar forward a copy of their transcript and official file to the director/chair lists the required course and the approved substitution director of the program to which they are seeking admission. The on the form. After completion the department chairperson or pro- student may be required to submit materials to the second program gram director submits the form to the Office of the Registrar for for portfolio review, and additional letters of reference. The director processing. of each graduate program is responsible for coordinating any required portfolio review. Portfolio requirements are listed on the Schedule Revision - Drop/Add Graduate Application or may be obtained directly from the graduate Beginning with the first week of the semester, students who have director or coordinator. Final acceptance into a double degree pro- obtained Finance Office clearance may revise their schedules gram must be approved by the Director of Graduate Programs. without academic penalty until the end of the Drop/Add period. The Drop/Add period takes place during the first 10 days of classes each Additional Policies semester in accordance with the Academic Calendar. Any schedule 1. A student who has completed one degree and wishes to matric- revision must be approved in writing by the appropriate instructor or ulate in another does so by applying to the new program through the department chairperson and advisor. This is accomplished by com- Office of Admission. pleting a Drop/Add Form, obtaining the appropriate signatures, and 2. A student may be awarded a particular degree from the submitting the form to the Registrar’s Office for processing. University only once; i.e., once the student has earned an MA, he or she may not be awarded another MA. Withdrawal from a Course 3. A student may not receive two different master’s degrees from A student may withdraw from a course with a “W” (Withdrawal) the same program; i.e., he or she cannot pursue both the MA in Art from the last day of the Drop/Add period through the last day of the Education and MAT in Visual Arts. seventh week of the semester. The withdrawal form must be signed 4. A student may earn up to two master’s degrees at the by the course instructor and the student’s advisor and submitted to University, either simultaneously or sequentially. the Office of the Registrar prior to the deadline. 5. If a student is approved for a double degree, and six credits are After the end of the seventh week, a “W” is possible only under shared between the two programs, the student may transfer a max- unusual circumstances such as an accident or severe illness, which imum of six additional credits from an accredited institution. must be documented. Permission for an exceptional withdrawal must 6. Students in the Summer MFA program who wish to pursue a be given by the instructor and the Dean/Assistant Dean of the college.
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A student who wishes to withdraw from all classes must initiate an 2. The student obtains approval from his/her department official Withdrawal or Leave of Absence from the University as out- chair/director. lined in this catalog. If a student withdraws from all classes and does 3. The Student submits the form to the college dean for approval. not officially withdraw from the University or take a leave of absence, 4. After the Leave of Absence approvals are obtained, the student he/she may be administratively withdrawn from the University or dis- submits the completed form to the Office of the Registrar for pro- missed in accordance with Academic Review policies. cessing and coding. A copy of the form will then be distributed to the student and the college dean. Leave of Absence There are two types of Leave of Absence, medical and general. Graduate Leave of Absence Medical Leave of Absence A graduate student may take a Leave of Absence prior to the com- This leave is granted to students who wish to apply for a leave due pletion of all coursework, subject to approval by his/her program to a medical condition. This leave includes the same privileges as the director, and in accordance with the policy described above. General Leave in that the student is eligible to register for classes for Graduate students may take a maximum of two one-semester Leaves the semester immediately after the Leave expires, but the student of Absence throughout their course of study, whether in sequence or will be required to submit documentation from a health specialist as needed. Once the thesis or Master of Music graduate project has before they can return. begun and all coursework has been completed, graduate students are General Leave of Absence not eligible for a Leave of Absence. Students must register and pay This type of leave is granted to students who wish to take time for the thesis continuation fee for successive semesters and are not away from school for personal reasons of a non-medical nature. eligible for a Leave of Absence. A student may request a Leave of Absence by obtaining a Leave of Absence Form, available in the Office of the Registrar. Only stu- Withdrawal from the University dents in good academic standing may request a Leave of Absence. A student may withdraw from the University by initiating an offi- Undergraduate students who maintain a minimum 2.0 cumulative cial Withdrawal process with the Office of the Registrar. Students and semester grade-point average (GPA) are considered to be in who withdraw prior to the beginning of the fall or spring semesters good standing. A Leave may be granted for one or two semesters, or summer sessions, or prior to the end of the Drop/Add period, do with approval granted by the Dean of the appropriate college, pro- so without academic penalty. vided that the student is in good standing. If a student plans to be Official Withdrawals after the Drop/Add period, but prior to the away for more than two semesters a Leave cannot be granted and the end of the seventh week of the respective fall or spring semester or student must withdraw and then apply for readmission at the time second week of the respective summer session, will result in the they wish to return. notation of the grade “W” (Withdrawal) for all courses. A Leave of Absence for a semester already in progress will not be Students are not permitted to withdraw without academic penalty granted after the seventh week of the semester. If a student wishes to from the University after the end of the seventh week of a fall or leave and the request is approved, he/she may withdraw from the spring semester or second week of a summer session, except when current semester courses, with the leave taking effect in the current non-academic extenuating circumstances exist, in which case docu- and subsequent semester. In this instance, the student will be subject mentation (by a physician or a counseling professional) must be to the grading, withdrawal periods, and withdrawal refund policies presented and approval of the appropriate Dean must be obtained. listed elsewhere in this catalog. If a student wishes to initiate a Students who have withdrawn and who wish to resume their Leave after the seventh week of the semester, the student should, studies at a later date must submit a Request for Readmission Form instead, withdraw from the University. to the Office of the Registrar, in accordance with application dead- A student who is granted a General Leave of Absence is uncondi- lines, and pay the readmission fee. tionally eligible to register for classes for the semester immediately The following procedure should be followed to obtain official after the Leave expires. (A student may return before the expiration Withdrawal from the University: of the Leave by indicating his/her intention to do so in writing to the 1. The student obtains a Withdrawal from the University Form Office of the Registrar.) from the Office of the Registrar. If the student does not register for the term following the Leave’s expi- 2. If the student does so in person, the Office of the Registrar will ration, but wishes to resume his/her studies at a later date, the student advise the student to visit the Dean of Students. must apply for readmission following the guidelines in this catalog. If the student withdrawing from the University is not physically Leave of Absence is granted only to students who are in good aca- on campus, the Office of the Registrar will accept a letter signed by demic standing. If a student is granted a Leave of Absence for a the student. After processing the withdrawal, appropriate depart- future semester, but is subsequently placed on probation for the cur- ments will be notified. rent semester, the Leave of Absence will be converted to a Non-attendance in classes or non-payment of tuition does not withdrawal. Notification of a conversion to “withdrawn” status will constitute grounds for withdrawal. The University does not recog- be provided in writing by the office of the Registrar. Students who nize non-attendance in classes or non-payment of tuition as the are converted to a “withdrawn” status must apply for readmission equivalent of withdrawal. If the student has not officially withdrawn, through the Office of the Registrar in accordance with the policies and does not attend classes, he/she will be administratively with- described in this catalog. drawn prior to the next semester. The following procedure must be followed to obtain a Leave of Absence: Readmission 1. The student obtains a Request for Leave of Absence Form from Written appeal for reinstatement as a degree candidate requires the Office of the Registrar. submission of a completed Reapplication form, available in the
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Office of the Registrar, and a payment of a $50.00 reapplication fee Graduate Independent Study by June 1 for the fall semester and November 1 for the spring Independent study by graduate students is governed by the poli- semester. Appropriate deans, departmental chairpersons/directors, cies listed above with the following exception: and the Finance Office must endorse the readmission prior to regis- The course number for graduate independent study is the depart- tration. The major department reserves the right to require transcripts, ment code (the course advisor’s department) and course number letters of recommendation, an additional portfolio review, or audi- “799” (Example: PR799). tion. Credit for courses taken seven or more years prior to the date of readmission will be re-evaluated in conjunction with degree pro- Internships grams currently offered. Academic units may choose not to accept Internships allow matriculated undergraduate students in their courses regardless of when they were completed for credit toward the junior or senior year to earn academic credit while working in their degree. Final determination on the reapplication will be made by the chosen field. Internship courses are scheduled during the fall and dean of the college. A decision on readmission applies only to the spring semesters and, with special permission from their dean and semester listed on the reapplication. If the student is accepted and department chair/director, during the summer. To register for an does not return for that semester, the student must reapply. internship, see the course bulletin and the appropriate department for In the event of dismissal, an application for readmission will not current offerings. Internship courses are graded on a Pass/Fail basis. be entertained until a full academic year has elapsed. Readmitted Students who intend to enroll in Summer Internships and receive students will carry the cumulative GPA that was in place at the com- academic credit for the experience must pre-register in the spring if pletion of the last semester attended at UArts. Please also note that the internship is to be included on the fall schedule and transcript. previous censure from the Academic Review Committee will apply (Such courses will be calculated as part of the fall credit load for to all readmitted students. billing purposes.) It is the responsibility of students wishing to take summer internships to identify faculty who are willing to sponsor Registering for Other Categories and are able to supervise their work. Summer internships cannot be of Study added to the schedule once the internship has begun. Students may not apply more than six internship credits toward their degree requirements, with the exception of students who major Independent Study in Dance or Theater. For detailed information please see the Independent Study offers a matriculated student the opportunity Internship section of the Art and Design section of this Catalog, and to initiate individual research or advanced projects that are beyond the course descriptions in the back of this catalog. the limits of the standard curriculum, with limited supervision. Independent Study is available to junior and senior undergraduate Undergraduate Minors/Concentrations students who have a minimum 2.5 GPA and to graduate students in The University offers minors and concentrations for students who good standing. To enroll in an Independent Study, the student must wish to focus on a specific discipline through organized electives. follow these guidelines: Please refer to the college sections of this catalog for information about 1. Obtain an Independent Study Form from the Office of offerings, eligibility, prerequisites, and course requirements. You may the Registrar. also contact the departments directly for additional information. 2. Prepare a proposal and identify a University of the Arts faculty Students wishing to include a minor as part of their undergraduate member having expertise in the area of investigation who is willing program should be advised that some major/minor combinations to serve as the course advisor. With the consultation of the course may not be completed, thus it is not always possible to complete a advisor, complete the Independent Study Form, which must include minor, and there are no penalties for starting a minor and not com- a semester plan for the course of study, indicating the number of pleting it. Students are not permitted to continue pursuit of the minor credits being taken and the evaluation criteria. The form must be once all degree requirements have been met. All University minors signed by the course advisor and the student’s department are governed by the following guidelines: chair/school director. 1. Students must meet eligibility requirements, which may 3. Present the approved Independent Study Form at registration or include a satisfactory grade-point average, prerequisites, and depart- within the Drop/Add period, along with your registration or mental portfolio review. Drop/Add form. The course number for an independent study is the 2. An intent to complete a minor is declared by filing the com- department code (the course advisor’s department) and course pleted Minor Declaration Form with the Office of the Registrar. The number “999” (Example: PR999). forms are available in the Office of the Registrar. 4. Each Independent Study may be taken for one to three credits 3. A student may not major and minor in the same program, in Liberal Arts, 1.5 to six credits in CAD, and one to six credits in except where indicated. CPA and CMAC. 4. Courses applied to the minor may only be applied towards elec- 5. The student is responsible for documenting the content of the tive requirements. Independent Study work to other institutions or outside agencies. 5. All minors require a minimum of 15 credits, with the exception 6. Students cannot elect the Pass/Fail or Audit options for of E-Music for Music majors. Generally, no substitutions to the Independent Study. minor requirements are allowed. In exceptional situations where Independent Study cannot fulfill major requirements. Independent substitutions are granted, they must have the approval of both the Study may serve as free, studio, and liberal arts electives, depending major and minor program advisors. on the topic of investigation. Students cannot apply more than 12 6. The requirements of the minor must be completed prior to total credits of independent study towards their degree requirements. graduation. Credit for an Independent Study cannot be reduced or increased 7. A student pursuing a minor may be required to complete more after the student has registered.
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than the minimum number of credits required to complete the under- A student’s financial aid package will usually determine the most graduate degree in order to also complete the minor. appropriate registration for the off-campus semester. While away, 8. Minors are available only to undergraduate students. the student should keep the Financial Aid Office informed of any changes in status. More information regarding financial aid can be Cross-College Elective Options and found in the Financial Aid section of this Catalog. Upon his/her Prerequisites return, a student should make an appointment with the Office of the The University encourages students to take courses outside their Registrar to finalize the transferring of credits and receive an accu- major department and college. To facilitate this goal, the University rate credit count. offers a wide selection of courses that are open without prerequi- sites. Students may select from introductory electives and non-major Undergraduates Enrolled for Graduate Credit courses. In general, upper-level courses will have specific prerequi- A student in the final year of the bachelor’s degree program may sites, which must be satisfied prior to registration. Students take a maximum of six credits of graduate courses toward a master’s interested in these areas are advised to contact the department chair- degree, subject to all of the following conditions: person or school director regarding specific course offerings and 1. The student must have completed the junior level of the major. prerequisite requirements. 2. The graduate credits must be over and above the credits required for the bachelor’s degree and may not be applied to that Private Lessons degree. Private instrumental/vocal lessons for non-majors may be taken 3. The student must have a cumulative GPA of 3.00 or better. for elective credit (1.5 credits, seven hours of instruction per 4. Permission is granted by the department chairperson/director semester) with permission of the Director of the School of Music. and dean of the college. An additional fee is required. 5. No more than a total of six credits, taken either as a UArts undergraduate or non-matriculated student, or taken at another col- Credit Duplication lege or university, may be applied to the graduate program. No course, including graduate courses, that has satisfied under- graduate degree requirements may be counted again for graduate Graduate Courses for Undergraduate Credit credit. Undergraduate students who wish to enroll in a graduate course must have junior status (U3), a 3.0 cumulative GPA, and permission Auditing a Course of the instructor to enroll in the course. Audited courses carry no credit and do not satisfy degree require- ments. An audited course may not be repeated for credit. Regular Graduates Enrolled in an Undergraduate Course tuition rates are charged for audited courses, and they are included in Graduate students may register for undergraduate liberal arts the full-time tuition charge. Audited courses will be indicated on the courses or studio courses (with permission of the graduate director transcript with a grade of “AU” and may be registered for until the and director of liberal arts) for graduate credit. Graduate students end of the Drop/Add period. will be expected to contribute at a higher level in the classroom and will have additional assignments (readings, papers, etc.) in order to Foreign and Summer Study Programs be granted graduate credit. Students are advised to select an area of Foreign and summer study opportunities are available through study that broadens or intensifies their background in the arts, edu- programs hosted by other accredited institutions. Interested students cation, and related disciplines. Often this work contributes directly should meet with the chair or director of their major department to to preparation of the graduate project proposal. discuss issues such as program selection, timing, and feasibility. Those who choose to participate must contact the Registrar and the Graduate Thesis Requirements Financial Aid Office for advising on transfer of credit and financing CAD graduate programs require each graduate student to meet options. specific thesis requirements. The requirements may include a thesis exhibition or project, and should be successfully completed once the Study Abroad and Off-Campus Study student has fulfilled all other program requirements. Students must submit three copies of their thesis to their program director in order Students who wish to study abroad or at another U.S. school for to qualify for the degree. One copy of the thesis remains with the one or two semesters as part of a UArts degree program will need department and two are submitted to the Greenfield Library. the advice and approval of their department chair and a written agreement in advance of the courses. This agreement must specify Graduate Project/Thesis Continuation Fee how those courses will transfer into the UArts degree program. In most UArts academic programs, off-campus study is most suc- A student who has completed all the course requirements for the cessful when conducted in the junior year. master’s degree and is currently working on the graduate thesis, Interested students should begin by obtaining a copy of the either on or off-campus, must register and pay a graduate thesis con- Petition for Approval of Off-Campus Study and then make an tinuation fee per semester until the thesis is completed and accepted. appointment in the college dean’s office to discuss their plans. This This registration, through the Office of the Registrar, is required in must be done at least six months before the program begins. each succeeding semester, excluding the summer sessions, until all Appointments with the Registrar, Financial Aid, and Billing Offices degree requirements are met. Students completing a degree in the are also required at that time. The necessary form is available in the summer must pay the thesis fee in the final summer semester. Office of the Registrar.
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1. Students are full-time undergraduate degree candidates. Candidates Grading Policies for certificate, diploma, and master’s degrees are not eligible. 2. A minimum semester GPA of 3.60. 3. No grade lower than a “B” in any course. Grading System 4. No grade of “I” or “F” in any course. A 4.00 C 2.00 5. Enrolled in at least 12 credits for a letter grade. A- 3.67 C- 1.67 B+ 3.33 D+ 1.33 Pass/Fail Option B 3.00 D 1.00 1. In courses taken on a Pass/Fail basis, the standard letter grades B- 2.67 F 0.00 of “A” to “C” are converted to “OP” by the Registrar. A grade of C+ 2.33 “C-” to “F” is recorded as “OF.” Grades not included in computing averages: 2. The Pass/Fail grading option must be selected prior to the end I Incomplete of the Drop/Add period; no change from Pass/Fail to a regular grade IP In Progress (Graduate Thesis only) or a regular grade to Pass/Fail may be made after that deadline. NC No Credit 3. Grades of “OP” or “OF” are not computed in the grade- WWithdrawal point average. OP Optional Pass (Grade of “C” or better) 4. The Pass/Fail policy stipulates that the instructor is not to be OF Optional Fail (Grade of less than “C”) informed as to who is enrolled on a Pass/Fail basis. AU Audit 5. Availability of this option is limited to a total of nine credits in PPass Liberal Arts courses or studio electives during the student’s under- TTransfer credit graduate career. Pass/Fail courses may not include First Year X Non-course credit (by examination) Writing, Introduction to Modernism, any Independent Study course, or any required discipline history course. Thesis Grading The grade of “IP” (“In Progress”) signifies that the student is Notice of Deficiency making satisfactory progress toward completing the graduate thesis. Instructors must advise a student of unsatisfactory performance in This grade will apply only to graduate thesis courses where the stu- the course with a Notice of Deficiency. Unsatisfactory performance dent’s thesis is still in progress. may be based on excessive absences; inappropriate or inadequate This grade is available only for the following courses: classroom participation; the quality of work submitted, performed or AE 649 Graduate Project/Thesis created for the class; or the outcome of exams or other assignments MS 749 A/B Thesis Development given by the instructor either in class or as listed on the syllabus. ID 749 Master’s Thesis Documentation Deficiency notices are copied to the student’s advisor and the Office FA 795 MFA Thesis Exhibition of the Dean of the College in which the student is enrolled. MU 603 Graduate Project/Recital Deficiency notices may be sent at any point of the semester. Once a deficiency notice has been received, a student is expected An “IP” grade acknowledges the fact that the final course product to follow the instruction/s noted on the form, and is strongly encour- (thesis) may require some period of time past the semester of regis- aged to meet with his/her instructor and advisor as soon after tration to complete. The “IP” grade will remain on the student’s receiving the deficiency notice as possible. record until a final thesis grade is submitted by the instructor. In some cases, a student will be registered for thesis courses as a Grade of Incomplete (“I”) sequence (e.g., MS 749 A/B). When the final grade is submitted by An incomplete grade may be granted only in extraordinary cir- the instructor, it will replace the “IP” grade. The “IP” grade is not cumstances, either personal or academic, that prevent the student computed in the grade-point average. from completing coursework by the end of the semester. The grade In order to remain in good standing while the thesis is “in “I” is given only when the completed portion of the student’s progress,” the student must register for the thesis continuation fee coursework is of a passing quality. To receive the grade of for each semester he or she is not enrolled in coursework. Incomplete, the student must obtain written approval on the Computing the Grade-Point Average (GPA) Incomplete Form from the course instructor, and the Dean of the College or the Director of Liberal Arts prior to the conclusion of the The GPA is computed by multiplying the number of credits semester. earned for a course by the numerical value of the grade. The Incomplete grades not cleared by the end of the sixth week of the resulting figures from all courses for that semester are then totaled, following semester will be automatically assigned the grade of “F.” and this figure is divided by the total number of credits attempted Incomplete Forms are available from the Office of the Registrar. that semester. The grades of I, IP, NC, W, OP, OF, P, and AU are not entered in this computation. Class Attendance Dean’s List All students are expected to attend classes regularly and promptly, and for the duration of the scheduled instructional time. Individual This list is compiled each semester in the respective deans’ instructors will decide the optimum time for taking attendance and offices. The Dean’s List honors those undergraduate students who may penalize for habitual lateness or absence. Repeated absences have met the following criteria: may result in a grade of “F” for a course.
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Students who withdraw from a course or the University must do week following the one in which the cause of the grievance so through the Registrar’s Office. Non-attendance does not consti- occurred. This deadline has been set to allow time for the resolution tute an official withdrawal. of incomplete grades from the previous semester in accordance with the policies noted elsewhere in this catalog. Absences Please note that a student may request the assistance of any staff Full participation is expected of all UArts students and is neces- member of the university at any stage of the grievance process. sary to fully benefit from and succeed in the University’s programs of study. Change of Grade Absences from class may result in a lowered grade or an “F” in An instructor may change a grade only if an error occurred in the course, depending on the attendance policies stated by the computing or recording the final grade, or if reevaluation of previ- instructor on the syllabus. It is the responsibility of the student to ously submitted work is warranted. Extra work, beyond that required arrange with his/her instructor(s) to make up all missed work. of other class members during the period when the class met, or Failure to do so will also affect the student’s grade. work handed in after the completion of the course, may not be In the event that absences are the result of extraordinary, docu- offered as reasons for a grade change. mented circumstances and are numerous enough that it is impossible In exceptional circumstances, a student may be granted an for the student to qualify for advancement, the student may be Incomplete, which is posted to the transcript as an “I.” Once the advised to withdraw from the course. If the course is required for the work for the course has been completed, a Change of Grade Form degree, the student will also be required to repeat the course in a must be submitted to the Office of the Registrar in order to convert subsequent semester. the “I” to the earned grade. Please refer to the section of this catalog titled “Grade of Incomplete” for more information. Class/Lesson Cancellations or Lateness of Instructor If a student questions the correctness of a grade, the student Students must check every morning for notices regarding class or should address his/her concern in accordance with the Academic lesson changes. Such notices are posted in a designated area. If none Grievance Procedures listed above. are posted for the scheduled class or lesson and the instructor is not Any change of a final grade may be made only by the course present, students are expected to wait 10 minutes for an hour-long instructor, who must personally submit the signed Change of Grade class/lesson and 15 minutes for those of longer duration. In the event Form, including the signature of the college dean, to the Office of the instructor fails to appear within the 10-15 minute waiting period, the Registrar no later than the end of the semester following the one students are to report to the appropriate School Director’s or in which the grade was given. Department Chairperson’s office and may then leave without penalty. Academic Review Undergraduate Requirements Academic Grievance Procedure Undergraduate students who maintain a minimum 2.0 cumulative Students who have a concern or grievance regarding an academic and semester grade-point average (GPA) are considered to be in matter are encouraged to discuss their concern directly with the good standing. In some programs students must also satisfy min- instructor. If they are not comfortable presenting their concern in imum grade requirements in major coursework. (Please refer to the person, or are not satisfied with the outcome of the discussion, they department sections of this catalog for more specific information on should submit their grievance in writing to the instructor, and send a minimum grade requirements for certain majors.) copy to the chair/director of the department in which the instructor teaches, and the dean of the college. The instructor must respond, in Graduate Requirements writing, to the student within 10 business days. The department Chair or Director is available for consultation by either the student A minimum cumulative GPA of 3.0 is required for good standing or the faculty member. The instructor must copy the chair/director and for graduation for graduate students. If a student is unable to and the Dean on his/her response, and the chair/director has the achieve a semester or cumulative GPA of 3.0, he or she will be right to forward the concern to the Office of the Dean should he/she placed on probation. If a 3.0 GPA and/or other conditions are not conclude that either the student or instructor’s concerns warrant fur- attained by the following semester, the student may be dismissed ther review or intervention. from the program. While on Probation, a student will be ineligible to If the student believes that his/her concern requires further atten- hold a graduate assistantship or to receive a University supplemental tion, he/she may submit the matter in writing to the Office of the grant-in-aid or scholarship. Dean of the college in which the course is offered, or to the Office of the Director of Liberal Arts when applicable. Undergraduate and Graduate Academic Review If the Office of the Dean/Director of Liberal Arts does not wish to Policies rule on the matter, he/she may convene an Academic Grievance Students who fail to meet these minimum requirements will be Committee or similar committee to review the concern. The compo- reviewed by the Academic Review Committee (ARC). The sition of the Academic Grievance Committee is determined by the Committee evaluates the record of such students, determines their Dean/Director of Liberal Arts. As a last resort, the Office of the academic status, gives benchmarks for progress in order to assist Dean/Director and/or the student may forward concerns to the their return to good standing, and, when appropriate, dismisses stu- Office of the Provost for final resolution. dents, according to University policy. It is the duty of the Committee The Dean/Director of Liberal Arts must either rule on the case or to determine appropriate forms of censure for any student who is charge an Academic Grievance Committee within 10 business days. considered by the committee to be in academic jeopardy. The deter- Grievances must be submitted no later than the end of the seventh mination of academic jeopardy may be made as necessary and determined by the ARC on a case-by-case basis. Inadequate
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progress in the pursuit of degree requirements and multiple non- request for an appeal to the Committee at the time of the hearing, sequential semesters on probation are criteria for additional and will be notified of the Committee’s decision at the completion of censure. the hearing. Academic Censure Graduation Requirements Probation It is the student’s responsibility to complete the specified require- The Academic Review Committee (ARC) places students who are ments of the degree program in which he or she is enrolled. no longer in good standing on Probation, in accordance with University policy. The Committee can also place additional require- Residency Requirements ments on students to encourage adequate progress towards The time it takes for a student to reach graduation will depend completion of the degree and improved academic performance. upon the time needed to fulfill The University of the Arts’ degree These additional requirements may include repeating courses, requirements. meeting with advisors, limiting the number of credits taken in a Every transfer student must complete a minimum of four full-time given semester, tutoring, and/or counseling. Students placed on semesters in residence preceding graduation and must earn a min- Probation will receive a letter from the dean’s office of their college imum of 48 credits in studio and/or Liberal Arts courses. Transferable on advisement from the Academic Review Committee, in which the credits will be applied only to the requirements stipulated for a UArts terms and conditions of the Committee’s decision are explained. degree. For this reason, transfer students may be required to remain in While undergraduate students may be placed on probation three residence at the University for more than the minimum four semesters times prior to dismissal, the ARC may reduce the number of semes- and to complete more than the minimum 48 credits, regardless of the ters that precede dismissal each time the semester GPA is below 1.5, number of credits earned at previously attended institutions. Transfer or when the student fails to fulfill the requirements previously set by credit is evaluated by the department chair or school director and the the ARC, or when the ARC determines that the student is in suffi- Director of Liberal Arts in consultation with the Office of the cient academic jeopardy to warrant additional censure. Registrar. Dismissal Undergraduate Degree Candidacy and The Academic Review Committee may also dismiss students: Completion 1. After three semesters on Probation. To be certified for a degree, a student must: 2. After a single semester GPA below 1.0. ¥ submit a Petition for Award of Degree to the Office of the 3. After continued failure to fulfill academic probationary require- Registrar, ments specified by the Academic Review Committee. ¥ fulfill all degree requirements, ¥ satisfy the minimum residency requirements (four semesters in Students who are being dismissed will receive a Letter of residence, a minimum of 48 UArts credits), Dismissal from the Office of the Dean of their college. Guidelines ¥ achieve a minimum cumulative GPA of 2.0 (C average), and for appeal of a dismissal, in the event of extenuating circumstances, ¥ receive the approval of his/her department chairperson or are described in the Letter of Dismissal. Any student whose appeal director as having met all major requirements, including any and of dismissal is upheld and who is permitted to enroll will automati- all requirements unique to the department. cally be placed on Probation until the stated conditions are met. Once the student has submitted a Petition for Award of Degree, and the Registrar has certified that student as having completed the Academic Censure and Financial Aid degree requirements, the degree will be awarded. Two-year certifi- Academic censure imposed by the Academic Review Committee cates are awarded only to students who are in residence and are may have financial aid ramifications, including loss of financial aid matriculated in the certificate program. after two consecutive semesters on Probation, (or as the result of not completing the minimum number of credits per year). Please refer to Graduate Degree Candidacy and Completion the Financial Aid section of this catalog for more specific informa- Midway through the program, each graduate student’s progress in tion. his/her discipline and thesis proposal will be reviewed by the appro- priate Graduate Committee to formally determine whether a student Disciplinary Dismissals becomes a degree candidate, and is ready to continue toward devel- In addition to Academic Dismissal, the University may dismiss opment and completion of the thesis or graduate project. students for disciplinary reasons. In such cases, students will auto- Graduate students have up to seven years from their date of matically receive the grade of “W” for all classes in which they were matriculation to complete a two-year master’s program, and up to enrolled at the time of dismissal. For more information on discipli- six years from matriculation date to complete a one-year program. nary action, please refer to the Student Code of Conduct section in To be certified for a degree, a student must: this catalog. ¥ submit a Petition for Award of Degree to the Office of the Registrar, Appeal ¥ fulfill all degree requirements, Students who are dismissed may make an appeal to the Academic ¥ satisfy the minimum residency requirements, and Review Committee regarding the dismissal. In order to request a ¥ achieve a minimum cumulative GPA of a 3.0 (B average). hearing for an Appeal by the Academic Review Committee, students must contact the dean’s office of their college by the date indicated in the Letter of Dismissal. Students must also deliver a written
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Graduation - Conferral of Degrees and Diploma’s Students expecting to complete requirements for a degree within the year (December, May, or August) are required to file a Petition for Award of Degree with the Office of the Registrar by the deadline indicated below. The Office of the Registrar is responsible for certi- fication of completion of requirements for the degree. Students may and are encouraged to petition during registration for their final semester. Deadline for submission of Petitions: ¥ July 15 - August completion ¥ November 15 - December completion ¥ February 15 - May completion
Degrees and diploma’s are conferred once a year at the spring Commencement Exercises. For students who complete degree requirements in other terms, the transcript will be posted “degree granted” with either the date of December 31 for the fall semester or August 31 for summer semester graduates. Diplomas will be mailed to August and December graduates’ permanent addresses approxi- mately six weeks after the graduation date. Students graduating after the summer or fall semesters are invited to participate in the next May Commencement exercises with the May graduates. Graduation with Honors Candidates for the baccalaureate degree may graduate with honors only if they achieve a minimum cumulative GPA of 3.6.
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Undergraduate Degree Requirements
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Liberal Arts Distribution (21 credits) Undergraduate Degree The liberal arts distribution requirement ensures that students Requirements have an opportunity to explore the literature, philosophy, institu- tions, and arts of their own and other cultures. Acquaintance with the humanities, social sciences, and natural sciences is essential for any Understanding the degree requirements is crucial to the smooth educated person to understand the world, and provides a knowledge progression to graduation. Students, both new freshman and trans- base for informing the creative endeavors of the artist. The specific fers, are encouraged to consult with their academic advisors distribution requirements are outlined in the section titled Division regularly to ensure that they are making appropriate progress toward of Liberal Arts. their degree and to consult their advisor and the Office of the Registrar for assistance and clarification of degree requirements. An Major (varies by program) overview of the degree requirements for the baccalaureate follows. Major requirements have been carefully designed by the faculty to Please refer to the section of the catalog that describes the major provide the student a professional education in his or her chosen programs and to the Division of Liberal Arts section for specific field of study. Refer to the appropriate section of the catalog for spe- course requirements. Students should also keep in close contact with cific major and departmental requirements. their academic advisors regarding official departmental and major- specific requirements. Free Electives (9 credits) Most UArts undergraduate degrees require from 123 to 129 credits. A full-time student, however, may enroll for as many as 18 Free electives play an important role in the University’s mission credits per semester, resulting in a possible 144 credits over four of providing a dynamic milieu for creative exploration, innovation, years. Students who are interested in additional electives, or who and intellectual investigation, extending the practice and under- wish to fulfill a minor by taking additional electives, are strongly standing of the arts and the arts professions. They give the student encouraged to consult with their advisor to develop an effective plan the opportunity to explore subjects beyond those offered or required for completion of their degree requirements and fulfillment of their by the major department and encourage educational autonomy on personal educational goals. the student’s part. An elective is defined as any studio or liberal arts course that is neither a requirement for the student’s major nor a requirement for Liberal Arts (42 credits) the University’s liberal arts core. Electives are courses that a student Freshman Common Core (12 credits) can choose freely without restriction. While advisors may make rec- First Year Writing ommendations regarding electives, the final choice for elective Introduction to Modernism courses must rest with the student. Obviously, prerequisites and corequisites apply to any course that a student may elect to take. All students at The University of the Arts must take First Year Every major undergraduate program at the University contains at Writing and Introduction to Modernism. least nine credits of free electives. Please refer to the program Freshmen typically take two semesters of First Year Writing requirements for further information on specific department require- (LA CR 101, 102). Based on transcripts, SAT scores, TSWE scores ments; some programs have as many as 21 credits of electives built on the verbal test of TOEFL (Test of English as a Foreign into the degree requirements. 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 and will not apply toward degree require- ments. Students who successfully complete HU 008 or HU 009 will then take LA CR 101, or may in some cases be assigned to HU 109 B, First Year Writing, which counts toward the degree and substi- tutes for LA CR 101. In addition, freshmen take two semesters of Introduction to Modernism (HU 103 A/B). Students in HU 008 (English as a Foreign Language) and HU 009 begin the Introduction to Modernism sequence in the second semester of their studies at the University. Satisfactory completion of the First Year Writing sequence is required prior to registration for HU 130 and above liberal arts courses. In addition, failure to complete this sequence will prevent the student from proceeding in his or her major studio coursework. Discipline History (9 credits) Discipline history courses acquaint students with the historical framework of their respective majors. These courses provide a his- torical foundation and mark the intersection of professional training and liberal arts education. The specific courses fulfilling this requirement vary by college and major.
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knowledge of citation procedures will not be an acceptable explana- Division of Liberal Arts tion for plagiarism. 2. Papers must be free of consistent patterns of error in punctua- Peter Stambler tion and grammar and must be spell-checked and proofread. [email protected] 3. Papers must be word-processed and printed with appropriate Director margins. In addition, papers must be conceptually and visually 215-717-6262 divided into paragraphs as appropriate. In addition to the major requirements for earning a bachelor’s Liberal Arts Requirements degree at The University of the Arts, all undergraduate students are required to complete approximately one-third of their studies in the Common Core 12 credits liberal arts, reflecting the University’s conviction that the liberal arts LA CR 101/102 First Year Writing 6 credits are essential for the education of artists, designers, performers, and HU 103 A/B Introduction to writers. The aims of the division are to develop students’ powers of Modernism 6 credits critical thinking and their understanding of the history and criticism of the creative arts, to introduce them to philosophic and scientific modes of thought, and to the study of human cultures and societies. In sum, we aim to refine students’ perceptions of both their inner world and Discipline History (DH) 9 credits the outer world and to help make them both intellectually responsible Majors in: and creative. The Liberal Arts Division represents a common ground Acting TH 311 A, TH 311 B, TH 213 in the curriculum where students from all the colleges meet. It thus offers a unique forum for artistic and academic exchanges. Animation HU 140 A, HU 140 B, WM 251 Students are expected to meet with their advisors regularly and are Applied Theater Arts TH 213, TH 311 A, TH 311 B responsible for knowing and fulfilling their liberal arts requirements. Communication CM 250, CM 251, CM 260 Crafts HU 140 A, HU 140 B, HU 253 Transfer Credit Policy Dance DA 211 A, DA 211 B, DA 117 Film HU 140 A, HU 140 B, WM 251 and Requirements Fine Arts (PT, PR, SC) HU 140 A, HU 140 B, Art History New Students: elective The University of the Arts will accept, after review, transfer credit Graphic Design HU 140 A, HU 140 B, HU 254 for liberal arts courses completed elsewhere provided that the coursework completed is determined to be equivalent to University Illustration HU 140 A, HU 140 B, Art History of the Arts offerings, is from an accredited college or university, and elective a grade of “C” or better was earned. Students are required to present Industrial Design HU 140 A, HU 140 B, HU 251 official transcripts of courses taken at other institutions, as well as Multimedia MM 271, six credits chosen from any course bulletins in order for evaluation of transfer credits to take Arts/Discipline History place. Contact the Office of the Registrar for further information. Music MU 301 A, MU 301 B, MU 401 A Enrolled Students Musical Theater TH 312 A, TH 312 B, TH 213 Once they have matriculated, students may transfer up to 15 Photography HU 140 A, HU 140 B, HU 255 credits in the liberal arts, provided they have not already transferred Theater Design that many or more at the time of matriculation. Students who wish to and Technology TH 311 A, TH 311 B, TH 213 take liberal arts credits at other colleges must secure prior written Writing for approval from the Director of the Division of Liberal Arts. Such Film and TV HU 320 A, HU 320 B, HU 411 courses may not duplicate courses already taken for credit at The University of the Arts.
Credit-Hour Ratio Liberal Arts Distribution 21 credits Liberal arts credit is earned at the ratio of 1 credit per class con- Humanities (HU) 3 credits tact hour. Liberal Arts Electives 6 credits Literature (LIT) 3 credits University Writing Standards Natural Science and Mathematics (SCI/M) 3 credits The faculty of the University have established a standard of pro- Social and Behavioral Sciences (SS) 6 credits fessionalism for all formal papers written for liberal arts and studio courses. 1. Citations of any text used must be documented as appropriate. The MLA and APA styles, as detailed in Diane Hacker’s A Writer’s Reference, are taught in First-Year Writing LA CR 101, 102. Lack of
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Liberal Arts Distribution Requirements Distribution
This grid shows how liberal arts courses may be used to satisfy HU 230 A French I HU the liberal arts distribution requirement. HU 230 B French II HU HU 232 A Italian I HU Key: DH = Discipline History HU 232 B Italian II HU HU = Humanities LA = Liberal Art Elective HU 240 Ancient Art AH/HU LIT = Literature HU 241 Medieval Art AH/HU SCI/M = Science/Math HU 242 Art in Renaissance Europe AH/HU SS = Social Science HU 243 Baroque Art AH/HU HU 246 19th Century Art AH/HU Distribution HU 248 A Film History HU (= WM 251) HU 248 B Issues in National Cinema HU (= WM 252) AE 549 Program Design & Methods: Aesthetics/Art Criticism HU HU 250 History of Sculpture AH/HU HU 251 History of Industrial Design AH/HU CM 250 History of Communication SS HU 253 History of Crafts AH/HU CM 251 Communication Theory and HU 254 History of Culture in the 20th Century SS Communication Design AH/HU (DH/GD) HU 255 History of Photography AH/HU CM 260 Media Industries SS (DH/Photo majors) HU 259 Understanding Music HU CM 293 History of Documentary HU HU 260 A Human Origins and Primates SS CM 350 Gender Issues in Media LA HU 260 B Human Evolution SS HU 261 Observing Humans SS DA 117 Survey of Music HU (DH/Dance majors) HU 262 History of China SS HU 262 B History of Japan SS DA 211 A Dance History I HU (DH/Dance majors) HU 263 Culture of Italian Renaissance SS DA 211 B Dance History II HU (DH/Dance majors) HU 264 Modern American History SS HU 265 Introduction to Folklore SS HU 130 A French I HU HU 266 A History of Classical World SS HU 130 B French I HU HU 266 B History of Medieval Europe SS HU 131 A German I HU HU 267 Introduction to HU 131 B German I HU Cultural Anthropology SS HU 132 A Italian I HU HU 268 Introduction to the Bible SS HU 132 B Italian I HU HU 270 Introduction to Aesthetics HU HU 140 A Art History Survey I HU (DH/all CAD majors) HU 272 Money Matters SS HU 140 B Art History Survey II HU (DH/all CAD majors) HU 274 Introduction to Philosophy HU HU 276 Age of Apartheid HU HU 162 Individual and Society SS HU 281 Dynamic Anatomy SCI/M HU 181 A Child and HU 282 A Fundamentals of Adolescent Psychology SS College Math. SCI/M HU 181 B Adult Psychology SS HU 282 B Calculus SCI/M HU 283 Probability SCI/M HU 201 Lyric Poetry LIT HU 285 A Life Sciences SCI/M HU 285 B Physical Sciences SCI/M HU 210 A 19th C. American Writers LIT HU 286 Pseudoscience in HU 210 B 20th C. American Writers LIT Contemporary Society SCI/M HU 211 Women Writers LIT HU 288 Introduction to Brain, HU 212 Introduction to Mythology LIT Mind and Behavior SCI/M HU 216 The Short Story LIT HU 289 Contemporary Issues in HU 217 African American Literature LIT Life Sciences SCI/M HU 218 Super Heroes LIT HU 219 Children’s Literature LIT HU 292 Introduction to World Religions SS HU 293 Dance and Expressive Culture HU
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Distribution Distribution
HU 310 The Stories of Chekhov LIT HU 381 Urban Wildlife SCI/M HU 311 Greek Drama LIT HU 382 Social Psychology SS HU 313 Poetry Writing Workshop HU/LIT HU 383 Personality and Adjustment SS HU 314 Literature and Film LIT HU 384 Abnormal Psychology SS HU 315 A Modern Drama LIT HU 385 Concepts of Modern Physics SCI/M HU 315 B Contemporary Drama LIT HU 386 Human Genetics SCI/M HU 316 American Playwrights LIT HU 388 Perception SCI/M HU 317 A Romanticism LIT HU 389 Evolution in HU 318 Literature of Modern Perspective SCI/M the Roman Empire LIT HU 319 Self and Nature: The Dynamics HU 390 Mass Media SS of Romantic Landscape HU/LIT HU 393 African American Culture SS/HU
HU 320 A MasterpiecesÐ HU 410 The Uncanny LIT/HU Western Tradition I LIT (DH/WFT majors) HU 411 Shakespeare LIT HU 320 B MasterpiecesÐ HU 412 Detective Film and Fiction LIT Western Tradition II LIT (DH/WFT majors) HU 413 Literature and Film: HU 322 Scriptwriting HU/LIT From Text to Screen LIT HU 323 Arts Criticism HU HU 414 A Big Fat Famous Novel LIT HU 325 Fiction Writing HU/LIT HU 414 B European Novel LIT HU 415 A Modern Poetry LIT HU 342 Arts of China AH/HU HU 415 B Contemporary Poetry LIT HU 344 Avant-Garde Cinema HU/AH HU 416 A Contemporary Novel LIT HU 345 Modern Architecture AH/HU HU 347 Arts of Africa AH/HU HU 420 Major Writers LIT HU 348 American Art to 1945 AH/HU HU 422 American Politics HU 349 American Film Genres HU/AH and Culture 1945-75 LIT/SS HU 424 Latin American Literature LIT HU 351 Electronic Video HU/AH HU 425 Advanced Fiction HU 354 Women Artists AH/HU Writing Workshop LIT/HU HU 355 Dada and Surrealism AH/HU HU 357 Modern Art AH/HU HU 442 Abstract Expressionism AH/HU HU 359 Politics and the Media SS HU 448 A American Art Since 1945 AH/HU HU 448 B European Art Since 1945 AH/HU HU 360 A Renaissance and Reformation SS HU 449 Diaghilev and the Ballet Russe HU HU 360 B Age of Enlightenment SS HU 361 Islam: Religion and Culture SS HU 450 Arts of India AH/HU HU 362 A American Civilization I SS HU 451 Arts of Islam AH/HU HU 362 B American Civilization II SS HU 452 Topics in Design AH/HU HU 363 Modern Culture SS HU 453 Arts of Japan AH/HU HU 364 Sociology of Art SS HU 456 Major Artists AH/HU HU 365 A Latin American History and Culture SS HU 462 American Social Values SS HU 365 B Latin American HU 463 Middle East Art and Culture SS History and Culture SS HU 464 Holocaust SS HU 366 The City SS HU 466 Comparative Religion: HU 367 Eastern Religions SS Religions of Asia SS HU 368 Sociology of Politics SS HU 467 Comparative Religion: HU 369 Cultural Ecology SS Religions of America SS
HU 370 Greek Philosophy HU HU 474 Contemporary Philosophy HU HU 371 The American Suburbs SS HU 478 Aesthetics Seminar HU HU 372 Continental Philosophy and Existentialism HU HU 480 Psychology of Creativity SS HU 373 Ethics HU HU 481 A Physics SCI/M HU 374 Personality and Creativity SS HU 481 B Physics SCI/M HU 378 Psychology of Touch SS HU 483 Theories of Personality SS HU 484 Educational Psychology SS HU 485 Brain and Behavior SCI/M
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Distribution Key: DH = Discipline History HU = Humanities HU 492 Vienna and Berlin HU LA = Liberal Art Elective HU 495 Dante in the Modern World LIT LIT = Literature HU 497 Women and Sex Roles SS SCI/M = Science/Math HU 498 Art, Media and Society HU SS = Social Science
MM 271 Survey of Multimedia HU
MM 360 Psychology of Human/Computer Interaction SS
MU 301 A Music History I HU (DH/Dance majors) MU 301 B Music History II HU (DH/Dance majors) MU 306 History of Rock Music HU
MU 401 A Jazz History HU MU 401 B American Music History HU (DH/ Music majors) MU 402 World Music HU
MU 411 20th Century Music HU MU 417 A Opera Literature HU MU 417 B Opera Literature HU
MU 424 Wagner and the Ring Cycle HU
TH 213 Script Analysis HU (DH/Acting & MusTh majors)
TH 311 A Theater History I HU (DH/Acting majors) TH 311 B Theater History II HU (DH/Acting majors) TH 312 A Musical Theater History I HU (DH/MusTh majors) TH 312 B Musical Theater History II HU (DH/MusTh majors)
WM 251 Narrative Cinema I HU (DH/Film & Anim Majors) WM 252 Narrative Cinema II HU (DH/Film & Anim Majors) WM 253 History of Television HU
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Liberal Arts Faculty Samuel Durso Cris Larson Assistant Professor Senior Lecturer Juan Sebastian Agudelo BA, MA, Temple University BFA, Rhode Island School of Design Adjunct Assistant Professor MFA, Rutgers University BA, MA, Southern Illinois University Richard Farnum Associate Professor Sharon Lefevre Steven Antinoff AB, Princeton University Adjunct Assistant Professor Senior Lecturer Ph.D., University of Pennsylvania BA,Princeton University BA, MA, Ph.D., Temple University MA, MPhil, Columbia University Kevin Finn John Baker Senior Lecturer Mary Martin Assistant Professor BA, Wilkes University Adjunct Assistant Professor AB, Washington University MA, University of Delaware BA, Macalester College STB, Gregorian University MA, Washington University Ph.D., Brown University Janet Fishman Senior Lecturer Slavko Milekic Yana Balson BA,Brandeis University Associate Professor Senior Lecturer MA, Villanova University M. Sc., MD Belgrade University, BA, Pennsylvania State University Yugoslavia MA, Temple University Eileen Flanagan Ph.D., University of Connecticut Senior Lecturer Ann Richman Beresin BA, Duke University Chris Myers Assistant Professor MA, Yale University Associate Professor BA,Tufts University BA, University of Toledo M.Ed., Harvard University Cheryl Floyd MFA, Yale University Ph.D., University of Pennsylvania Adjunct Assistant Professor BA, Chestnut Hill College Stewart Netsky Stephen Berg MA, Ph.D., Temple University Adjunct Associate Professor Professor BS, Drexel University BA, State University of Iowa Nancy Heller MA, Philadelphia College of Art Professor MFA, Tyler School of Art Donald Chant Bohn AB, Middlebury College Senior Lecturer MA, Ph.D., Rutgers University Paul Nolan BS, Gettysburg College Adjunct Assistant Professor Jamer Hunt BA, Shenandoah Conservatory of Music Gerard Brown Associate Professor MA, Hahnemann University Senior Lecturer BA, Brown University BFA, Boston University Ph.D., Rice University Martin Novelli MFA, School of the Art Institute Adjunct Professor of Chicago John Jernigan BS, St. Joseph’s University Senior Lecturer MA, Purdue University Thomas Ceneri BA,Swarthmore College Ph.D., JD, Temple University Senior Lecturer MA, Temple University BA, SUNY Purchase Benjamin Olshin MA, City College of New York Elise Juska Assistant Professor Senior Lecturer BA,Williams College Nancy Davenport BA,Bowdoin College MFA, University of Toronto Professor MA, University of New Hampshire Ph.D., University of Toronto BA, MA, Bryn Mawr College Ph.D., University of Pennsylvania Anne Karmatz Charles F. Pennacchio Adjunct Associate Professor Associate Professor Jack DeWitt BA, University of Pittsburgh BA, University of California, Berkeley Professor MS, University of Pennsylvania MA, Ph.D., University of Colorado BA, Northeastern University MA, Villanova University MA, Ph.D., University of Connecticut Andrew Petto Anita Lam Associate Professor Mary Ellen Didier Adjunct Assistant Professor BA, Middlebury College Senior Lecturer BA, Beaver College MA, Ph.D., University of Massachusetts, BA, University of Wisconsin MA, Temple University Amherst MA, University of Chicago
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Steve Reeder Fabian Ulitsky Senior Lecturer Associate Professor BA,West Chester University BA, M.Ed., Temple University MA, Villanova University Pippa Vanderstar Robin Rice Master Lecturer Adjunct Assistant Professor AB, Princeton BFA, Ohio Wesleyan University MA, New York University MA, University of Missouri MPhil, Oxford University DPhil, Oxford University Catherine Robert Adjunct Assistant Professor Judith Vassallo BA, Connecticut College for Women Adjunct Professor MA, Ph.D., University of Pennsylvania BA, American International College MA, University of Pennsylvania William Rudolph Senior Lecturer Susan T. Viguers BA, University of Nebraska, Lincoln Professor MA, University of Virginia BA,Bryn Mawr College MA, University of North Carolina Sid Sachs at Chapel Hill Senior Lecturer Ph.D., Bryn Mawr College BFA, Tyler School of Art MFA, Rutgers University Stanley Ward Adjunct Assistant Professor Mikhail Sergeev BA, Duke University Adjunct Assistant Professor MA, Ph.D., Harvard University BA, Moscow State University MA, Ph.D., Temple University Faith Watson Master Lecturer Kiernan Slater BA, MA, University of Pennsylvania Senior Lecturer BA,Davidson College Carla Weinberg MA, Georgetown University Adjunct Associate Professor Dottore in Lingue, University of Pisa David Spolum Senior Lecturer Burton Weiss BSS, Cornell College Adjunct Professor MA, Temple University BA, MA, Ph.D., Princeton University
Noah Brodie Spring Toby Zinman Senior Lecturer Professor BA,Yale University BA, MA, Ph.D., Temple University MFA, University of Southern California
Peter Stambler Director of Liberal Arts Professor BA,Yale University MFA, Carnegie-Mellon University PhD, Syracuse University
Patricia Stewart Adjunct Associate Professor BA, University of Pennsylvania
Dena Sukol Senior Lecturer BA,JD, Temple University
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College of Art and Design
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College of Art and Design Major Areas of Study The College offers coursework toward the BFA, BS, MFA, MA, MAT, or MID degree with major programs in: Stephen Tarantal, Dean Bachelor of Fine Arts [email protected] Animation Adrienne Stalek, Assistant Dean Crafts (Ceramics, Fibers, Metals, and Wood) [email protected] Film/Digital Video 215-717-6120 Graphic Design Illustration The College of Art and Design is a comprehensive visual arts col- Painting and Drawing lege offering a full range of undergraduate and graduate programs in Photography fine arts, crafts, design, media arts, art education, and museum com- Printmaking/Book Arts munication and education. All programs are dedicated to the Sculpture development of the individual artistic spirit and vision within each Bachelor of Science student; the study of the historical and contemporary precedents that Industrial Design have shaped our culture; and the full range of analog and digital methods and processes that give form to the visual arts. The College also offers the following graduate degree programs: Master of Art Art Education Museum Communication Museum Education Master of Art in Teaching Visual Arts Master of Fine Arts Book Arts/Printmaking Ceramics Museum Exhibition Planning and Design Painting Sculpture Master of Industrial Design
These special undergraduate and graduate programs are also offered: Special concentration in Art Therapy Pre-certification program in Art Education Post-baccalaureate certificate program in Crafts Class Size and Structure Each department is unique, with its own curriculum and structure, but in every department, classes are small and informal. Faculty advisors and the generous student/faculty ratio assure close indi- vidual attention and assistance throughout a course of study. One of the important teaching modes in the college is the critique, or “crit,” an evaluation of student work by the instructor with the participation of the class. Given informally to the class or individual as often as once a class, crits have proven to be an invaluable method for the development of critical thinking and self-awareness, which are major educational goals in our programs. Credit-Hour Ratio In general, credit is earned at the ratio of one credit for two class- contact hours in studio courses. Please refer to the course descriptions for specific information. Return Degree Program Diploma graduates of the Philadelphia College of Art may apply credits earned for the diploma toward the University’s baccalaureate requirements. For additional information and to apply, contact the Office of the Registrar.
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Exhibition Program single objects as large as 7.5ll x 6ll x 9ll and larger objects may be built in sections. The plastic models are used by design students as The Exhibition Program showcases major contemporary exhibi- prototypes for visualization, testing, and presentation. Jewelry, tions related to the University’s diverse academic curricula in crafts, and sculpture students create artwork to be printed out. The design, crafts, and the fine arts. plastic may be used as the final product, or it may be painted, com- Over the years, the Rosenwald-Wolf Gallery, the University’s pri- bined with other materials, transformed into other materials using mary exhibition space, has attracted national and international artists molding and casting techniques, or transformed into metal through to the campus. Artists who have had one-person exhibitions in the investment casting or electroforming. gallery include Vito Acconci, Siah Armajani, Alice Aycock, Willie Cole, Gregory Crewdsen, Rosaly Drexler, Richard Fleishner, April Gornik, Lois Greenfield, Alex Grey, John Hejduk, Daniel Jackson, Digital Technology/Electronic Media Barbara Kasten, Mel Kendrick, Jon Kessler, Donald Lipski, Henry Advances in digital technologies have established the computer as Moore, Ree Morton, Robert Motherwell, Thomas Nozkowski, Jack an essential tool for creative work. Artists, designers, and performers Pierson, Irving Penn, Anne and Patrick Poirer, Yvonne Rainer, will increasingly be responsible for the development of new digital Judith Shea, Pat Steir, Lenore Tawney, Paul Thek, George Trakas, media. These advances are creating a wealth of job opportunities for and Lebbeus Woods. In addition, the gallery has presented notable individuals with creative talent that is unparalleled in the history of historic exhibitions of design: Alexei Brodovich, Czech Cubism, the arts. Charles Eames, frogdesign, and Memphis. Since 1981, The University of the Arts has been a leader in the Additional exhibition spaces in Dorrance Hamilton Hall Galleries, field of computer-mediated art and design education in the Northeast the Solmssen Court Gallery, and the Window on Broad furnish region. The University has carefully integrated new media technolo- opportunities for faculty, alumni, students, and regional talents. gies into traditional fields of study within art and design disciplines. Nearly every department also launches its own series of exhibits. Additionally, the Electronic Media Department offers studio elective The galleries in Media Arts, The Mednick and 1401, the Painting/ courses in computer concepts, virtual sculpture, digital multimedia, Drawing Gallery, the Printmaking Gallery, the Richard C. von Hess and electronic media production, at introductory, intermediate, and Illustration Gallery, and the Ceramics/Sculpture Gallery all show advanced levels for all students regardless of their major. UArts work of emerging and established artists. Student-run invitational and remains dedicated to continuing this leadership role of preparing juried exhibitions in Gallery One give students the experience of students for career opportunities in traditional and electronic media. installing shows. Museum Exhibition Planning and Design MFA stu- dents gain experience and skills from their practical work in the Typography/Imaging Lab galleries. Highlights of the year are the Annual Student Show, a fea- The Imaging Lab is a fully equipped pre-press and output facility tured Commencement event, the Student Scholarship Exhibition, and that accommodates Book Arts, The Borowsky Center for Publication Senior Student and Master of Fine Arts exhibitions. Arts, Graphic Design, Illustration, Media Arts, and Printmaking, among many other departments. We have a traditional darkroom with three copy cameras, two enlargers, and one contact frame. Non- Special Facilities silver classes do all their darkroom work in this facility. The output Anderson Hall is a nine-story visual arts facility that houses a spa- center houses a Dolev 400 image-setter, film processor, Cannon cious gallery, studios, classrooms, and a library designed with a CLC 900 color fiery printer, HP large-format six color printer, and feeling of openness. Through the combination of Anderson Hall, three Macintosh workstations. We process film and color output for Dorrance Hamilton Hall, and the Terra Building, the University pro- student work and departmental needs. Students are able to work in vides a wealth of modern studios, shops, labs, equipment, galleries, the lab under technicians and learn the workings of pre-press and and libraries to support the making of art. high-end digital output. Imaging workshops are held with classes in The variety of studios and equipment is extensive, ranging from the lab, as well as one-on-one consultations with students in the final woodworking and metal shops, printmaking and computerized type- stages of creative digital work for critiques, portfolios, and thesis setting shops, to fine arts, crafts and design studios, and photo, film, exhibitions. and digital imaging labs. Four large kilns enhance ceramic-making capabilities and a forge has been built for sculpture. A large weaving Media Arts Studios shop is complete with dozens of looms and a dyeing room. A 19th The Media Arts Department (photography/film/digital video/ ani- century carriage house was converted into a skylit figure-modeling mation) provides students with high-end equipment and studios studio for sculpture students. modeled after professional environments. Media Arts houses two Master Series Oxberry animation stands, as used by Disney and Digital 3D Scanning and Printing Equipment other professional firms, to film animation drawings, which enable Students in Crafts, Industrial Design, Sculpture and other depart- students to produce professional-quality work. In addition, Media ments have access to equipment for digital 3D. Several computer Arts digital facilities include three AVID digital video editing sys- labs are equipped with 3D CAD (computer aided design) software tems, a state-of-the-art Windows XP Professional computer with which digital models may be created. Scanning is used to animation lab, and a 16-station closed-loop color-calibrated digital create digital 3D models from physical objects. The scanned models imaging computer lab. Media Arts also houses two animation may be manipulated (scaled, refined, altered) and/or combined with shooting studios, a specially built and acoustically isolated film the digital models created in 3D CAD programs. The centerpiece of shooting studio, two fully equipped digital sound studios, five our digital 3D facility is the Envisiontec Perfactory 3D printer. It flatbed film editors, as well as video editing, a Casablanca editing automatically constructs physical models made of methacrylate (a system, splicers, synchronizers, and projectors. plastic material) from the digital CAD models. The Perfactory prints Other Media Arts facilities include state-of-the-art
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high-ventilation darkrooms with 55 4x5 enlargers, a black-and-white The facilities also include three AVID Express Deluxe (v.5.7) RC print processor, a color darkroom with 14 individual stations and suites running Windows 2000 Professional on Compaq W8000 a 32ll RA four-color print processor, and four photography shooting 2.8ghz, 512 RAM Computer Systems with Dual Stream studios with all the essential equipment for studio photography. Uncompressed video, Meridien III Board Set, Son Beta UVW01800 The Media Arts Equipment Room serves student needs by video deck, JVC BR-5800 SVHS video deck, mackie mixer, and checking out animation, film, and photography equipment, dual 21-inch Sony Trinitron Monitors, complemented by three Final including lights, cameras, tripods, animation discs, and sound equip- Cut Pro video editing Workstations. Two Apple XServe Dual ment. The Equipment Room is open seven days a week and offers Processor systems, and one Dual Processor Apple G4 system. Each extended hours on weekdays. suite includes DigiDesign ProTools 001 software and Hardware, Sony DSR 11 DV Decks, and 20-inch flat panel displays. Digital Imaging Lab The Media Arts Department Digital Imaging Lab is a unique Media Arts Department Dub Room facility built to support high-resolution digital imaging and digital The Media Arts Dub Room allows conversion of audio and video video. The lab has 16 Apple Macintosh G4 computers, equipped media to differing formats. The following components are supported with one gb of RAM, dual high-capacity hard drives, dual 21-inch through track-mounted patch bays for dupes of conversion. Sony Color Calibrated Apple Studio Display monitors for each cpu, Ultra Beta UVW-1800 video deck, JVC BR-5800 SVHS video deck, SCSI cards, DVD-RAM, and FireWire CD-RW drives. Each station Mackie 12 channel mixer, Elmo TRV-16 Film Transfer unit, Otari has an Epson 2450 FireWire flatbed scanner, and an Wacom Intuos 1/4-inch half-track studio editing deck, Tascam 122 Stereo Cassette 9x12 tablet. There are a number of Polaroid and Minolta Film Deck, Yamaha DVD Player, Panasonic AGW3 Multi-Standard VHS Scanners, and an Agfa T2500 Digital Pre-Press scanner. For output, deck, Tascam DA60 Studio DAT recorder, Tascam MD1 Minidisk there are a number of devices including a Tektronix Phaser 780 deck, Technicx Turntable, Magnasync 16 mm magnetic film color laser printer, a Fuji Pictrography 3500 Digital Printer, a Xante recorder, Nagra 4.2 tape deck, two Sony UMatic 3/4-inch video Tabloid Laser Printer, a Polaroid Pro-Palette 8045 8K film recorder, decks, and a Tascam Patch Bay. and a Hewlett Packard 5000PS wide-format digital inkjet printer, with both dye- and pigment-based inks. The lab also has two Pro- Borowsky Center for Publication Arts Tools XP systems, 17 Panasonic DV1000 digital video decks and a The Borowsky Center for Publication Arts is both a unique educa- Sony DSR-40 digital video deck. The lab is managed by an Apple tional arm of the University and a printing facility that provides G5 X server and XRAID servers, with more than 2.5 terrabytes of students, staff, faculty, and visiting artists a resource to explore the storage to facilitate the requirements of a modern digital workflow. creative potential inherent in the offset lithographic printing The lab is available to students majoring in a Media Arts program, medium. The Center enables qualified users to experience the com- or enrolled in specifically designated Media Arts courses. plete graphic arts process from initial conceptualization through production, while maintaining the highest printing standards. The Computer Animation Lab Center is equipped with state-of-the-art equipment, including a The Media Arts Department Computer Animation Lab is a lab Heidelberg Kors 19ll x 25ll offset press, a Dos flatbed horizontal designed solely for computer animation. It features 16 IBM Dual camera, a darkroom for shooting and developing negatives, and Intel XEON processor workstations running Windows XP platemaking and stripping facilities. Staffed with two master printers Professional, with SoftImage XSI 3.0, Maya for 3-D animation, and and student assistants, the Borowsky Center produces a wide variety Adobe Premiere, After Effects, Illustrator, and Photoshop for 2-D of printed material including posters, catalogs, brochures, announce- work. Digital Audio is handled by Sound Forge and Pro-Tools, and ments, and limited edition prints. The Center’s Fact Sheet, which there is also a Macintosh OS X system for FireWire output to the includes all procedures for project submittal, is available in the CAD Sony DSR-40 Digital Video Deck. Each system is designed specifi- Dean’s office. cally for animation, and has a Wacom Tablet, a dedicated FireWire scanner, CD-RW drives, and a DVD and RW drive. Digital output is handled by three DPS Perception systems, a Sony Beta deck, a Panasonic SVHS deck, a Sony Digital Video Deck, and a DVD burner. The lab also has a Tektronix Phaser 780 color laser printer for output of animation stills. The lab is managed by a dedicated IBM Fibre Channel server running Windows 2003. Digital Audio Sound Studios The Media Arts Department houses two state-of-the-art Digital Audio Sound Studios. They are based around two Pro-Tools 24 Mix- TDM systems, each with a Mackie 16x8x2 Mixing Console, a Tascam 234 4-track Cassette Recorder, a Tascam 122 Stereo Cassette recorder, two Neutrik 48 pt. patch bays, a Yamaha SPX900 Sound Processor, an Apple Macintosh G4 with a 17-inch monitor, DVD-RAM, FireWire CD-RW Drive, Tascam DA60 DAT recorder, and a USD Sync Controller. Both rooms can record from the Film Studio, or an Isolation Booth with microphones, foldback, and direct instrument connection.
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progress, plan final year (both semesters), and review graduation College of Art and Design requirements. Students may request a degree audit from the Office of the Registrar at any time. Undergraduate Programs Transcript copies of student records are supplied on request to faculty advisors by the Registrar following the recording of grades All freshman students enter the 18-credit Foundation core pro- each semester. gram that includes courses in drawing, two-dimensional design, three-dimensional design, and time-motion studies. The Foundation Credit Distribution program introduces the basic language and processes of the visual The student is ultimately responsible for completion of all course arts and prepares the students for entry into a major department. requirements for the degree program in which he/she is enrolled. Through freshman elective course offerings, students are introduced The College requires a minimum of 123 credits for graduation (126 to major course options and opportunities offered by the College of for the BS in Industrial Design). A student carrying an average of Art and Design. 15.5 credits per semester would be making normal academic In the sophomore year, students select a major from one of the progress toward graduation. following departments: The general credit structure for the BFA is as follows: Crafts: (Ceramics, Fibers, Metals, Wood) Fine Arts: Painting and Drawing, Courses Credits Printmaking/Book Arts, Sculpture Foundation 18 Graphic Design Major department credits 42 Illustration Studio Elective 21 Industrial Design Liberal Arts 42 Media Arts: Animation, Film/Digital Video, Photography The major program is augmented by required and elective courses Total credits 123 in other departments in CAD, CPA, and CMAC to encourage an awareness of the productive interaction that can occur between the Studio Electives many disciplines available at the University. Alternative career ¥ Major studio departments may require up to six credits in opportunities are often developed by students stimulated by courses another studio major, and/or Liberal Arts. outside their major. ¥ Students may elect to replace up to six studio elective credits The college currently offers three concentrations and seven minor with Liberal Arts courses. programs that can augment or complement the student’s major ¥ Students are required to take at least nine credits of studio elec- course of study. tive courses outside of their major program. Many departments offer internships and practicums to study off- ¥ Elective studio credits may be completed in any department at campus during the junior and senior years. Frequent field trips to the College of Art and Design, the College of Media and museums, galleries, artists’ studios, and design studios in Communication, or the College of Performing Arts. Philadelphia, New York, and Washington, D.C., supplement their regular work in studios and workshops. Major Program Requirements The professional orientation and preparation of the College of Art Academic Advising and Design’s undergraduate major degree programs require students Academic advising at the University is designed to provide max- to achieve beyond the University’s minimum academic standards. imum information and assistance to students from the time they Students must achieve a grade of “C” or better in all College of enter the Foundation program in their freshman year until they com- Art and Design major course requirements and any required courses plete their final semester as seniors. in other departments, including a discipline history if applicable. In the Foundation year, each student is assigned to a Foundation Students who receive a grade of “C-” or lower in a required section with its own advisor. Each student is required to meet with major course must repeat the course. The degree requirement for the advisor at least once each semester and is encouraged to seek out that student will be increased by the number of credits that must the advisor as soon as any difficulties begin to occur. be repeated. At the end of the Foundation year, when the student selects and Students who receive “C-” or lower grades in major courses are enters one of the major departments, the student is assigned to a fac- required to schedule an appointment with the chair of their depart- ulty member who teaches in that department. This faculty member ment during the first week of classes of the semester immediately serves as that student’s advisor for the next three years. Each student following the semester in which the “C-” or lower grade was meets with his or her advisor at least once a semester to discuss the received. After advising with the chair, students must adjust their student’s academic program. schedule accordingly during the Drop/Add period. In addition, there are two formalized advising sessions: A student who receives more than one grade of “C-” or lower in 1. Second semester, freshman year: When students enter a major required major courses in a given semester will be reviewed by the department, the advisor meets in small groups (four to five students) Academic Review Committee and placed on academic censure, even to orient them to collegiate and departmental academic requirements if the student’s GPA is above 2.0. and standards, departmental expectations, elective options and An excessive number of grades of “C-” or lower in major course- opportunities, program strategies, two-year planning, and office work may result in dismissal. Students who are unable to achieve hours; minimum grades in major coursework are advised to speak with 2. Second semester, junior year: Individual meetings to review their advisor and consider transferring to another major.
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The Art Therapy and Education concentrations are special courses Book Arts Minor, Fine Arts Department of study that are offered in conjunction with the studio major pro- This minor emphasizes the development of skills related to grams. Interested students should refer to the program requirements designing and creating books, incorporating both type and imagery. of those concentrations. Instruction in image-making in multiples through printmaking Every student must have the approval of his or her department to processes, basic typesetting techniques, and introductory book- proceed to the next level of coursework. Advising is a shared respon- binding methods are studied. Fine Arts-Printmaking majors may not sibility between the department and the student. Each must remain declare a Book Arts minor. informed about the student’s progress toward graduation. Finally, the PR 201 Relief Monotype or 3.0 credits student’s petition to graduate must be approved by the department PR 204 Screenprinting - Etching advisor or chairperson in consultation with his/her faculty. PR 307 Book Arts: Concept and Structure 3.0 PR 326 Introduction to Offset Lithography 3.0 Minors/Concentrations PR 425 Book Production 3.0 The University offers minors and concentrations for students who PR 223 Bookbinding Methods 1.5 wish to focus on a specific discipline through organized electives. PR 224 Book Arts Structures 1.5 Please note that minors are offered by all three colleges at UArts. Please refer to the other college sections of this catalog for addi- Figurative Illustration Minor, Illustration Department tional information about offerings, eligibility, prerequisites, and The focus of this minor is on work with the figure in space. Old course requirements. You may also contact the departments directly master and traditional drawing and painting techniques are demon- for additional information. strated and utilized as the student concentrates on the development Students wishing to include a minor as part of their undergraduate of skills related to figurative drawing and painting. Illustration program should be advised that it is not always possible to complete majors may not declare a Figurative Illustration minor. a minor, and there are no penalties for starting a minor and not com- pleting it. Students are not permitted to continue pursuit of the IL 200 A Pictorial Foundation 3.0 credits minor once all degree requirements have been met. All University IL 200 B Pictorial Foundation 3.0 minors are governed by the following guidelines: IL 202 A Figure Anatomy 3.0 1. Students must meet eligibility requirements, which may IL 202 B Figure Anatomy 3.0 include a satisfactory grade-point average, prerequisites, and depart- IL 303 Figure Utilization 3.0 mental portfolio review. 2. Intent to complete a minor is declared by filing the completed Film/Digital Video Minor, Media Arts Department Minor Declaration Form with the Office of the Registrar. The forms This minor provides training in film and video technology. are available in the Office of the Registrar. Students work on their own as well as in teams with other students. 3. A student may not major and minor in the same program, Animation and Film/Digital Video majors may not declare a except where indicated. Film/Digital Video minor. 4. Courses applied to the minor may only be applied towards elec- tive requirements. PF 210 A Introduction to Film I 3.0 credits 5. All minors require a minimum of 15 credits, with the exception PF 210 B Introduction to Film/Digital Video 3.0 of E-Music for Music majors. Generally, no substitutions to the PF 310 A Junior Cinema Production I 3.0 minor requirements are allowed. In exceptional situations where PF 320 Sinc-Sound for Narrative Film 3.0 substitutions are granted, they must have the approval of both the PF 322 Experiments in major and minor program advisors. Advanced Digital Video 3.0 6. The requirements of the minor must be completed prior to graduation. Narrative Video, Media Arts Department 7. A student pursuing a minor may be required to complete more The minor in Narrative Video explores digital video as a medium than the minimum number of credits required to complete the under- for storytelling. It introduces students to various aspects of video graduate degree in order to also complete the minor. production, including scriptwriting, storyboarding, editing, sound 8. Minors are available only to undergraduate students. design, directing, and producing. Students develop their skills as they advance from scene exercises through a short film to a final Animation Minor, Media Arts Department year-long project. This minor is open to all UArts majors, except This minor concentrates on the development of drawing skills that those in Film/Digital Video. As this minor is co-hosted by the embrace a sense of timing and movement. The program also College of Media and Communications, CMAC students should includes instruction in the basics of film and video technology. refer to the CMAC section of this catalog for additional regulations Film/Digital Video and Animation majors may not declare an regarding this minor. Animation Drawing minor. One of the following: PF 210 A Introduction to Film I 3.0 credits WM 219 Writing for Film 3.0 credits PF 212 A Introduction to Animation I 3.0 CM 295 Narrative Video PF 212 B Introduction to Animation II 3.0 Production Workshop 3.0 PF 312 A Junior Animation Workshop I 3.0 PF 410 A Senior Cinema Production I 3.0 PF 312 B Junior Animation Workshop II 3.0 PF 410 B Senior Cinema Production II 3.0
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One of the following: Digital Fine Arts Concentration, Electronic Media CM 120 Sound Communication 3.0 Department PF 320 Sync-Sound for Narrative Film 3.0 This concentration is designed for students grounded in tradi- tional two- and three-dimensional art and design principles who Photography Minor, Media Arts Department wish to incorporate digital tools and technology to create highly per- The Photography minor stresses a fine-art approach to photography. sonalized artistic statements. While conceptually and procedurally It provides the basics of black-and-white as well as color photography digitally based, the digital fine arts concentration provides for phys- and digital imaging. The emphasis is placed on gaining experience in a ical output in two-, three- and four-dimensional realms as well as wide range of pictorial photographic applications. Once a student has combined formats. Working closely with advisors, the student mastered basic photographic technique, materials and processes that selects 15 credits from categories I and II, with a six-credit min- are used to manipulate photographic imagery are explored. Creativity imum in each category. and personal expression are emphasized in all of these courses. Photography majors may not declare a Photography minor. I. Imaging, Interactivity and Sound Options: EM 210 Digital Multimedia 3.0 credits PF 211 A Introduction to Photography I or 3.0 credits PF 216 Computer Animation 3.0 PF 209 Photography for Illustrators PF 315 Digital Photo Workshop 3.0 PF 211 B Introduction to Photography II 3.0 MU 149 A Aural Concepts 3.0 PF 217 Color Concepts 3.0 MU 415 A Introduction to MIDI 3.0 PF 311 A Junior Photography Workshop 3.0 PF 218 Creative Sound 3.0 PF 315 Digital Photography Workshop 3.0 II. Digital Expression and Output Alternatives: Studio Photography Minor, Media Arts Department PR 412 Advanced Printmaking Media: This minor is designed to give the student mastery of the full Digital Applications 3.0 credits range of camera formats from a 35mm small format up to a 4x5 PR 425 Book Production 3.0 studio view camera. Technical training covers electronic strobe and PF 322 Media Technology 3.0 tungsten studio lighting, as well as color transparency film and con- ID 425 Advanced Computer-Aided Design 1.5 ventional black-and-white, and color photographic print materials and techniques. Advanced-level classes concentrate on design and Art Education Pre-Certification Concentration, Art creative approaches to staged and directed shooting. Photography Education Department majors may not declare a Studio Photography minor. This concentration is designed to be taken in conjunction with a regular studio major in the CAD BFA program. In addition to GD 310 Photographics or meeting the requirements of a major studio department, students PF 315 Digital Photography Workshop or take courses in the Art Education Department, plus prescribed PF 211 B Photography II 3.0 credits courses in liberal arts, photography, electronic media, and other PF 211 A Introduction to Photography or 3.0 studio areas. Please see the Art Education program description for PF 209 Photography for Illustrators additional information, requirements, and regulations. PF 217 Color Concepts 3.0 PF 313 A Basic Photography Studio I 3.0 Art Therapy Concentration, Art Education/Art Therapy PF 313 B Basic Photography Studio II 3.0 Department While enrolled in one of the BFA programs in CAD, students may Typography Minor, Graphic Design Department also elect this concentration, which introduces them to the discipline The student learns the basic visual grammar of typography, incor- of art therapy on the undergraduate level. Students take four desig- porating this knowledge into information-based interpretations. nated courses in psychology and behavioral science, which can also Intermediate studies are concerned with the informational and edito- count toward the liberal arts requirements of their BFA program, and rial uses of typography, as well as multi-page formats. The advanced 15 credits of art therapy courses, which are considered as studio level develops a sophisticated expertise in solving complex mes- electives. Please see the Art Therapy program description for addi- sages through typographic expression. Graphic Design majors may tional information, requirements, and regulations. not declare a Typography minor. Internships GD 212 Typography Fundamentals 3.0 credits Crafts, Fine Arts, Media Arts, Illustration, and Design sponsor an EM 201 Electronic Media/Production I 1.5 * internship course open to all CAD students regardless of their EM 202 Electronic Media/Production II 1.5 ** majors. Internships are voluntary and valuable. They reinforce and GD 306 A Typography Emphasis 3.0 * expand classroom theory and practice and allow the student to test GD 306 B Typography Emphasis 3.0 ** possible career choices and get a feel for the workplace. Students GD 426 Advanced Typography 3.0 applying for an internship must meet the following eligibility requirements: junior or senior level in a BS or BFA program, a 2.5 * It is recommended that these two courses be taken concurrently, cumulative grade-point average and be registered for no more than when possible. 18 credits, including those from the Internship during the semester. ** It is recommended that these two courses be taken concur- No more than six Internship credits may be credited toward a BS or rently, when possible. BFA degree.
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Each participating department has an Internship Faculty Advisor Maine College of Art who is responsible for coordinating the internships, placing students Maryland Institute, College of Art with workplace sponsors, advising students on course requirements, Massachusetts College of Art and deciding on the final pass/fail grades. Memphis College of Art Students who are interested in pursuing an internship may obtain Milwaukee Institute of Art and Design Internship information from their faculty advisor, the Career Minneapolis College of Art and Design Services Office, or the Dean’s Office in CAD. Students sign up for Montserrat College of Art internships during the registration process. The internship course is Moore College of Art and Design graded on a pass/fail basis and carries three academic credits. For Oregon College of Art and Craft further information please see the Internship section of the Otis College of Art and Design Academic Policies and Procedures section of this catalog, and the Pacific Northwest College of Art course descriptions in the back of this catalog. Parsons School of Design Pennsylvania Academy of the Fine Arts Foreign and Summer Study Programs Rhode Island School of Design Foreign and summer studies are available through a number of Ringling School of Art and Design programs hosted by other institutions. Interested students should San Francisco Art Institute meet with the chair of their major department to discuss the appro- School of the Art Institute of Chicago priate program, timing, and feasibility of off-campus study. Those School of the Museum of Fine Arts, who choose to participate should contact the Registrar and Financial Boston Aid Office for advising on transfer of credit and financing. AICAD International Affiliates Alberta College of Art and Design Cooperative Program with Burren College of Art Philadelphia University Emily Carr Institute of Art and Design An agreement between The University of the Arts and Nova Scotia College of Art and Design Philadelphia University (formerly Philadelphia College of Textiles Ontario College of Art and Design and Science) permits a limited number of students in each institu- tion to register for a maximum of three undergraduate credits per Students apply through their home institutions, which are respon- semester at the sister institution without the payment of additional sible for the selection of participants. For further information, tuition. contact the Office of the Dean, 215-717-6120. Students are limited to a total of six 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. 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 Art Institute of Boston Art Institute of Southern California Atlanta College of Art California College of Arts and Crafts California Institute of the Arts College for Creative Studies Cleveland Institute of Art Columbus College of Art and Design Cooper Union School of Art Corcoran School of Art Kansas City Art Institute Lyme Academy of Fine Arts
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Midyear Admission Lab in addition to their scheduled class Foundation In addition to the typical September start time. Program date, students may also enter midyear and The full-time freshman student is typi- begin the Foundation Program in January. cally scheduled for 16.5 credits each The department schedules first-semester semester, usually as follows: Diane Pepe core courses during the spring semester, and [email protected] a seven-week, nine-credit, intensive second Foundation Credits Mark Campbell semester between mid-May and the end of Fall * [email protected] June. Midyear admits who successfully Co-Chairpersons complete the two-semester Foundation FP 110 Drawing 3.0 215-717-6210 Program between January and June can FP 120 2-D Design 3.0 enter their major program of study in the FP 130 3-D Design 3.0 The Foundation program in the College of fall of the same calendar year in which they Electives 1.5 Art and Design provides incoming freshmen entered the program. LA CR 101 First Year Writing I 3.0 with a year devoted to a basic understanding HU 103 A Intro. to Modernism I 3.0 of principles and concepts in the visual arts. Facilities Fall Total 16.5 During the first semester, each student is a In addition to the numerous multipurpose member of a Foundation section and takes Spring ** studios used by Foundation students for three co-requisite courses: Two-Dimensional Choose any three courses:*** their regular class activities, the Foundation Design, Three-Dimensional Design, and FP 111 Drawing 3.0 program provides other facilities to support Drawing. During the second semester, stu- FP 121 2-D Design 3.0 and enrich studio projects. dents select a minimum of nine credits FP 131 3-D Design 3.0 The Foundation Department has a Mac- (three co-requisite courses) from the four FP 140 Time and Motion 3.0 based digital media lab and a compliment of courses offered by Foundation: Two- Electives 1.5 analog and digital video cameras. This Dimensional Design, Three-Dimensional LA CR 102 First Year Writing II 3.0 facility is used by all classes and can be Design, Drawing, and Time and Motion. HU 103 B Intro. to Modernism II 3.0 accessed by students to execute projects in Each class meets for three hours, twice a Two-Dimensional Design, Three- Spring Total 16.5 week. Dimensional Design, and Time Motion. Each section of students is taught by a Freshman Year Total 33.0 The Foundation Shop is used for all team of faculty members who are profes- Three-Dimensional Design, and Time and sionals in their various fields of art and Motion classes, and provides all Foundation * Students entering the Foundation program design; many hold the ranks of Professor students with the opportunity to work with a through Midyear Admission will enroll in these and Associate Professor. In Foundation courses for the spring semester. diversity of materials such as wood, metal, courses, faculty members stress not only the ** Students entering the Foundation program plastic, and stone. The Foundation Shop independent qualities of a discipline, but through Midyear Admission will enroll in these houses a wide range of power equipment, also its interdependent character. Through courses for the Summer I semester. including band saws, scroll saws, sanders, these basic studies and their interactions, *** Under certain circumstances, students may table saws, chop saws and other power students discover the underlying values and take all four second-semester Foundation courses. tools. The Shop is monitored by a full-time principles important to all visual arts. Shop Supervisor and is open from 8 a.m. to Classroom work is enriched by home 4 p.m. Monday through Friday. assignments, critiques and reviews, guest The Nature Lab (the Visual Resource artists, films, slides, and class trips. One fac- Center) contains an extensive selection of ulty member from each section’s team is natural and man-made objects that serve as designated as the advisor to that section. sources for research that enhances and com- Students meet individually with the advisor plements the educational experience. The to discuss concerns, the registration process, Nature Lab is used frequently by all and their choice of major. Drawing classes. It is also well utilized by The student chooses an additional course Three-Dimensional and Two-Dimensional offered by the major studio departments Design classes. Some of the many objects in each semester. These elective courses are our collection include rocks, minerals, designed to acquaint the student with the animal skeletons such as birds, cats, and tur- practices of the major studio areas. Students tles, human skeletons and skulls, plant also register for two Liberal Arts courses in forms, seashells, sea horses, coral, horse- each semester, as required by the University shoe crabs, taxidermy reptiles, bats, frogs, core. and more. Included in our collection is a “digital microscopy” station, enabling stu- dents to work directly from microscopic specimens to examine and record visual information through digital still and video clips. Students are invited to use the Nature
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Foundation Faculty Gerald Herdman Foundation Professors Associate Professor Emeritus Lisa Baird Certificate, Cleveland Institute of Art Senior Lecturer MFA, University of Pennsylvania Edna Andrade BA,Bowdon College Robert McGovern BFA, San Francisco Art Institute Steven Jaffe Richard Stetser MFA, Maryland Institute College of Art Associate Professor BFA, Philadelphia College of Art David V. Berger MFA, Tyler School of Art, Senior Lecturer Temple University BFA, The University of the Arts MFA, Pennsylvania Academy of the Elsa Johnson Fine Arts Professor BFA, Cooper Union Lowell Boston MFA, University of Pennsylvania Adjunct Assistant Professor BFA, The University of the Arts Niles Lewandowski MFA, California Institute of the Arts Associate Professor BFA, Maryland Institute College of Art Bill Brown MFA, University of Pennsylvania Senior Lecturer BA,Temple University Larry Mitnick MFA, Washington University Associate Professor BArch, Cooper Union Mark Campbell MArch, Harvard University Associate Professor BFA, Philadelphia College of Art Diane Pepe MFA, Mills College Adjunct Associate Professor BFA, Carnegie Mellon University Charles Cooper MFA, University of New Mexico Senior Lecturer BFA, Philadelphia College of Art Boris Putterman MFA, Yale University Associate Professor Diploma, Cooper Union School of Art Matthew Courtney BFA, Philadelphia College of Art Senior Lecturer MFA, Indiana University BS, Philadelphia College of Art MFA, Kent State University Leo Robinson Master Lecturer Larry Donahue BA, Howard University Adjunct Associate Professor MFA, Cranbrook Academy of Art BFA, Philadelphia College of Art MA, The University of the Arts Michael Rossman Professor William Gilbert BID, MFA, Pratt Institute Senior Lecturer BFA, Rhode Island School of Design Karen Saler MFA, Tyler School of Art, Associate Professor Temple University BFA, Philadelphia College of Art MFA, Maryland Institute College of Art Maddy Gold Senior Lecturer Mark Shaver BFA, Philadelphia College of Art Senior Lecturer MFA, Pratt Institute BFA, Virginia Commonwealth University MFA, University of Georgia Michael Grothusen Assistant Professor BFA, University of Kansas MFA, Tyler School of Art, Temple University
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William Daley Crafts Professor Emeritus Rod McCormick BA, Massachusetts College of Art Professor James Makins MA, Columbia Teachers College BFA, Tyler School of Art, [email protected] Temple University Chairperson Christopher Darway MFA, Rhode Island School of Design 215-717-6100 Senior Lecturer BFA, Philadelphia College of Art Pam Pawl The Crafts Department seeks to develop Lecturer artists of originality and resourcefulness Larry Donahue BS, Philadelphia College of Textiles who can excel in the most competitive pro- Adjunct Associate Professor and Science fessional environment. Studio experience is BFA, Philadelphia College of Art provided in four major craft areas: ceramics, MA, The University of the Arts Judith Schaechter fibers, metals, and wood. There are also Adjunct Professor offerings in glass and plaster to complement Zachary Duncan-Tessmer BFA, Rhode Island School of Design the curriculum. Lecturer Each crafts area offers a balanced con- BFA, Ohio State University Anne Schaefer centration in both the technical and MFA, Cranbrook Academy of Art Lecturer aesthetic aspects of the medium. While BFA, Washington University practical training and specialized skills are Rachel Fuld necessary for creative ability, the conceptual Lecturer Warren Seelig and expressive evolution of each student is BA,Oberlin College Distinguished Visiting Professor the essential focus of the department. An BS, Philadelphia College of Textiles ongoing study of the contemporary crafts James Harmon and Science movement is seen as an integral element for Master Lecturer MFA, Cranbrook Academy of Art those involved in the program. The range of BFA, Rhode Island School of Design faculty in each area provides the student MFA, The University of Illinois Patricia Siembora with exposure to a diversity of professional Lecturer perspective and experience. Gabrielle Kantor BFA, MAT, The University of the Arts Through an incisive and rigorous cur- Lecturer riculum, the department prepares students BFA, The University of the Arts Jessica Smith for professional involvement in their craft. MFA, Cranbrook Academy of Art Adjunct Assistant Professor Upon graduation, students elect to BFA, University of Washington become independent artists, teachers, or Alec Karros MFA, University of Kansas designers, or find employment in industry. Visiting Assistant Professor Individuals often combine these occupa- BFA, Philadelphia College of Art Mary Smull tions in order to meet their individual needs MFA, Rhode Island School of Design Lecturer and goals. BFA, The University of the Arts Wook Kim Crafts Faculty Lecturer Lola Brooks Spier BFA, Rhode Island School of Design Lecturer MFA, Cranbrook Academy of Art BFA, State University of New York Karen Breeze at New Paltz Lecturer Lucartha Kohler BFA, The University of the Arts Senior Lecturer Lizbeth Stewart Moore College of Art Associate Professor Sharon Church Carnegie Mellon University BFA, Moore College of Art Professor BS, Skidmore College Jack Larimore Roy Superior MFA, School for American Craftsmen, Adjunct Associate Professor Professor Rochester Institute of Technology BS, Michigan State University BFA, Pratt Institute MFA, Yale University Linda Cordell Mi-Kyoung Lee Lecturer Assistant Professor Walter Zimmerman BFA, Alfred University BFA, Dong-A University, Pusan, Korea Assistant Professor MFA, Louisiana State University MFA, The University of the Arts BA, Pennsylvania State University MFA, Cranbrook Academy of Art Certification in Art Therapy Maegan Crowley MFA, Rochester Institute of Technology Lecturer James Makins BFA, The University of the Arts Professor MFA, Cranbrook Academy of Art BFA, Philadelphia College of Art MFA, Cranbrook Academy of Art The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 39 CAD 04 8/24/04 10:19 PM Page 40
Crafts Media-Specific Course Bachelor of Fine Arts 123 credits Offerings:
CR 211 A/B Introduction to Throwing Foundation Credits Junior Credits CR 212 A/B Introduction to Handbuilding Fall Fall CR 221 A Introduction to Fibers FP 110 Drawing 3.0 CR300 A Projects II 3.0 and Mixed Media FP 120 2-D Design 3.0 CR XXX Media-Specific Course 3.0 CR 221 B Introduction to Color and the Loom FP 130 3-D Design 3.0 CR XXX Media-Specific Course 3.0 CR 222 Constructed Surface Electives 1.5 (300 level/advanced) CR 227 Experimental Costume Design LA CR 101 First Year Writing I 3.0 Electives 3.0 CR 231 A/B Introduction to Glassblowing HU 103 A Intro. to Modernism I 3.0 HU 253 History of Crafts 3.0 CR 232 Stained Glass Fall Total 16.5 Fall Total 15.0 CR 241 A Body Adornment/Introduction Spring Spring to Jewelry Choose any three courses: CR300 B Projects II 3.0 CR 241 B Introduction to Jewelry FP 111 Drawing 3.0 CR XXX Media-Specific Course 3.0 CR 242 Introduction to Metalsmithing FP 121 2-D Design 3.0 (300 level/advanced) CR 243 Jewelry Rendering and Design FP 131 3-D Design 3.0 Electives 3.0 CR 245 Art for the Body FP 140 Time and Motion 3.0 HU XXX Liberal Arts 6.0 CR 249 Enameling Electives 1.5 Spring Total 15.0 CR 251 Introduction to Molding and Casting LA CR 102 First Year Writing II 3.0 CR 252 Plaster Workshop Junior Year Total 30.0 HU 103 B Intro. to Modernism II 3.0 CR 253 Ceramic Technology CR 255 Large-Scale Handbuilding Spring Total 16.5 Senior CR 256 Ceramics Freshman Year Total 33.0 Fall CR 261 A/B Introduction to Wood CR400 A Projects III 3.0 CR 277 Fabric Resists and Embellishment Sophomore CR XXX Media-Specific Course 3.0 CR 278 Fabric Printing Fall (300 level/advanced) CR 280 Introduction to Metal Casting CR200 A Projects I 3.0 Electives 3.0 CR 281 Introduction to Electroforming CR XXX Media-Specific Course 3.0 HU XXX Liberal Arts 6.0 CR 282 Metal Furniture CR XXX Media-Specific Course 3.0 Fall Total 15.0 CR 283 Small-Scale Steelworking HU 140 A Art History Survey I 3.0 Spring CR 285 Introduction to Furniture HU XXX Liberal Arts 3.0 CR400 B Projects III 3.0 CR 286 Wood Carving Fall Total 15.0 CR XXX Media-Specific Course 3.0 CR 287 Low-Tech Furniture Spring (300 level/advanced) CR 299 Selected Topics CR200 B Projects I 3.0 Electives 6.0 CR 322 A/B Advanced Fibers Mixed Media CR XXX Media-Specific Course 3.0 HU XXX Liberal Arts 3.0 CR 329 Advanced Textile Design Electives 3.0 Spring Total 15.0 CR 331 Advanced Glassblowing HU140 B Art History Survey II 3.0 CR 332 Advanced Fusing and Stained Glass Senior Year Total: 30.0 HU XXX Liberal Arts 3.0 CR 370 A/B Advanced Throwing Spring Total 15.0 CR 371 A/B Advanced Ceramics Electives must include at least nine studio credits CR 380 A/B Advanced Jewelry/Metals Sophomore Year Total 30.0 outside of the Crafts offerings. CR 381 A/B Advanced Metals CR 385 A/B Advanced Furniture Liberal Arts Distribution CR 386 A/B Advanced Wood Note all Liberal Arts courses are 3.0 credits. LA CR 101/B 3 cr. 3 cr. CR 999 Independent Study HU 103 A/B 3 cr. 3 cr. HU 140 A/B 3 cr. 3 cr. Literature 3 cr. Humanities 3 cr. Social Science 3 cr. 3 cr. Science/Math 3 cr. Lib. Arts Electives 3 cr. 3 cr. HU 253 History of Crafts 3 cr.
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Crafts Curriculum Dual Concentration Options It is possible to have a dual concentration The Crafts curriculum has been designed within the Crafts Department. If the student to give the student flexibility in his or her enters the sophomore year with an interest choice of media concentrations. Some stu- in two distinct media then, by taking the dents may enter the Crafts Department prerequisite of two courses at the 200 level knowing the specific medium in which they early on, in the sophomore and junior years, wish to concentrate. Other students may elect the student can continue at the advanced to divide their media-specific coursework level in these same two media during the between two areas of potential concentration. junior and senior years. Two three-credit Still others may want to pursue a mixed courses at the advanced level in each con- media approach to their Crafts education. All centration will fulfill the 12-credit are possible, but careful attention must be advanced-level requirement. paid to meeting departmental, college, and University requirements while pursuing per- Multiple Media sonal interests. Concentration Of the 42 credits required for a Crafts It is possible to take courses during the major, 18 of these credits are devoted to the sophomore and junior years in three or more core of Project Courses. The remaining 24 media. However, this will require the credits are to be taken elsewhere in the greatest vigilance on the part of the student Crafts Department. However, it is important to meet all the requirements for graduation. to note that 12 of those credits must be at Having sampled an array of introductory the advanced (300-400) level. courses, the student must then take an addi- tional introductory course in at least one Core Studio Projects medium in order to proceed to the advanced Courses level. To meet the advanced level require- Each semester all Crafts students take ment as a multiple media student, it will be Projects, a core studio course. These courses necessary to (a) take all 12 advanced credits provide aesthetic structure and involve dis- in one medium or (b) use studio elective cussion and investigation of broader Crafts credits to take advanced-level courses in issues, with critiques of the student’s work. additional media. Students then have the freedom to choose from a variety of technique-based courses, which aid in developing that aesthetic. Emphasis is placed on the interdependency of all the arts, with particular attention given to the unique contribution of Crafts ide- ology and practice. As a co-requisite for Projects, each student must be enrolled in at least one three-credit media-specific course in a major area of concentration: ceramics, fibers, jewelry, metalsmithing, and wood. These co-requisites must be at the appro- priate 200 or 300 level. Glass is currently offered as a department elective. Single Medium Concentration Students entering the department knowing the specific medium in which they wish to concentrate from sophomore through senior year take one three-credit media-specific course in that concentration each semester of the three-year journey through the department. Four media-spe- cific courses must be at the advanced level.
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Fine Arts Painting/Drawing Painting/Drawing Faculty Sharon Horvath [email protected] Eugene Baguskas Jeanne Jaffe Coordinator Associate Professor [email protected] 215-717-6495 BFA, Yale University Chairperson 215-717-6102 The Painting/Drawing major provides a Gerald Herdman firm basis for students to develop a profes- Associate Professor The Fine Arts Department provides stu- sional involvement with their work. A Certificate, Cleveland Institute of Art dents an opportunity to explore both the balance is sought between the acquisition MFA, University of Pennsylvania common and diverse nature of the Fine Arts of studio skills and the development of a traditions of Painting/Drawing, critical intelligence. Sharon Horvath Printmaking/Book Arts, and Sculpture. On Students are encouraged, through the Associate Professor the sophomore level, students are intro- rigor of studio activity, to understand the BFA, The Cooper Union duced to the media and concepts of all three breadth of art in both its traditional and con- MFA, Tyler School of Art, disciplines. In the junior year, students temporary forms, and to gain increasing Temple University choose a major from one of the above studio authority in their own work. areas to develop personal authority and Courses evolve from the study of basic Steven Jaffe commitment within the discipline. The working methods and concepts to the refine- Associate Professor senior year is focused on advanced studio ments of personal vision and aesthetic BFA, Philadelphia College of Art practice and performance in the major. judgment. In the final semester of the senior MFA, Tyler School of Art, Upper-level Fine Arts seminars and studio year, each student is required to complete a Temple University classes are designed to foster an apprecia- thesis project, which culminates in a formal tion of the shared purposes and goals of the presentation of a paper and an exhibition of David Kettner contemporary fine artist. a coordinated body of work. Professor In addition to the major programs, The faculty of practicing professional BFA, Cleveland Institute of Art the University offers a Digital Fine Arts artists represents a diversity of attitudes and MFA, Indiana University concentration. See the listing of minors ideals. Through the format of studio instruc- and concentrations for information tion, dialogue, and critique, they seek to Eileen Neff on requirements. instill in each student a habit of self-instruc- Adjunct Professor Having encountered a diversity of con- tion, which will serve far beyond the BA,Temple University cepts, attitudes, and media, from charcoal to program at the University. BFA, Philadelphia College of Art the computer, Fine Arts graduates find The Painting/Drawing Department pos- MFA, Tyler School of Art, career opportunities as professional, sesses its own gallery space where faculty, Temple University exhibiting artists, curators and gallery per- students, alumni, and invited artists have an sonnel, critics, mural and portrait painters, opportunity to exhibit their work. Gerald Nichols decorative artists, set designers, print- Studio activity is augmented by lectures, Professor makers, bookbinders, paper and book symposia, seminars, visiting artists, and Diploma, Cleveland Institute of Art conservators, graphic designers, commercial field trips to museums and galleries. MFA, University of Pennsylvania printers, mold-makers, commercial sculp- tors, cinematic prop makers, special effects Boris Putterman artists, and teachers at elementary, sec- Associate Professor ondary, and university levels. Diploma, Cooper Union School of Art BFA, Philadelphia College of Art MFA, Indiana University
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Painting/Drawing Bachelor of Fine Arts 123 credits
Foundation Credits Junior Credits Fall Fall FP 110 Drawing 3.0 PT 340 Color Studies 1.5 FP 120 2-D Design 3.0 FA 333 A Attitudes and Strategies 3.0 FP 130 3-D Design 3.0 PT 302 A Junior Painting 3.0 Electives 1.5 Electives 3.0 LA CR 101 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 Fall Total 16.5 Spring Spring PT 360 Junior Seminar 1.5 Choose any three courses: PT 334 Junior Drawing 3.0 FP 111 Drawing 3.0 PT 302 B Junior Painting 3.0 FP 121 2-D Design 3.0 HU XXX Liberal Arts 6.0 FP 131 3-D Design 3.0 Spring Total 13.5 FP 140 Time and Motion 3.0 Electives 1.5 Junior Year Total 30.0 LA CR 102 First Year Writing II 3.0 HU 103 B Intro. to Modernism II 3.0 Senior Spring Total 16.5 Fall PT 402 A Senior Painting 4.5 Freshman Year Total 33.0 FA 425 Drawing References 1.5 FA 460 Senior Fine Arts Seminar 1.5 Sophomore Electives 3.0 Fall HU XXX Liberal Arts 3.0 PT 202 A Sophomore Painting 3.0 Fall Total 13.5 FA 222 Drawing: Form and Space 3.0 Spring Choose one course from the following three*: PT 402 B Senior Painting 6.0 SC 201 Sculpture I 3.0 FA 426 Drawing References 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 16.5 HU XXX Liberal Arts 3.0 Senior Year Total: 30.0 Fall Total 15.0 Spring * Painting Majors must take one sculpture course PT 202 B Sophomore Painting 3.0 and one printmaking course. These will be counted Choose 3.0 credits from the following: as electives outside of the Painting offerings. FA234 Drawing Studies 1.5 Electives must include at least nine studio credits FA235 Media Techniques 1.5 outside the Painting offerings. FA 223 Intro. to Figure Modeling 3.0 FA 205 Concepts/Works on Paper 3.0 Liberal Arts Distribution Choose one course from the following three*: Note all Liberal Arts courses are 3.0 credits. PR 201 Relief/Monotype 3.0 LA CR 101/102 3 cr. 3 cr. HU 103 A/B 3 cr. 3 cr. PR 204 Screenprinting/Etching 3.0 HU 140 A/B 3 cr. 3 cr. SC 202 Sculpture I 3.0 Literature 3 cr. Humanities 3 cr. HU140 B Art History Survey II 3.0 Social Science 3 cr. 3 cr. HU XXX Liberal Arts 3.0 Science/Math 3 cr. Spring Total 15.0 Lib. Arts Electives 3 cr. 3 cr. Art History Elective 3 cr. Sophomore Year Total 30.0
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Printmaking/Book Arts Facilities Nathan Knobler Mary Phelan The Printmaking Department provides Professor Emeritus [email protected] extensive facilities for water-based screen- BFA, Syracuse University Coordinator printing, stone and plate lithography, relief, MA, Florida State University 215-717-6490 etching and non-silver photographic processes. The bookbinding room houses Hedi Kyle The Printmaking major bases its instruc- book presses, board shear, and a guillotine Adjunct Associate Professor tional program on the development and paper cutter. The letterpress studio contains Diploma, Werk-Kunstschule, Wiesbaden, realization of visual ideas through multiple three Vandercook presses for printing Germany image-making processes. The primary handset type and polymer plates with over objectives are to develop conceptual 100 fonts of varied type. The offset lithog- Peter Lister abilities and technical proficiencies, raphy press room features a Davidson 901 Senior Lecturer leading the student to acquire personal offset press used by the students for hands- Certificate, Pennsylvania Academy of imagery and professional competence in on experience. the Fine Arts printmaking media. Another important resource is the The Barnes Foundation, Philadelphia The department provides the expertise of Borowsky Center for Publication Arts, a faculty of professional artists to study tra- which is equipped with a Heidelberg KORS Mary Phelan ditional and contemporary methods. The offset press and a full darkroom for experi- Associate Professor major graphic media explored include relief mental and production printing of student, BS, The College of Saint Rose processes, etching (intaglio), lithography faculty, and visiting artist works. MA, University of Wisconsin-Madison stone, metal plate, and offset and water- Printmaking/Book Arts faculty and stu- based screenprinting, and non-silver dents have been committed to the testing Winnie Radolan photographic printmaking. Courses in book and integration of non-toxic printmaking Senior Lecturer and typographic design stimulate experi- processes and inks in the studios since the BS, Moore College of Art mentation in unifying the elements of paper, late 1970s. prints, typography, and bookbinding. Rosae Reeder Visiting artists, field trips, and guest lec- Printmaking/Book Arts Faculty Lecturer turers supplement the studio experience. BFA, The University at Buffalo, Using the city as an extended workshop, Carol Barton New York Print students attend seminars and museum Senior Lecturer MFA, The University of the Arts collections. The Print Study Seminar is held BFA, Washington University in the Print Room at the Philadelphia Anthony Rosati Museum of Art and furnishes a unique Denise Carbone Adjunct Associate Professor opportunity to study original prints from the Senior Lecturer BA, Rider College 15th through the 20th centuries. BFA, Glassboro State College MFA, Tyler School of Art, The main emphasis over the three-year MFA, The University of the Arts Temple University undergraduate period of study is on the evo- lution of students as artists who make Sandra Davis Laurel Schwass-Drew individualized demands upon the media. As Lecturer Lecturer with any study in the fine arts, the experi- BFA, The University of the Arts BFA, Philadelphia College of Art ence should be multidimensional, reflective MFA, The University of the Arts of a broad range of personal and profes- James Dupree sional involvement, and reinforced with Adjunct Assistant Professor Patricia M. Smith stimulation from related areas of interest, BFA, Columbus College of Art Assistant Professor including drawing, painting, digital arts, and Design BA, Immaculata College photography, graphic design, illustration, MFA, University of Pennsylvania MA, Philadelphia College of Art sculpture, and crafts. The undergraduate curriculum is enhanced James Green Lori Spencer by the graduate program in Book Arts/ Master Lecturer Adjunct Assistant Professor Printmaking. This two-year course of study of BFA, Oberlin College BFA, State University of New York, 60 credits culminates in a Master of Fine Arts M.Ph., Yale University Purchase Degree. The program provides the opportu- MLA, Columbia University MFA, The University of the Arts nity for the individual artist’s expression in limited edition bookworks. Undergraduate Lois M. Johnson Sarah Van Keuren students work alongside MFA candidates in Professor Adjunct Professor studios, workshops, and some major and elec- BS, University of North Dakota BA,Swarthmore College tive classes. (Students interested in the MFA MFA, University of Wisconsin-Madison MFA, University of Delaware degree in Book Arts/Printmaking should con- tact the Department of Printmaking or the Susan White Office of Admission.) Lecturer BFA, Moore College of Art MFA, The University of the Arts 44 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 CAD 04 8/24/04 10:19 PM Page 45
Printmaking/Book Arts Bachelor of Fine Arts 123 credits
Foundation Credits Junior Credits Fall Fall FP 110 Drawing 3.0 FA 333 A Attitudes and Strategies 3.0 FP 120 2-D Design 3.0 PR 300 Lithography 3.0 FP 130 3-D Design 3.0 PR 306 Print Study Seminar I 1.5 Electives 1.5 Electives 3.0 LA CR 101 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 Fall Total 16.5 Spring Spring PR 333 Attitudes and Strategies 3.0 Choose any three courses: PR 301 Printmaking Workshop 1.5 FP 111 Drawing 3.0 PR 307 Book Arts: FP 121 2-D Design 3.0 Concepts and Structure 3.0 FP 131 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 16.5 LA CR 102 First Year Writing II 3.0 Junior Year Total 33.0 HU 103 B Intro. to Modernism II 3.0 Spring Total 16.5 Senior Freshman Year Total 33.0 Fall PR 400 Advanced Workshop 3.0 Sophomore PR 406 Print Study Seminar II 1.5 Fall Electives 6.0 FA 222 Drawing: Form and Space 3.0 HU XXX Liberal Arts 3.0 PR 201 Relief/Monotype 3.0 Fall Total 13.5 PT 202 Sophomore Painting 3.0 Spring HU 140 A Art History Survey I 3.0 PR 420 Thesis Workshop 3.0 HU XXX Liberal Arts 3.0 FA 460 Senior Fine Arts Seminar 1.5 Fall Total 15.0 Electives 6.0 Spring HU XXX Liberal Arts 3.0 PR 204 Screen Printing/Etching 3.0 Spring Total 13.5 SC 201 Sculpture I 3.0 Senior Year Total: 27.0 Choose one course from the following three: FA 222 Drawing: Form and Space 3.0 Electives must include at least nine studio credits FA 223 Intro. to Figure Modeling 3.0 outside the Printmaking/Book Arts offerings. FA 205 Concepts/Works on Paper 3.0 HU 140 B Art History Survey II 3.0 Liberal Arts Distribution HU XXX Liberal Arts 3.0 Note all Liberal Arts courses are 3.0 credits. LA CR 101/102 3 cr. 3 cr. Spring Total 15.0 HU 103 A/B 3 cr. 3 cr. Sophomore Year Total 30.0 HU 140 A/B 3 cr. 3 cr. Literature 3 cr. Humanities 3 cr. Social Science 3 cr. 3 cr. Science/Math 3 cr. Lib. Arts Electives 3 cr. 3 cr. Art History Elective 3 cr.
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Sculpture Sculpture Faculty Jeanne Jaffe [email protected] Harvey Citron Coordinator Adjunct Professor 215-717-6102 BFAEd, Pratt Institute Diploma, Academy of Fine Arts, Rome The field of sculpture today is open and wide-ranging. Sculptors now create works Laura Frazure that range from coin-sized medallic art to Senior Lecturer pieces that incorporate actual craters and BFA, The University of the Arts other natural landforms. While some sculp- tors work with traditional materials such as Jeanne Jaffe clay and stone, others incorporate light, Professor sound, and video into their work. Figurative BFA, Tyler School of Art, sculpture today can be either traditional Temple University modeled forms, or robotic forms that actu- MFA, New York State College ally move. The expansive nature of of Ceramics at Alfred University sculpture provides a challenge to institu- tions that educate artists, and we take that Elsa Johnson challenge seriously. Professor The Sculpture Department’s aim is to BFA, Cooper Union provide a sound, balanced exposure to all MFA, University of Pennsylvania the formal, technical, and intellectual aspects of art, in preparation for the stu- Mashiko Nakashima dent’s continued professional growth Master Lecturer beyond the undergraduate years. To this Brooklyn Museum School of Art end, our curriculum is structured to provide formal and technical instruction, while at Steve Nocella the same time allowing for individual cre- Senior Lecturer ative development. Seminar classes in the BFA, Philadelphia College of Art junior and senior years engage the student MFA, University of Pennsylvania in discussions on sculpture theory, philos- ophy, and critical thought. Barry Parker Comprehensive facilities include fully Professor equipped wood and metal shops, a foundry, BFA, Eastern Michigan University a plaster shop and figure modeling studio, MFA, University of Massachusetts as well as an open studio for general use. Juniors and seniors have individual studios. John Phillips A full-time shop supervisor provides tech- Master Lecturer nical assistance and supervision. Faculty BA,Temple University members are all practicing professional sculptors, representing a wide variety of Jennie Shanker styles and interests. Classroom instruction is Adjunct Assistant Professor supplemented by visiting artists, gallery and BFA, Philadelphia College of Art museum visits in Philadelphia, and field MFA, Yale University trips to New York and Washington, D.C. Our graduating students are recognized nationally for their creativity and diversity, and for their preparation for the next steps in their professional careers.
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Sculpture Bachelor of Fine Arts 123 credits
Liberal Arts Distribution Foundation Credits Junior Credits Note all Liberal Arts courses are 3.0 credits. Fall Fall LA CR 101/102 3 cr. 3 cr. FP 110 Drawing 3.0 FA 333 A Attitudes and Strategies 3.0 HU 103 A/B 3 cr. 3 cr. HU 140 A/B 3 cr. 3 cr. FP 120 2-D Design 3.0 SC 251 Sculpture Since 1945 1.5 Literature 3 cr. FP 130 3-D Design 3.0 Sculpture Elective* 1.5 Humanities 3 cr. Electives 1.5 Electives 3.0 Social Science 3 cr. 3 cr. LA CR 101 First Year Writing I 3.0 HU XXX Liberal Arts 6.0 Science/Math 3 cr. Lib. Arts Electives 3 cr. 3 cr. HU 103 A Intro. to Modernism I 3.0 Fall Total 15.0 Art History Elective 3 cr. Fall Total 16.5 Spring Spring SC 333 Attitudes and Strategies 3.0 Choose any three courses: Sculpture Elective* 3.0 FP 111 Drawing 3.0 Electives 3.0 FP 121 2-D Design 3.0 HU XXX Liberal Arts 6.0 FP 131 3-D Design 3.0 Spring Total 15.0 FP 140 Time and Motion 3.0 Junior Year Total 30.0 Electives 1.5 LA CR 102 First Year Writing II 3.0 Senior HU 103 B Intro. to Modernism II 3.0 Fall Spring 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 three: 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 three: Choose from: PT 202 B Sophomore Painting 3.0 SC 220 A/B Molding and Casting PR 201 Relief/Monotype 3.0 SC 241 Intro. to Sculpture Projects PR 204 Screen Printing/Etching 3.0 SC 242 Intro. 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 three: SC 321 Carving FA 222 Drawing: Form and Space 3.0 SC 421 Metals FA 223 Intro. to Figure Modeling 3.0 SC 431 Advanced Figure Modeling FA 205 Concepts/Works on Paper 3.0 SC 431 B Advanced Figure Modeling Spring Total 15.0 SC 441 Advanced Projects SC 442 Advanced Projects Sophomore Year Total 30.0 SC 443 Projects in Figure Modeling Electives must include at least nine studio credits outside the Sculpture offerings.
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Graphic Design Faculty Peter Kery Graphic Design Master Lecturer Hans Allemann BFA, Philadelphia College of Art Debra Drodvillo Adjunct Professor [email protected] Swiss National Diploma, School of Deborah McSorley-Kery Chairperson Design, Basel, Switzerland Senior Lecturer 215-717-6225 BFA, The University of the Arts Jan Almquist Graphic designers play a key role in our Adjunct Professor Chris Myers information-based society. They give form BFA, Philadelphia College of Art Associate Professor to the interface between users and our cul- BA, University of Toledo ture of rapidly proliferating products, Laurence Bach MFA, Yale University places, processes, information, and services. Professor The Graphic Design Department, since its BFA, Philadelphia College of Art Kristie Williams beginning, has sought to give students the Certificate, Graduate Study, School of Associate Professor basis to solve problems in communication in Design, Basel, Switzerland BS, University of Cincinnati a way that merges concerns for fidelity to MFA, Yale University content, for the visual aesthetic, and for Jennifer Bernstein Certificate, Graduate Study, School of engaging the reader-viewer’s rapport. Senior Lecturer Design, Basel, Switzerland The faculty and students are engaged in a BA, Brown University collaborative process of exploring the MFA, Yale University Chris Zelinsky “New” as it emerges. For graphic design, Associate Professor the New has meant specifically the transfor- John Connolly Swiss National Diploma, School of mation of media, which affects how Senior Lecturer Design, Basel, Switzerland messages are created and transmitted, and BFA, The University of the Arts how the intersection of design, media, and MFA, Yale University culture are understood. Throughout the three years of major Debra Drodvillo concentration, problems in graphic commu- Associate Professor nication are combined with exploratory and BFA, Cooper Union experimental studies in drawing, color, pho- MFA, Yale University tography, typography, and emerging technologies. The curriculum is supple- Inge Druckrey mented by special lecture programs; Professor workshops with invited design firms; and AB, University of Basel, on-site studio seminars in selected design Basel, Switzerland offices and studios, paper and printing Swiss National Diploma, School of plants, museums and libraries, and with film Design, Basel, Switzerland and computer graphic producers. Opportunities for additional study in fine Richard Felton arts, illustration, photography, animation, Professor filmmaking, and emerging technologies are BS in Design, University of Cincinnati available. MFA, Yale University Designers work across several media and venuesÐfrom handmade images to digital Dorothy Funderwhite images, still images to time-based commu- Senior Lecturer nications, and print-oriented problems to BFA, The University of the Arts communications in cyberspace. Certificate, Graduate Study, School of With successful completion of the pro- Design, Basel, Switzerland gram, students are prepared for entry-level positions as graphic designers with design Marie Greco studios, publishers, corporations, nonprofit Senior Lecturer institutions, governmental agencies, archi- BFA, Philadelphia College of Art tects and planners, network or cable broadcasters, film and video producers, or Kenneth Hiebert advertising agencies. Professor Emeritus The faculty are practicing professionals BA, Bethel College with distinguished records of accomplish- Swiss National Diploma, School of ment, sensitive and responsive to the Design, Basel, Switzerland changes in the field of design, yet not lim- ited by its current practices.
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Graphic Design Bachelor of Fine Arts 123 credits
Foundation Credits Junior Credits Fall Fall FP 110 Drawing 3.0 GD 306 A Typography Emphasis 3.0 FP 120 2-D Design 3.0 EM 202 Electronic Media/ FP 130 3-D Design 3.0 Production II 1.5 Electives 1.5 GD 311 A Communications Studio 3.0 LA CR 101 First Year Writing I 3.0 Electives 1.5 HU 103 A Intro. to Modernism I 3.0 HU 254 History of Comm. Design 3.0 Fall Total 16.5 HU XXX Liberal Arts 3.0 Spring Fall Total 15.0 Choose any three courses: Spring FP 111 Drawing 3.0 GD 306 B Typography Emphasis 3.0 FP 121 2-D Design 3.0 EM 203 Digital Interactive Techniques 1.5 FP 131 3-D Design 3.0 GD 311 B Communications Studio 3.0 FP 140 Time and Motion 3.0 Electives 1.5 Electives 1.5 HU XXX Liberal Arts 6.0 LA CR 102 First Year Writing II 3.0 Spring Total 15.0 HU 103 B Intro. to Modernism II 3.0 Junior Year Total 30.0 Spring Total 16.5 Freshman Year Total 33.0 Senior Fall Sophomore GD 411 A Design Studio 3.0 Fall GD 412 A Problem-Solving 3.0 GD 210 Letterform Design 3.0 EM 204 Advanced Digital GD 211 A Descriptive Drawing 3.0 Interactive Technique 1.5 GD 213 A Design Systems 3.0 Electives 1.5 Electives 3.0 HU XXX Liberal Arts 6.0 HU 140 A Art History Survey I 3.0 Fall Total 15.0 Fall Total 15.0 Spring Spring GD 411 B Design Studio 3.0 GD 212 Typography Fundamentals 3.0 GD 412 B Problem-Solving 3.0 EM 201 Electronic Media/ Electives 3.0 Production I 1.5 HU XXX Liberal Arts 6.0 GD 211 B Descriptive Drawing 3.0 Spring Total 15.0 GD 213 B Design Systems 3.0 Senior Year Total: 30.0 Electives 1.5 HU 140 B Art History Survey II 3.0 Spring Total 15.0 Electives must include nine studio credits taken outside the Graphic Design offerings. Sophomore Year Total 30.0 Liberal Arts Distribution Note all Liberal Arts courses are 3.0 credits. LA CR 101/102 3 cr. 3 cr. HU 103 A/B 3 cr. 3 cr. HU 140 A/B 3 cr. 3 cr. Literature 3 cr. Humanities 3 cr. Social Science 3 cr. 3 cr. Science/Math 3 cr. Lib. Arts Electives 3 cr. 3 cr. HU 254 History of Comm. 3 cr.
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Illustration Faculty Earl Lewis Illustration Adjunct Associate Professor Jonathan Barkat BFA, MFA, Tyler School of Art, Mark Tocchet Senior Lecturer Temple University [email protected] BFA, The University of the Arts Chairperson William Masi 215-717-6240 Megan Berkheiser Senior Lecturer Senior Lecturer BFA, The University of the Arts Illustrators give visual substance to BFA, The University of the Arts thoughts, stories, and ideas. The Illustration MFA, School of Visual Arts Tim O’Brien Department prepares its students for entry Senior Lecturer into the fields of book and periodical pub- Jay Bevenour BFA, Paier College of Art lishing, promotion, advertising, design, and Lecturer specialty fields. BA,Tyler School of Art, Phyllis Purves-Smith Illustrators must call upon a broad range Temple University Associate Professor of traditional and up-to-date competencies BFA, Cooper Union to respond to today’s visual problems. As Brian Biggs MFA, Tyler School of Art, visual communicators, illustrators need to Assistant Professor Temple University be open-minded, eclectic, flexible, and BFA, Parsons School of Design imaginative. The illustrator’s solution David Rankin, III should be appropriate, intelligent, expres- Robert Byrd Senior Lecturer sive, and visually engaging. Senior Lecturer BFA, The University of the Arts In order to prepare for a career in this BFA, The University of the Arts competitive field, The University of the Arts Roger Roth Illustration student develops skills that Russell Farrell Senior Lecturer encompass two-dimensional media: from Senior Lecturer BFA, Pratt Institute painting and drawing to photography, BFA, The University of the Arts design, production processes, and emerging Robert Stein opportunities in digital image-making. Renee Foulks Professor Students may concentrate on a studio, a dig- Master Lecturer BFA, Massachusetts College of Art ital, or a pictorially oriented illustration BFA, Moore College of Art MFA, Tyler School of Art, curriculum. These skills are nurtured within MFA, Tyler School of Art, Temple University a stimulating cultural climate provided by Temple University the resources of the faculty, visiting profes- Stephen Tarantal sionals, a gallery exhibition program, the Ralph Giguere Professor University, and the city at large. Each stu- Adjunct Associate Professor BFA, Cooper Union dent progresses from general competencies BFA, The University of the Arts MFA, Tyler School of Art, to a personal viewpoint, clarified career Temple University goals, a professional attitude, and a finished Linda Gist portfolio. Senior Lecturer Mark Tocchet BFA, The University of the Arts Associate Professor BFA, School of Visual Arts Al Gury Master Lecturer BA, St. Louis University
Sabin Howard Master Lecturer BFA, Philadelphia College of Art MFA, New York Academy of Art
Paul King Adjunct Associate Professor Certificate, Pennsylvania Academy of Fine Art BFA, Philadelphia College of Art MFA, Boston University
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Illustration Bachelor of Fine Arts 123 credits
Foundation Credits Junior Credits Fall Fall Figure, Digital or Studio Track FP 110 Drawing 3.0 IL 300 A Illustration Methods 3.0 FP 120 2-D Design 3.0 IL 301 Design Methods 3.0 FP 130 3-D Design 3.0 IL 302 Figurative Communication 3.0 Electives 1.5 Electives 3.0 LA CR 101 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 Fall Total 16.5 Spring Spring IL 300 B Illustration Methods 3.0 Choose any three courses: IL 303 Figure Utilization 3.0 FP 111 Drawing 3.0 IL 304 Sequential Format* or 3.0 FP 121 2-D Design 3.0 Electives FP 131 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 LA CR 102 First Year Writing II 3.0 HU 103 B Intro. to Modernism II 3.0 Senior Spring Total 16.5 Fall Figure, Digital or Studio Track 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 Electives must include at least nine studio credits HU XXX Liberal Arts 3.0 outside the Illustration offerings. * Sequential Format is only required of Spring Total 15.0 Design/Studio Track Students Sophomore Year Total 30.0 Liberal Arts Distribution Note all Liberal Arts courses are 3.0 credits. LA CR 101/102 3 cr. 3 cr. HU 103 A/B 3 cr. 3 cr. HU 140 A/B 3 cr. 3 cr. Literature 3 cr. Humanities 3 cr. Social Science 3 cr. 3 cr. Science/Math 3 cr. Lib. Arts Electives 3 cr. 3 cr. Art History Elective 3 cr.
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the final semester, the instructional focus Industrial Design Faculty Industrial Design shifts to career planning, portfolio prepara- tion, and the development of information- Rama Chorpash Jonas Milder gathering and business communication Assistant Professor [email protected] skills to better prepare the student to enter BSID, California College of Chairperson the profession. Arts and Crafts 215-717-6250 Due to the wide scope and creative, yet practical character of an Industrial Design David Comberg The Industrial Design Department pro- education, many career opportunities await Adjunct Associate Professor vides a professional education for those the graduate with consulting design firms, BFA, Massachusetts College of Art wishing to bring order, utility, aesthetics, corporate design staffs, manufacturing facil- MFA, Yale School of Art and appropriateness to the products, con- ities, exhibit houses, retailers, advertising/ tents, and processes of our modern global marketing agencies, research organizations, Anthony Guido society. The program prepares students for museums, educational institutions, and gov- Associate Professor careers in the design of products, environ- ernment agencies, all of whom recognize BSID, The Ohio State University ments, and design systems/strategies, the need to constantly improve the appear- integrating the design of communications, ance, manufacture, performance, and social Jamer Hunt furniture, equipment, interfaces, and inte- value of their products. Associate Professor riors/exhibits. Also addressed are issues of BA, Brown University human factors research, computer-aided Ph.D., Rice University design, product development, manufac- turing, business, and a host of other James Janish considerations related to the humanistic Senior Lecturer uses of technology. BS, State University of New York, Buffalo Industrial Design involves considerable MID, Pratt Institute conceptual experimentation. An encom- passing investigation into our evolving Michael McAllister material-product culture and contemporary Senior Lecturer social issues provides a forum in which stu- BS, Drexel University dents may draw from diverse sources: high MID, The University of the Arts technology, fine arts, industrial production, architectural constructions, invention, social Jonas Milder behavior, craft techniques, and contempo- Assistant Professor rary design culture. BID, Fachhochschule fuer Gestaltung, The department emphasizes the develop- Germany ment of graphic, sculptural, and spatial Design Diploma (MID), design skills as a complement to creative Hochschule der Kuenste, problem-solving, technical innovation, and Berlin, Germany effective communications during the solu- tion of actual problems of design. Barent Roth After initial coursework to introduce Adjunct Assistant Professor basic design, communication, and collabo- BSID, University of Illinois ration processes, including computer-aided MID, The University of the Arts design and model-making, students develop and apply theory, skill, and knowledge to 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 opportuni- ties 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 to the responsi- bility for integration of the total design process by the individual student, who works directly with a client/sponsor on a thesis project prior to graduation. During
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Industrial Design Bachelor of Science 126 credits
Liberal Arts Distribution Foundation Credits Junior Credits Note all Liberal Arts courses are 3.0 credits. Fall Fall LA CR 101/102 3 cr. 3 cr. FP 110 Drawing 3.0 ID 300 A Studio 3: Projects Studio 3.0 HU 103 A/B 3 cr. 3 cr. FP 120 2-D Design 3.0 ID 320 A Studio 4: Techniques 3.0 HU 140 A/B 3 cr. 3 cr. Literature 3 cr. FP 130 3-D Design 3.0 ID 327 Design Semantics Seminar 3.0 Humanities 3 cr. Electives 1.5 Electives 3.0 Social Science 3 cr. 3 cr. LA CR 101 First Year Writing I 3.0 HU XXX Liberal Arts 6.0 Science/Math 3 cr. HU 103 A Intro. to Modernism I 3.0 Fall Total 18.0 Lib. Arts Electives 3 cr. 3 cr. Art History Elective 3 cr. Fall Total 16.5 Spring Spring ID 300 B Studio 3: Projects Studio 3.0 Choose any three courses: ID 320 B Studio 4: Techniques 3.0 FP 111 Drawing 3.0 ID 326 Human Factors Seminar 3.0 FP 121 2-D Design 3.0 HU XXX Liberal Arts 6.0 FP 131 3-D Design 3.0 Spring Total 15.0 FP 140 Time and Motion 3.0 Junior Year Total 33.0 Electives 1.5 LA CR 102 First Year Writing II 3.0 Senior HU 103 B Intro. to Modernism II 3.0 Fall Spring Total 16.5 ID 400 A Studio 5: Projects Studio 3.0 Freshman Year Total 33.0 ID 420 A Studio 6: Professional Comm. 3.0 Sophomore ID 490 A Design Theory Seminar 3.0 Fall HU XXX Liberal Arts 6.0 ID 200 A Studio 1: Projects 3.0 Fall Total 15.0 ID 220 A Studio 2: Techniques 3.0 Spring ID 290 Design Issues Seminar 3.0 ID 400 B Studio 5: Projects Studio 3.0 HU 140 A Art History Survey I 3.0 ID 420 B Studio 6: HU 251 History of Industrial Design 3.0 Professional Comm. 3.0 Fall Total 15.0 ID 490 B Design Practice Seminar 3.0 Spring Electives 3.0 ID 200 B Studio 1: Projects 3.0 HU XXX Liberal Arts 3.0 ID 220 B Studio 2: Techniques 3.0 Spring Total 15.0 ID 214 Materials and Processes Sem. 3.0 Senior Year Total 30.0 Electives 3.0 HU 140 B Art History Survey II 3.0 Spring Total 15.0 Electives must include nine studio credits taken outside the Industrial Design offerings. Sophomore Year Total 30.0 Recommended Electives: While none of the following is required for graduation, they are recommended by the department. CR 251 Intro. to Molding and Casting CR 252 Plaster Workshop EM 110 Computer Concepts EM 210 Digital Multimedia HU 452 Topics in Design ID 113 Freshman ID ID 312 Architectonics MM 472 Special Projects in Multimedia PF 203 Portfolio Documentation
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Media Arts Faculty David Deneen Media Arts Adjunct Assistant Professor Susan Arthur BFA, The University of the Arts Harris Fogel Senior Lecturer [email protected] BA,Wellesley College Mike Enright Chairperson MA, The University of Texas, Austin Lecturer 215-717-6300 BFA, The University of the Arts Laurence Bach MFA, California Institute of the Arts The Media Arts Department offers majors Professor in photography, film/digital video, and ani- BFA, Philadelphia College of Art Dominic Episcopo mation, while providing elective classes to Certificate, Graduate Study, School of Lecturer the University at large. The three-year cur- Design, Basel, Switzerland BFA, The University of the Arts riculum of each major is built around a sequence of courses designed to move the Rick Barrick Alida Fish student to a position of independence within Senior Lecturer Professor the discipline. Many of our studio courses BA, University of Georgia BA, Smith College feature a written component to provide a MFA, School of Visual Arts MFA, Rochester Institute of Technology balance between technical skills and the critical thinking and historical context nec- Richard Bell Harris Fogel essary for a complete exploration of one’s Senior Lecturer Associate Professor medium. An introduction to the funda- BS, Kent State University BA, Humboldt State University mental ideas and techniques of the medium MA, New York University fills much of the sophomore year. During Lowell Boston the two remaining years, the student is Adjunct Assistant Professor David Graham expected to refine techniques, develop a BFA, The University of the Arts Associate Professor sense of personal vision, identify goals, and MFA, California Institute of the Arts BFA, Philadelphia College of Art pursue activities directly related to profes- MFA, Tyler School of Art, sional practice. Gerard Brown Temple University The Media Arts Department provides Senior Lecturer extensive studio facilities and equipment for BFA, Boston University Matthew Hollerbush students enrolled in its courses. A nominal MFA, School of the Art Institute Lecturer fee is required for access. of Chicago BFA, The University of the Arts Philadelphia’s professional resources have allowed the department to develop an John J. Carlano Steven Jackett extensive internship program for advanced Adjunct Associate Professor Lecturer Media Arts majors. This program allows BFA, Philadelphia College of Art BA, Dartmouth College students to gain professional experience MFA, School of Visual Arts while earning academic credit. Internship Connie Coleman sponsors have included commercial photo- Adjunct Professor Ilan Jacobsohn graphy studios; galleries; independent BFA, MFA, Rhode Island School Lecturer artists; animation, film, video, and multi- of Design BFA, Washington University, St. Louis media production houses; television MFA, Massachusetts College of Art stations; medical facilities; magazine John Columbus and book publishers; and digital imaging Adjunct Associate Professor Robert Levin studios. BFA, Hartford Art School Master Lecturer The Media Arts Department also offers MFA, Columbia University School BID, Pratt Institute minor concentrations in all three of its pro- of the Arts gramsÐfilm/digital video, animation, and Jenny Lynn photographyÐwhich are available to stu- Colette Copeland Senior Lecturer dents outside of their major studio program. Lecturer BFA, Tyler School of Art, Those interested in this option should con- BFA, Pratt Institute Temple University sult with both their major advisor and the MFA, Syracuse University Media Arts Department. Robert Lyons Senior Lecturer BS, State University of New York, New Paltz
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Chris Magee Amanda Tinker Assistant Professor Lecturer BA, Reed College BS, Drexel University BFA, University of Oregon MFA, Tyler School of Art, MFA, California Institute of the Arts Temple University
Michael O’Reilly Tricia Treacy Lecturer Lecturer BS, Indiana University of Pennsylvania BA,West Virginia University MFA, The University of the Arts Jeannie Pearce Adjunct Professor Vida Vida BFA, Rochester Institute of Technology Master Lecturer MFA, University of Delaware BA, California State University MA, California State University John Phillips Senior Lecturer Wendy Weinberg Associate Professor Barbara Proud BA, University of Michigan Senior Lecturer MFA, Temple University BA, University of Delaware John Woodin Maria Rodriguez Adjunct Assistant Professor Senior Lecturer BFA, University of New Orleans BA, University of Virginia MFA, Tyler School of Art, MFA, Temple University Temple University
Dina Rose Ken Yanoviak Lecturer Senior Lecturer BFA, The University of the Arts BA,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
Anula Shetty Senior Lecturer BA, St. Xavier’s College MFA, Temple University
Sandy Sorlien Master Lecturer BA, Bennington College
Karl Staven Associate Professor BA,Yale University MA, Harvard University MFA, New York University
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Photography Photography Bachelor of Fine Arts 123 credits Alida Fish [email protected] Foundation Credits Coordinator Junior Credits 215-717-6303 Fall Fall FP 110 Drawing 3.0 PF 311 A Jr. Photography Workshop I 3.0 This major prepares students for a wide FP 120 2-D Design 3.0 PF 313 A Basic Photography Studio I 3.0 range of careers in photography by pro- FP 130 3-D Design 3.0 PF 315 Digital Photography viding a solid grounding in traditional Electives 1.5 Workshop* 3.0 photography and digital imaging. In the LA CR 101 First Year Writing I 3.0 HU XXX Liberal Arts 6.0 sophomore year, students receive in-depth HU 103 A Intro. to Modernism I 3.0 Fall Total 15.0 training in craft and ideas fundamental to Fall Total 16.5 photographic imaging. Technical exercises Spring emphasize electronic imaging as well as tra- Spring PF 311 B Jr. Photography Workshop II 3.0 ditional black-and-white and color Choose any three courses: PF 313 B Basic Photography Studio II 3.0 processes. The curriculum covers both FP 111 Drawing 3.0 PF 415 A Critical Issues in descriptive photography and more experi- FP 121 2-D Design 3.0 Photography 3.0 mental manipulated image-making. FP 131 3-D Design 3.0 Electives 3.0 During the junior year, students consider FP 140 Time and Motion 3.0 HU XXX Liberal Arts 3.0 photographic forms beyond the traditional Electives 1.5 Spring Total 15.0 print, such as the photographic book, non- LA CR 102 First Year Writing II 3.0 silver processes, and installation work. HU 103 B Intro. to Modernism II 3.0 Junior Year Total 30.0 Large-format photography and studio prac- Spring Total 16.5 Senior tice with its control of artificial lighting are also part of the junior curriculum. In both Freshman Year Total 33.0 Fall the junior and senior years, students may PF 411 A Sr. Photography Workshop 3.0 Sophomore pursue the study of specialized interests on PF 415 B Critical Issues in an elective basis, including illustration and Fall Photography 3.0 editorial photography, photojournalism, PF 210 A Intro. to Film I * 3.0 Electives 3.0 environmental portraiture, creative portfolio PF 211 A Intro. to Photography I 3.0 HU XXX Liberal Arts 6.0 development, advanced digital imaging, and Electives 3.0 Fall Total 15.0 professional practice. HU 140 A Art History Survey I 3.0 Spring The senior year is primarily devoted to HU 255 History of Photography 3.0 PF 411 B Sr. Photography Workshop 3.0 the production of an independent body of Fall Total 15.0 work of the student’s own choosing and PF XXX Photo Elective** 3.0 Spring direction. The senior thesis provides the Electives 6.0 opportunity to begin the process of self- PF 211 B Intro. to Photography II 3.0 HU XXX Liberal Arts 3.0 definition as photographer and artist. A PF 217 Color Concepts * 3.0 Spring Total 15.0 Electives 3.0 required junior-level course in photographic Senior Year Total 30.0 criticism, coupled with required classes in HU 140 B Art History Survey II 3.0 the history of photography, exemplifies the HU XXX Liberal Arts 3.0 strong emphasis that the department places Spring Total 15.0 Electives must include nine studio credits taken outside the Photography offerings. on critical thinking and self-expression in Sophomore Year Total 30.0 words as well as through photographs. * Can be taken either fall or spring semester. Each spring, the Media Arts Department **May be selected from one of the following: hosts the Paradigm Lecture Series, an out- Liberal Arts Distribution PF 323 Selected Topics: Photography Note all Liberal Arts courses are 3.0 credits. standing resource available to photography PF 333 Adv. Digital Photo Wkshp. majors. Through this series, photographers LA CR 101/102 3 cr. 3 cr. HU 103 A/B 3 cr. 3 cr. PF 334 Surface Altered Photographs of national and international reputation are HU 140 A/B 3 cr. 3 cr. PF 335 Photojournalism invited by the department to visit the Literature 3 cr. campus to discuss their work and meet with Humanities 3 cr. PF 336 Fashion & Editorial Portrait Photography the students. Social Science 3 cr. 3 cr. PF 413 Professional Practices Science/Math 3 cr. PF 499 Internship Lib. Arts Electives 3 cr. 3 cr. HU 255 3 cr.
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Film/Digital Video Film/Digital Video Bachelor of Fine Arts 123 credits Peter Rose [email protected] Coordinator Foundation Credits Junior Credits 215-717-6554 Fall Fall FP 110 Drawing 3.0 PF 310 A Jr. Cinema Production I 3.0 The Film/Digital Video program in the FP 120 2-D Design 3.0 WM 219 Writing for Film 3.0 Media Arts Department prepares students to FP 130 3-D Design 3.0 PF 320 Sinc-Sound for work in Narrative, Documentary, and Electives 1.5 Narrative Film 3.0 Experimental filmmaking. At the same time, LA CR 101 First Year Writing I 3.0 HU XXX Liberal Arts 6.0 a solid preparation and foundation in craft HU 103 A Intro. to Modernism I 3.0 Fall Total 15.0 has enabled an extremely high percentage of Fall Total 16.5 our graduates to enter the professional field Spring as freelance editors, sound recordists, cine- Spring PF 310 B Jr. Cinema Production II 3.0 matographers, technicians, animators, Choose any three courses: PF 324 Film Forum: Selected Topics 3.0 screenwriters, and directors. FP 111 Drawing 3.0 PF 322 Experiments in The Filmmaking major provides students FP 121 2-D Design 3.0 Advanced Digital Video 3.0 with a background in all phases of film and FP 131 3-D Design 3.0 Electives 3.0 video production, including film cinematog- FP 140 Time and Motion 3.0 HU XXX Liberal Arts 3.0 raphy, videography, film and video editing, Electives 1.5 Spring Total 15.0 and sound/image manipulation. As in still LA CR 102 First Year Writing II 3.0 Junior Year Total 30.0 photography, filmmaking students acquire a HU 103 B Intro. to Modernism II 3.0 strong background in criticism, theory, and Spring Total 16.5 Senior history of media. All Film/Video majors pursue at least one practical internship as Freshman Year Total 33.0 Fall part of the degree requirements. PF 410 A Sr. Cinema Production I 3.0 The study of film and video at the Sophomore PF 424 Time: University has been supplemented by a Fall A Multi-disciplinary Sem. 3.0 number of other activities, including the PF 210 A Intro. to Film I 3.0 PF 499 Internship 3.0 Paradigm Lecture Series. Through this PF 211 A Intro. to Photography I 3.0 Electives 3.0 series, which occurs each spring, film and WM 251 Narrative Cinema I * 3.0 HU XXX Liberal Arts 3.0 video artists of national and international CM 120 Sound Communication 3.0 Fall Total 15.0 reputation visit the campus to conduct lec- HU 140 A Art History Survey I 3.0 tures and present screenings of their work. Spring Fall Total 15.0 PF 410B Sr. Cinema Production II 3.0 Spring Electives 6.0 PF 210 B Intro. to Film/Digital Video 3.0 HU XXX Liberal Arts 6.0 PF 212 B Intro. to Animation II 3.0 Spring Total 15.0 WM 252 Narrative Cinema II ** 3.0 Senior Year Total 30.0 HU 140 B Art History Survey II 3.0 HU XXX Liberal Arts 3.0 Spring Total 15.0 Electives must include nine studio credits taken outside the Film/Video offerings. Sophomore Year Total 30.0 * WM 251 and WM 252 Narrative Cinema I & II are required of all Film/Video majors. Liberal Arts Distribution ** WM 252 Narrative Cinema II can be counted Note all Liberal Arts courses are 3.0 credits. as a studio elective, humanities, or liberal arts LA CR 101/102 3 cr. 3 cr. course. HU 103 A/B 3 cr. 3 cr. HU 140 A/B 3 cr. 3 cr. Literature 3 cr. Humanities 3 cr. Social Science 3 cr. 3 cr. Science/Math 3 cr. Lib. Arts Electives 3 cr. 3 cr. WM 251 3 cr.
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Animation Animation Bachelor of Fine Arts 123 credits Karl Staven [email protected] Coordinator Foundation Credits Junior Credits 215-717-65523 Fall Fall FP 110 Drawing 3.0 PF 312 A Jr. Animation Workshop I 3.0 The Animation program in the Media FP 120 2-D Design 3.0 PF 316 Computer Animation II*** 3.0 Arts Department prepares students to work FP 130 3-D Design 3.0 PF 325 Sound Design and Tech. 3.0 in computer, traditional, stopmotion, and Electives 1.5 HU XXX Liberal Arts 6.0 experimental animation. The basic princi- LA CR 101 First Year Writing I 3.0 Fall Total 15.0 ples of animation can be applied to all forms HU 103 A Intro. to Modernism I 3.0 Spring of image and object manipulation. The Fall Total 16.5 program gives its graduates a strong under- PF 312 B Jr. Animation Workshop II 3.0 standing of timing and motion, and a Spring PF 327 Moving Art: Animation grounding in the wide variety of techniques Choose any three courses: Theory and Production 3.0 available to the animator. Animation majors FP 111 Drawing 3.0 Electives 6.0 get a solid background in life drawing, tra- FP 121 2-D Design 3.0 HU XXX Liberal Arts 3.0 ditional hand-drawn animation, stop-motion FP 131 3-D Design 3.0 Spring Total 15.0 and experimental animation, and 2-D and FP 140 Time and Motion 3.0 Junior Year Total 30.0 3-D computer animation. Animation majors Electives 1.5 LA CR 102 First Year Writing II 3.0 choose the area(s) on which to focus as they Senior construct their junior and senior thesis HU 103 B Intro. to Modernism II 3.0 Fall films. Spring Total 16.5 This broad-based approach has allowed PF 412 A Sr. Animation Workshop 3.0 graduates to obtain professional positions in Freshman Year Total 33.0 Select one course from the following two: both the animation industry and as inde- WM 219 Writing for Film 3.0 pendent artists. Alumni become computer Sophomore PF 424 Time: animators, directors, storyboard artists, pro- Fall A Multidisciplinary Sem. 3.0 duction assistants, special-effects animators, PF 210 A Intro. to Film I 3.0 Electives 3.0 and character designers. PF 212 A Intro. to Animation I 3.0 HU XXX Liberal Arts 6.0 IL 205 Figure Drawing** Fall Total 15.0 for Animators 3.0 WM 251 Narrative Cinema I * 3.0 Spring HU 140 A Art History Survey I 3.0 PF 412 B Sr. Animation Workshop 3.0 PF 324 Film Forum: Selected Topics 3.0 Fall Total 15.0 Spring Electives 3.0 PF 210 B Intro. to Film/Digital Video 3.0 HU XXX Liberal Arts 6.0 PF 212 B Intro. to Animation II 3.0 Spring Total 15.0 PF 216 Computer Animation I *** 3.0 Senior Year Total 30.0 WM 252 Narrative Cinema II * 3.0 HU 140 B Art History Survey II 3.0 Electives must include nine studio credits taken Spring Total 15.0 outside the Animation offerings. Sophomore Year Total 30.0 * WM 251 and WM 252 Narrative Cinema I and II are required of all Animation majors. WM 252 Narrative Cinema II can be counted as a studio Liberal Arts Distribution elective, humanities, or liberal arts course. Note all Liberal Arts courses are 3.0 credits. ** IL 205 fulfills 3 credits of elective requirements. LA CR 101/102 3 cr. 3 cr. *** Can be taken either fall or spring semester. HU 103 A/B 3 cr. 3 cr. HU 140 A/B 3 cr. 3 cr. By the end of the junior year, it is strongly recom- Literature 3 cr. mended that Animation majors have taken Humanities 3 cr. at least one of the following five advanced major Social Science 3 cr. 3 cr. electives for three studio elective credits: Science/Math 3 cr. IL 202 Figure Drawing Lib. Arts Electives 3 cr. 3 cr. PF 326 Advanced 3-D Computer Animation WM 251 3 cr. PF 328 Selected Topics in Animation PF 330 Clay and Puppet Animation PF 331 Image and Performance
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Film/Animation Bachelor of Fine Arts 135 credits
Liberal Arts Distribution Foundation Credits Junior Credits Note all Liberal Arts courses are 3.0 credits. Fall Fall LA CR 101/102 3 cr. 3 cr. FP 110 Drawing 3.0 PF 310 A Jr. Cinema Production I 3.0 HU 103 A/B 3 cr. 3 cr. FP 120 2-D Design 3.0 PF 312 A Jr. Animation Workshop I 3.0 HU 140 A/B 3 cr. 3 cr. Literature 3 cr. FP 130 3-D Design 3.0 PF 316 Computer Animation II 3.0 Humanities 3 cr. Electives 1.5 PF 320 Film Sound 3.0 Social Science 3 cr. 3 cr. LA CR 101 First Year Writing I 3.0 HU XXX Liberal Arts 6.0 Science/Math 3 cr. HU 103 A Intro. to Modernism I 3.0 Fall Total 18.0 Lib. Arts Electives 3 cr. 3 cr. WM 251 3 cr. Fall Total 16.5 Spring Spring PF 310 B Jr. Cinema Production II 3.0 Choose any three courses: PF 312 B Jr. Animation Workshop II 3.0 FP 111 Drawing 3.0 PF 327 Moving Art: FP 121 2-D Design 3.0 Animation Theory 3.0 FP 131 3-D Design 3.0 PF 322 Media Technology 3.0 FP 140 Time and Motion 3.0 HU XXX Liberal Arts 6.0 Electives 1.5 Spring Total 18.0 LA CR 102 First Year Writing II 3.0 Junior Year Total 36.0 HU 103 B Intro. to Modernism II 3.0 Spring Total 16.5 Senior Freshman Year Total 33.0 Fall PF 410 A Sr. Cinema Production I 3.0 Sophomore PF 412 A Sr. Animation Workshop I 3.0 Fall Select one course from the following two: PF 210 A Intro. to Film I 3.0 WM 219 Writing for Film 3.0 PF 211 A Intro. to Photography I* 3.0 PF 424 Time: PF 212 A Intro. to Animation I* 3.0 A Multi-disciplinary Sem. 3.0 IL 205 Figure Drawing Electives 3.0 for Animators* 3.0 HU XXX Liberal Arts 6.0 WM 251 Narrative Cinema I** 3.0 HU 140 A Art History Survey I 3.0 Fall Total 18.0 Fall Total 18.0 Spring PF 410 B Sr. Cinema Production II 3.0 Spring PF 412 B Sr. Animation Workshop II 3.0 PF 210 B Intro. to Film/Digital Video 3.0 PF 324 Film Forum: Selected Topics 3.0 PF 212 B Intro. to Animation II 3.0 PF 499 Internship 3.0 PF 216 Computer Animation I* 3.0 HU XXX Liberal Arts 3.0 WM 252 Narrative Cinema II** 3.0 HU 140 B Art History Survey II 3.0 Spring Total 15.0 Spring Total 15.0 Senior Year Total 33.0 Sophomore Year Total 33.0 Electives must include nine studio credits taken outside the Film/Animation offerings. * Can be taken either fall or spring semester. ** WM 251 and WM 252 Narrative Cinema I and II are required of all Film/Animation majors as part of the total Liberal Arts distribution.
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vides a strong theoretical and practical Raye Cohen Art Education foundation for teaching as a career. Adjunct Assistant Professor Through field experiences starting in the BA, University of Pennsylvania Barbara Suplee sophomore year, the student is able to MA, The University of the Arts [email protected] explore teaching in a variety of traditional Chairperson, Director and alternative settings. Students are also Diane Foxman 215-717-6053 provided with the necessary competencies Senior Lecturer in teaching K-12 Art, and in meeting the BA, Antioch College state and national standards through special MA, Goddard College Pre-Certification studies in education combined with liberal Concentration in Art arts coursework in art history, aesthetics, Arlene Gostin Education criticism, social sciences, and studies in Associate Professor studio production. BA, University of Delaware The teaching of art is a profession that The Pre-Certification Concentration may MA, Philadelphia College of Art allows for the artist-teacher’s continued be taken in its entirety or in part to fit indi- growth while nurturing the aesthetic and vidual plans and needs. Students who Randy Granger creative experiences of others. Recent complete the program will be able to enroll Adjunct Assistant Professor national as well as statewide attention to directly in the Post-Baccalaureate Teacher BFA, Philadelphia College of Art education and to the role of the arts in edu- Program, in which they can complete the cation makes this an especially good time student-teaching requirement (AE 659, AE June Julian for students to consider becoming an art 552) in as little as one regular semester Associate Professor teacher and artist. In preparing students for beyond the bachelor’s degree. In addition, BS, Kutztown University careers in art education, the University is students must successfully complete all the M.Ed. The Pennsylvania State University committed to the ideal of exemplary PRAXIS required tests, with satisfactory Ed.D., New York University teachers who are also able to produce their scores to qualify for the Pennsylvania own competent works. To that end, the Instructional I Certificate to teach Art K-12. Slavko Milekic University offers a flexible program of In another viable alternative, qualified Associate Professor competency-based education at the under- graduates may enter the Master of Arts in MSc, MD, Belgrade University, graduate level to prepare students to Teaching program, in which it is possible to Yugoslavia complete a professional certification pro- earn a master’s degree and certification in Ph.D., University of Connecticut gram after graduation or within a as little as three semesters or two semesters four-year undergraduate program plus and two summers. Janis Norman an additional post-baccalaureate Professor professional semester. Academic Regulations BAE, University of Kansas The Pre-Certification concentration is Students working toward certification are MA, University of Missouri, Kansas City designed to be taken in conjunction with a required to maintain a 3.0 cumulative Ph.D., University of Kansas regular studio major in the BFA program. average in certification coursework. In addition to meeting the requirements of Admission to the Post-Baccalaureate Susan Rodriguez a major studio department, students Student Teacher Program is by permission Adjunct Professor enrolled in the pre-certification concentra- of the department, based on satisfactory BFA, M.Ed., Tyler School of Art, tion take courses in the Art Education completion of all prerequisites, evidence of Temple University Department, plus prescribed courses in lib- promise as a teacher demonstrated in prior eral arts, photography, electronic media, coursework, and good academic standing. Barbara Suplee and other studio areas that help fulfill the Students must maintain a “B” average in art Associate Professor general Liberal Arts and studio electives education courses to be permitted to student BFA, West Chester University requirements. teach. A grade of “B” or better in the M.Ed., Tyler School of Art, All candidates seeking certification to Student Teaching Practicum is required for Temple University teach K-12 in Pennsylvania must complete recommendation for certification. Ph.D., Pennsylvania State University 48 credits including six credits of college- level math, three credits of college-level JoAnn Wright English composition, and three credits of Art Education Faculty Senior Lecturer British or American literature prior to BA, Rutgers University formal admission to the professional edu- Paul Adorno BA,Rowan University cation program. Careful advising is Adjunct Assistant Professor essential. AB, Georgetown University Students enrolled in the Pre-Certification MS.Ed., University of Pennsylvania Concentration in Art Education must take and pass Instructional I Praxis tests prior to Rande Blank entering the Post-Baccalaureate Teacher Senior Lecturer Program. BS, University of Maryland The Art Education concentration pro- M.Ed., Beaver College
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Pre-Certification in Art Education
Foundation Credits Post-Baccalaureate Teacher Program Fall Credits FP 110 Drawing 3.0 AE 552 The Art of Teaching 3.0 FP 120 2-D Design 3.0 AE 659++ Student Teaching Practicum 9.0 FP 130 3-D Design 3.0 Post Baccalaureate Total 12.0 Electives 1.5 LA CR 101 First Year Writing I 3.0 HU 103 A Intro. to Modernism I 3.0 * These courses also count toward the liberal arts core of the bachelor’s degree. Fall Total 16.5 Spring +These courses have a required field placement. Choose any three courses: FP 111 Drawing 3.0 ++ The Student Teaching Practicum consists of two 4.5-credit components: a seven-week elementary FP 121 2-D Design 3.0 field placement and a seven-week secondary field FP 131 3-D Design 3.0 placement. The two field placements may be taken FP 140 Time and Motion 3.0 over two semesters. If this option is elected, the full Electives 1.5 15-week seminar that accompanies the Practicum LA CR 102 First Year Writing II 3.0 must be taken in both semesters. HU 103 B Intro. to Modernism II 3.0 Required Studio Electives Spring Total 16.5 Pre-Certification students should complete at least Freshman Year Total 33.0 three upper-level credits in a two-dimensional medium if their major is in a three-dimensional Sophomore area, and vice versa. Other studio work must include at least one course each in photography, AE 200 Presentation Skills 1.0 computer with graphics applications, painting, AE 201 Introduction to drawing, ceramics, and printmaking. A non- Visual Arts Education 2.0 Western art history is also required. HU 181* Child and Adolescent Psychology 3.0 AE 533, AE 547, AE 548, and AE 559 fulfill Art Math 6.0 Education and studio elective requirements outside of the major program. British/American Lit. 3.0 Sophomore Year Total 15.0
Junior AE 533 Art and Inclusionary Ed. 3.0 AE 547+ Program Design and Methods: Elementary 3.0 HU 162 Individual and Society 3.0 AE 549 Program Design and Methods: Aesthetics/Art Criticism 3.0 HU 357 Modern Art (preferred) or a Discipline Art History 3.0 Junior Year Total 15.0
Senior AE 559+ Saturday Practicum 3.0 AE 548+ Program Design and Methods: Secondary 3.0 Senior Year Total 6.0
Students will not be allowed to student teach unless they have successfully completed the Instructional I PRAXIS tests: Reading, Writing, Mathematics.
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The Hahnemann Creative Arts Art Therapy in Therapy Program at Drexel University Karen Clark-Schock Students interested in applying to The [email protected] Hahnemann Creative Arts in Therapy Director Program at Drexel University for a master’s 215-717-6236 degree in Art Therapy have the advantage of studying with faculty who teach in both Concentration in Art Therapy the UArts and Hahnemann therapy pro- Art therapy, a well-respected discipline grams. Course content and experience in within the human services profession, the UArts undergraduate program provides offers an exciting career opportunity for the excellent credentials for graduate study studio art major. It utilizes art as a non- and, in particular, educational continuity verbal means of communication and with the graduate program at Drexel self-expression, and thereby provides a cre- University. ative vehicle through which to explore personal problems as well as personal Art Therapy Faculty strengths and potentials. Art therapy recog- nizes that the entire art process, how it Karen Clark-Schock unfolds, the drawn forms and content, as Adjunct Associate Professor well as the verbal associations, are all BA, Rosemont College reflections of the individual client. MCAT, Hahnemann University Art therapists work with children and Psy.D., Immaculata College adults of all ages in a variety of settings. These include psychiatric and medical hos- Nancy Gerber pitals, schools, clinics, community centers, Senior Lecturer nursing homes, and drug and alcohol treat- BS, Pennsylvania State University ment clinics. As members of a team, art MS, Hahnemann University therapists may work with physicians, psy- chiatrists, psychologists, social workers, Susan Kaye-Huntington and educators. The art therapist uses art- Adjunct Assistant Professor work for both diagnosis and treatment. Art BA, New York University therapy may also be utilized as a means of MCAT, Hahnemann University promoting creativity and wellness, and may Psy.D., Immaculata College therefore be viewed as a force in the pre- vention of illness. While enrolled in one of the BFA pro- grams within the College, students may also elect a concentration in Art Therapy. This concentration introduces them to the discipline on the undergraduate level. This concentration gives students a chance to explore a career option while they are engaged in undergraduate study. Students who do not wish to pursue the professional degree will nonetheless find that their study of art therapy is beneficial in other fields, particularly in education, and in their own personal development. Students who elect the Art Therapy pro- gram take four designated courses in psychology and five courses in art therapy, each of which meets overall requirements toward the Bachelor of Fine Arts. At gradu- ation, Art Therapy Concentration students receive a certificate of completion in Art Therapy along with the Bachelor of Fine Arts degree.
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Art Therapy Concentration
Foundation Credits Junior Credits Fall Fall FP 110 Drawing 3.0 AT 300 Intro. to Art Therapy 3.0 FP 120 2-D Design 3.0 HU 384 Abnormal Psychology 3.0 FP 130 3-D Design 3.0 Fall Total 6.0 Electives 1.5 Spring LA CR 101 First Year Writing I 3.0 AT 301 Social and Group Process 3.0 HU 103 A Intro. to Modernism I 3.0 AT 304 Theories and Techniques of Fall Total 16.5 Art Therapy with Spring Children and Adolescents 3.0 Choose any three courses: Spring Total 6.0 FP 111 Drawing 3.0 Junior Year Total 12.0 FP 121 2-D Design 3.0 FP 131 3-D Design 3.0 Senior FP 140 Time and Motion 3.0 Fall Electives 1.5 AT 305 Theories and Techniques of LA CR 102 First Year Writing II 3.0 Art Therapy with Adults 3.0 HU 103 B Intro. to Modernism II 3.0 HU 483 Theories of Personality 3.0 Spring Total 16.5 Fall Total 6.0 Freshman Year Total 33.0 Spring Sophomore AT 401 Senior Practicum 3.0 Spring Total 3.0 HU 181 A Child and Adolescent Psychology 3.0 Senior Year Total: 9.0 HU 181 B Adult Psychology 3.0 Art Therapy Courses 15.0 Sophomore Year Total 6.0 Liberal Arts Courses 12.0
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College of Art and Design Thesis Grading The grade of “IP” (“In Progress”) signifies that the student is Graduate Programs making satisfactory progress toward completing the graduate thesis. This grade will apply only to graduate thesis courses where the stu- dent’s thesis is still in progress. Carol Moore This grade is available only for the following courses: [email protected] AE 649 Graduate Project/Thesis Graduate Coordinator MS 749 A/B Thesis Development 215-717-6106 ID 749 Master’s Thesis Documentation FA 795 MFA Thesis Exhibition Graduate study in the College of Art and Design provides MU 603 Graduate Project/Recital intensive professional preparation in a stimulating multi-arts envi- ronment. A select range of specialized graduate degrees in Fine Arts, An “IP” grade acknowledges the fact that the final course product Design, and Visual Arts Education features focused curricula, small (thesis) may require some period of time past the semester of regis- classes, dedicated faculty, and access to outstanding facilities and tration to complete. The “IP” grade will remain on the student’s resources. record until a final thesis grade is submitted by the instructor. In All programs address interarts and/or interdisciplinary issues some cases, a student will be registered for thesis courses as a through both studio activity and the University Seminars on sequence (e.g., MS 749 A/B). When the final grade is submitted by “Structure and Metaphor,” and “Art and Society,” which bring stu- the instructor, it will replace the “IP” grade. The “IP” grade is not dents together from all graduate programs at the College of Art and computed in the grade-point average. Design. Additionally, all MFA students take the University In order to remain in good standing while the thesis is “in Seminar on “Criticism.” progress,” the student must register for the thesis continuation fee A University of the Arts education extends beyond the classroom for each semester he or she is not enrolled in coursework. and studio. Through partnerships, workshops, residencies, intern- ships, and symposia, students engage the larger art, design, and education communities and interact with some of today’s Graduate Project/Thesis most important artists, designers, and educators in a broad Continuation Fee range of disciplines. A student who has completed all the course requirements for the The College of Art and Design offers these graduate programs: master’s degree and is currently working on the graduate thesis, Master of Fine Arts degrees in Book Arts/Printmaking, Museum either on or off-campus, must register and pay a graduate thesis con- Exhibition Planning and Design; low-residency summer Master of tinuation fee of .5 credits per semester calculated at the per credit Fine Arts degrees in Ceramics, Painting, or Sculpture; Master of cost for each semester of non-attendance until the thesis is com- Industrial Design; Master of Arts in Art Education; Master of Arts in pleted and accepted. This registration, through the Office of the Museum Communication; Master of Arts in Museum Education; Registrar, is required in each succeeding semester, excluding the Master of Arts in Teaching in Visual Arts. summer sessions, until all degree requirements are met. Students completing a degree in the summer must pay the thesis fee in the Student Classification and final summer semester. Course Load Graduate students must be enrolled for at least nine credits to be Leave of Absence considered full-time. Tuition for part-time graduate students is A graduate student may take a leave of absence prior to the com- charged on a per-credit basis. pletion of all coursework and with the program director’s approval. Graduate student class status is determined as follows: Students may take a maximum of two one-semester leaves of G1 up to 17.5 credits absence throughout their course of study, either in sequence or as G2 18 credits or more needed. Once the thesis has begun and all coursework has been com- pleted, students must register and pay for the thesis continuation fee for successive semesters and are not eligible for a leave of absence. Graduate Thesis Requirements SUMFA students are limited to one off-semester leave of absence CAD graduate programs require each graduate student to meet between the first and third summers. If a longer leave of absence is specific thesis requirements. The requirements may include a thesis necessary, the student will be asked to take a full year’s leave of exhibition or project, and should be successfully completed once the absence. student has fulfilled all other program requirements. Students must submit two copies of their thesis to their program director in order to qualify for the degree. One copy of the thesis remains with the department and one is submitted to the Greenfield Library.
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Graduate Double Degree Policies Summer Graduate Electives Policy Graduate students already enrolled in a master’s degree program Students wishing to complete studio or liberal arts electives at the University of the Arts may apply to simultaneously pursue a during University summer sessions may review pre-approved second master’s degree. A second degree may be added only after summer course offerings in the spring with their program advisor the successful completion of at least one semester of graduate study, and may register for these courses only after obtaining approval and with a grade-point average of at least 3.0. Students who are inter- the signature of the CAD Graduate Coordinator. A maximum of six ested in this option must be aware that completion of two degrees credits is transferrable to the graduate curriculum. will likely require additional time and requires intensive advising and coordination of requirements. Degree Candidacy and Completion Students currently enrolled in a master’s degree program who Midway through their respective programs, graduate students’ wish to pursue a second master’s degree must request, in writing, progress in their discipline and proposal for thesis will be reviewed that the Registrar forward a copy of their transcript and official file by the appropriate Graduate Committee to formally determine to the director of the program to which they are seeking admission. whether a student becomes a degree candidate, and is ready to con- The director of the second program may require the student to tinue toward development and completion of the thesis or graduate submit materials for portfolio review, and may require additional let- project. ters of reference. The director of each graduate program is Graduate students have up to seven years from matriculation date responsible for coordinating any required portfolio review. Portfolio to complete a two-year master’s program, and up to six years from requirements are listed on the Graduate Application or may be matriculation date to complete a one-year program. obtained directly from the graduate director or coordinator. Final acceptance into a double degree program must be approved by the Director of Graduate Programs. Credit Duplication 1. A student may be awarded a particular degree from the No course, including graduate courses, which has satisfied under- University only once; i.e., once the student has earned an MA, he or graduate degree requirements, may be counted again for graduate she may not be awarded another MA. credit. 2. A student may not receive two different master’s degrees from the same program; i.e., he or she cannot pursue both the MA in Art Transfer Credit Education and MAT in Visual Arts. A maximum of six credits of graduate credit may be transferred 3. A student may earn up to two master’s degrees, either simulta- and applied toward the graduate degree requirements upon approval neously or sequentially. of the program director. All transfer credits must be graduate level 4. If a student is approved for a double degree, and six credits are classes or upper-level undergraduate classes taken for graduate shared between the two programs, the student may transfer a max- credit at an accredited college or university, approved by the imum of six additional credits from an accredited institution. Registrar and the Graduate Director, and must be a “B” or higher 5. A student who has completed one degree and wishes to matric- grade. ulate in another does so by applying to the new program through the Studio courses must be 300-level for graduate credit. Two hun- Office of Admission. dred level courses may be taken with justification from the director 6. Students in the Summer MFA program who wish to pursue a and written approval from the Graduate Coordinator. Art Education second graduate degree will be charged the regular graduate tuition Competency may be taken as an independent study. rate in the semesters in which they are pursuing two degrees. Probation and Dismissal Policies Changing Graduate Programs Students enrolled in a CAD graduate program wishing to change A cumulative GPA of 3.0 is required for good standing and for degree programs must apply through the Office of the Registrar by graduation for graduate students. If a student is unable to achieve a completing an Application to Change Programs. A change of pro- semester or cumulative GPA of 3.0, he or she will be placed on pro- gram is not automatic and occurs only when the applicant meets the bation. If a 3.0 GPA and/or other conditions are not attained by the acceptance requirements of the program to which they wish to following semester, the student will be dismissed from the program. transfer. While on probation, a student will be ineligible to hold a graduate assistantship or to receive a University supplemental grant-in-aid or scholarship.
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Post-Baccalaureate Options Post -Baccalaureate Teacher Program Pre-Certification Concentration in Art Education, Professional Semester (for UArts Crafts Studio Certificate Program alumni only) A Post-Baccalaureate Portfolio Development Program The Post-Baccalaureate Teacher Program, Professional Semester, is an intensive one-semester experience built around a fourteen- The University’s 30-credit certificate program offers an intensely week student teaching practicum, in which the student devotes seven focused education in crafts. The program is designed for those stu- weeks to teaching at the elementary school level and seven weeks to dents with bachelor’s degrees who wish to become proficient artists teaching at the middle or secondary school level under the guidance in one or more of the following areas: ceramics, fibers, jewelry, and supervision of master teachers and Art Education Department metal-smithing, or wood. Courses dealing with technique, philos- faculty. ophy, and contemporary issues are aimed to develop an individual’s The Post-Baccalaureate Teacher Program, Professional Semester, portfolio for further graduate study or a career as an independent is only available to University of the Arts/College of Art and Design studio artist or design professional. students the semester following receipt of the bachelor’s degree, The Crafts Studio Program offers the studio component of the which must include all pre-certification requirements except AE 552 University’s undergraduate crafts program in a focused one-and- and AE 659. Students must also have a 3.0 GPA, have successfully one-half or two-year period. Students accepted to the program take a completed the Instructional I Praxis Tests, and be recommended by minimum of six credits to a maximum of 12 credits per semester. the Art Education department. Students will not be allowed to do Certificate students must take a minimum of 12 media-specific student teaching unless they have passed the Instructional I Praxis credits at the 300 level. The prerequisite for 300-level courses is two Tests: Reading, Writing Mathematics. 200-level courses in that same medium. However, if an applicant’s The Pre-Certification Concentration, when coupled with the Post- portfolio indicates enough experience in a particular medium, Baccalaureate Teacher Program, is accredited by the Pennsylvania 200-level prerequisites may be waived at the time of acceptance. See Department of Education as an approved program to prepare stu- the preceding section for a listing of media-specific courses. dents to receive the Instructional I Certificate to teach Art K-12. Certificate students benefit from taking courses with degree can- Since June 1987, all applicants for certification in Pennsylvania didates in a quality undergraduate program. In addition to must also take and pass all required tests in the PRAXIS Series, technically oriented, media-specific courses, students take core Professional Assessments for Beginning Teachers of the National courses involving design/theory issues, criticism, and professional/ Teachers Exam to qualify for the certificate. career practices. Supplementary courses and activities complete the preparation of Admission is by portfolio and interview. Students with little or no the future teacher to enter the profession. formal art training will be required to take Foundation courses. The program advisor (in consultation with the student) will set the Post-Baccalaureate Teacher Program, number of required prerequisites. These credits must be taken in Professional Semester Credits addition to the 30 required credits and can be completed in advance of or concurrently with the certificate program. AE 552 The Art of Teaching 3.0 AE 659 Student Teaching Practicum 9.0 Post Baccalaureate Total 12.0
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Post-Baccalaureate Teacher Program Corequisites: (Non-Degree for non-UArts graduates) ¥Coursework in painting, drawing, ceramics, and printmaking ¥Three upper-division credits in a 3-D studio area, if a 2-D studio major for bachelor’s degree The Post-Baccalaureate Teacher Program (Non-Degree) is an ¥Three upper-division credits in a 2-D studio area, if a 3-D studio intensely focused course of study designed to prepare those seeking major for bachelor’s degree certification to teach Art K-12. To be eligible for this 30-credit ¥ Introduction to computers, including graphic applications program, candidates must hold a BFA or BA degree in art, or equiv- (required competency); minimum requirement of one course alent, with four credits in studio art and 12 credits in art history, with ¥Basic Photography (required competency), minimum require- a "B" or better cumulative average. They must also have completed ment of one course six credits in college-level math, three credits of English composi- ¥Art History, 12 credits, including at least one course in 20th cen- tion, and three credits in American or British literature. tury art, one course in non-Western art In addition candidates must have successfully completed the ¥ Introduction to Psychology or Child and Adolescent Psychology Instructional I, PRAXIS tests. Depending on the student’s back- ¥ Sociology or Cultural Anthropology (may be satisfied by GR ground and all co-requisites being met, this 30-credit program may 692) be completed in three full semesters. ¥ Aesthetics (may be satisfied by AE 549) ¥Art Criticism (may be satisfied by AE 549) Post-Baccalaureate Teacher Program (Non-Degree) Credits ¥ Speech or Acting (may be satisfied by AE 200 Presentation Fall Skills) AE 200 Presentation Skills 1.0 ¥ Six credits college-level math (prior to entry to the MAT AE 201 Introduction to Visual Arts Education 2.0 program) AE 547+ Program Design and Methods: Elementary 3.0 ¥Three credits college-level English composition (prior to entry to the MAT program) AE 550 Creative and Cognitive Development 3.0 ¥ Three credits college-level British or American literature (prior Fall Total 9.0 to entry into the MAT program) Spring ¥ AE 201 Introduction to Visual Arts Education AE 548+ Program Design and Methods: Middle and Secondary 3.0 AE 533+ Art and Inclusionary Education 3.0 AE 559+ Saturday Practicum 3.0 Spring Total 9.0 Fall AE 552 The Art of Teaching 3.0 AE 649 Student Teaching Practicum 9.0 Fall Total 12.0 Post Baccalaureate Total (Non-Degree) 30.0
+ These courses have a required field placement.
No credits earned in the Post-Baccalaureate Teacher Program (Non-Degree) may be converted to graduate credits or be considered for transfer credit in a graduate program.
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is the concentration in graduate studio work Carol Moore Art Education and the research and thesis required for the Associate Professor MA degree. Full-time students may com- BFA, MFA, Tyler School of Art, Master of Arts plete the MA program in one academic year Temple University plus a summer or three semesters. Part-time students may take coursework over as many Janis Norman Barbara Suplee as five years. Depending on the needs of the Professor [email protected] individual student, professional education BAE, University of Kansas Chairperson, Director courses and selected studio arts and liberal MA, University of Missouri, Kansas City 215-717-6053 arts courses may be taken in the evenings Ph.D., University of Kansas and summers. The Master of Arts in Art Education pro- Susan Rodriguez gram at The University of the Arts is Adjunct Professor designed to develop the studio, intellectual, Master of Arts Faculty BFA, M.Ed., Tyler School of Art, and professional education background of Temple University art educators, enabling them to meet Paul Adorno Adjunct Assistant Professor advanced professional goals. Pearl Schaeffer Coordinating professional education AB, Georgetown University Adjunct Associate Professor courses with work in liberal arts, graduate MS.Ed., University of Pennsylvania BS, Drexel University research, and a concentration in studio arts MFA, The University of the Arts that include emerging digital and alternative Rande Blank Senior Lecturer media, the MA in Art Education Program Barbara Suplee offers custom-designed programs of study to BS, University of Maryland Associate Professor meet individual needs. A series of graduate M.Ed., Beaver College BFA, West Chester University education seminars address historical and con- M.Ed., Temple University temporary issues in art theory, criticism, and Raye Cohen Ph.D., Pennsylvania State University education. Drawing on the wide range of Adjunct Assistant Professor BA, University of Pennsylvania studio departments, nearly one-third of the JoAnn Wright program is reserved for work in one or more MA, The University of the Arts Senior Lecturer studio areas, museum studies, liberal arts, art BA, Rutgers University therapy, or educational media depending upon Randy Granger BA, Rowan University the student’s particular background and career Adjunct Assistant Professor needs. The independent thesis or graduate BFA, Philadelphia College of Art project, which is normally completed in two semesters, may take the form of either an aca- Anne El-Omami demic research paper or a graduate project in Associate Professor an appropriate format. BFA, BA, University of Nebraska, Designed for both established and new Lincoln teachers, the degree may satisfy credit MA, University of Nebraska accrual requirements for permanent certifi- cation or lead to other career advancement. Diane Foxman Graduates have also found the program rele- Senior Lecturer vant to positions in museum education, BA, Antioch University college teaching (especially junior college), MA, Goddard College arts administration, educational media, and other related fields. Applicants must hold a Arlene Gostin bachelor’s degree or equivalent with no Associate Professor fewer than 45 credits in studio work and 12 BA, University of Delaware credits in art history with a “B” or better MA, Philadelphia College of Art cumulative average. A teaching certificate is not required. Students not holding degrees June Julian in the visual arts can expect to complete 18 Associate Professor credits of foundation studies and/or up to 45 BS, Kutztown University credits of studio work, depending upon fac- M.Ed., The Pennsylvania State University ulty review of their portfolio. Ed.D., New York University The degree may also be taken in conjunc- tion with the Certification Program in Art Slavko Milekic Education, thereby allowing the student to Associate Professor earn a master’s degree plus Certification. MSc, MD, Belgrade University, The difference between this combination Yugoslavia and the MAT (Master of Arts in Teaching), Ph.D., University of Connecticut
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Art Education Master of Arts 36 credits
Fall Credits AE 599* Professional Writing Intensive 2.0 AE 606 Research in Art Education: Methods and Trends 3.0 GR 691 University Seminar: Structure and Metaphor 3.0 Electives 6.0 Fall Total 12.0* Spring AE 602 History of Ideas in Art and Museum Education 3.0 AE 649** Graduate Project/Thesis 3.0 GR 692 University Seminar: Art and Design in Society 3.0 Elective 3.0 Spring Total 12.0 Fall AE 610 Graduate Studio Seminar 3.0 Liberal Arts Elective 3.0 AE 649** Graduate Project/Thesis 3.0 Elective 3.0 Fall Total 12.0 Total Credits 36.0
* AE 599 is required of students who do not pass the Art Education Department Writing Proficiency Exam. The exam must be taken and passed with a score of 80% or higher in the first semester of enrollment, and does not fulfill any credit require- ments for the MA program. (See course description for additional information.)
** AE 649 Graduate Project/Thesis may be taken as a six-credit block or in two three-credit blocks. To remain in good standing while the thesis is “in- progress,” students must register for the thesis con- tinuation fee for each semester they are not enrolled in coursework. Students must be registered for the semester in which they defend their thesis, and until the thesis is completed and bound copies are submitted to the Art Education Department.
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Concentration in Technology Competencies Art Education To acquire the following basic competen- Master of Arts with a Educational Media cies in technology, a student may take University technology courses, workshops, Concentration in Barbara Suplee and tutorials, including those offered through Educational Media 36 credits [email protected] the Continuing Studies Professional Institute Chairperson, Director for Educators. Based on a review of portfolio Fall Credits 215-717-6053 and approval by the Art Education AE 599* Professional Writing Department, a graduate student may be The Concentration in Educational Media, excused from this requirement. Intensive 2.0 as part of a Master of Arts in Art Education, ¥ Macintosh and Windows operating AE 507 Educational Media A: is designed to prepare graduate students to environments Teaching and Learning 3.0 use, plan, and manage technology in the ¥ Navigation, menu, file management, GR 691 University Seminar: K-12 art curriculum and classroom. and transfer and storage skills Structure and Metaphor 3.0 Educational media are those digital tools and ¥ Productivity skills AE 606 Research in Art Education: applications used for creative and instruc- (word processing and spreadsheet) Methods and Trends 3.0 tional purposes within a K-12 classroom and ¥ Navigational and information search Elective (technology-based) 3.0 school setting. The use of educational media, and retrieval skills therefore, is not solely for developing cre- (Internet and World Wide Web) Fall Total 12.0* ative expression in students, but also as a ¥ Electronic presentation skills Spring means to support the teaching and learning of (PowerPoint, etc.) AE 509 Educational Media B: K-12 art. ¥ Computer graphics knowledge, Candidates for this Concentration are Planning and Management 3.0 concepts, and skills AE 602 History of Ideas in students with a background and training in (raster, vector, and Web graphics) both technology and art who want to inte- Art and Museum Education 3.0 GR 692 University Seminar: grate the use of technology into the teaching Required Core Courses of art. Students in the Master of Arts in Art Art and Design in Society 3.0 Two related semester courses form the Elective (technology-based) 3.0 Education program who complete this required core of the Concentration in Concentration will serve as classroom art Educational Media A: Teaching and Spring Total 12.0 teachers integrating technology into their cur- Learning, and Educational Media B: Fall riculum and practice, and as technology Planning and Management. These two core leaders in their school and district. AE 530 Interactive Media for courses are designed to be taken together as a Art and Museum Educators 3.0 year-long sequence. Educational Media A: Requirements AE 610 Graduate Studio Seminar 3.0 Teaching and Learning focuses on the con- AE 649** Graduate Project/Thesis 6.0 A Master of Arts in Art Education major ceptual, curricular, and instructional must complete a total of 12 credits in approaches and strategies needed to integrate Fall Total 12.0 required core and elective courses in tech- digital technologies into the K-12 art class- Total Credits 36.0 nology for a Concentration in Educational room. Educational Media B: Planning and Media. The other remaining six credits may Management examines the issues and topics be elective courses that the student chooses related to designing technology environments * AE 599 is required of students who do not pass the to advance his or her study of technology. for K-12 art education. Art Education department Writing Proficiency Exam. In addition to these 12 credits toward a The exam must be taken and passed with a score of 80% or higher in the first semester of enrollment and Concentration in Educational Media, the Elective Courses graduate thesis/project (six credits) will be it does not fulfill any credit requirements for the MA. The purpose of the elective courses is to If a student must take AE 599, his/her semester will directed toward research involving the use of give the student concentrating in Educational include a total of 14 credits. technology in art education. Competencies Media the opportunity to explore specific and specific requirements for the Educational ** AE 649 Graduate Project/Thesis may be taken as interests involving technology. To that end, a six-credit block or in two 3-credit blocks. To Media Concentration are the following: six credits must be used for further explo- remain in good standing while the thesis is “in- ration in technology-related courses from the progress,” students must register for the thesis con- University. tinuation fee for each semester they are not enrolled in coursework. Students must be registered for the Thesis/Project semester in which they defend their thesis, and until A student in the Master of Arts in Art the thesis is completed and bound copies are sub- mitted to the Art Education Department. Education program with a Concentration in Educational Media will focus on a topic or idea related to technology in art education as part of his or her graduate thesis/project. The thesis/project in technology will be the cul- mination of study for a Concentration in Educational Media.
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Corequisites: Visual Arts ¥Coursework in painting, drawing, Master of Arts in ceramics, and printmaking Teaching ¥Three upper-division credits in a 3-D studio area, if a 2-D studio major for Barbara Suplee bachelor’s degree [email protected] ¥Three upper-division credits in a 2-D Chairperson, Director studio area, if a 3-D studio major for 215-717-6053 bachelor’s degree ¥ Introduction to computers, including The Master of Arts in Teaching in Visual graphic applications (required compe- Arts is a professional degree program incor- tency); minimum requirement of one porating preparation for the Pennsylvania course Instructional I Certificate to teach Art K-12, ¥Basic Photography (required compe- including a student teaching practicum. tency), minimum requirement of one Additional coursework includes the history, course theory, and practice of art education. ¥Art History, 12 credits, including at Depending on the completeness of the stu- least one course in 20th century art, one dent’s background, the MAT Program course in non-Western art provides a flexible mix of professional edu- ¥ Introduction to Psychology or cation, advanced studio, and liberal arts Child and Adolescent Psychology study in a 42-credit program that may be ¥ Sociology or Cultural Anthropology completed in three full semesters or two (may be satisfied by GR 692) semesters and two summers. ¥ Aesthetics (may be satisfied by AE 549) MAT candidates must successfully com- ¥Art Criticism plete the Instructional I PRAXIS tests by (may be satisfied by or AE 549) the end of their first semester. Although the ¥ Speech or Acting program normally leads to certification (may be satisfied by AE 200 upon receiving the degree, all candidates Presentation Skills) must, in addition, successfully complete all ¥ Six credits college-level math (prior to the required PRAXIS tests with satisfactory entry to the MAT program) scores to qualify for State certification. This ¥Three credits college-level English unique degree program allows a student to composition (prior to entry to the MAT obtain his/her certification requirements for program) teaching while also earning a master’s ¥ Three credits college-level British or degree recognized by potential employing American literature (prior to entry into school districts and educational institutions. the MAT program) In many cases this enables the MAT recip- ¥ AE 201 Introduction to Visual Arts ient to qualify for a higher salary and often Education preferred placement. Applicants to the MAT Program should possess a BFA or BA degree in studio art with a minimum of 45 credits in studio and 12 credits in art history with a “B” or better cumulative average. They must have com- pleted six credits of college-level math, three credits of college-level English com- position and three credits of British or American literature prior to formal admis- sion to the professional education program. Applicants must also have satisfactorily completed the coursework and/or acquired competencies in fields relating to teacher certification described below. If any defi- ciencies exist, up to 16 corequisite credits may be completed concurrently with the degree and applied to elective requirements.
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Visual Arts Master of Arts in Teaching 42 credits
Summer Credits Note: Courses to satisfy requirements for the MAT are offered at varying times, allowing graduate stu- AE 550** Creative and Cognitive dents’programs to be customized to their needs. Development 3.0 * AE 599 is required of all students who do not pass AE 602** History of Ideas in the Art Education Department Writing Proficiency Art and Museum Education 3.0 Exam with a score of 80% or higher. It must be Summer Total 6.0 taken and passed in the first semester of enrollment, and it does not fulfill any credit requirements for The Instructional I PRAXIS tests must be success- the MAT program. (See course description for addi- fully completed by the end of the first semester. tional information.) Those who score below 70 per- Fall cent on the Professional Writing Proficiency Exam after completing the Professional Writing course AE 599* Professional Writing may not continue in the MAT program. Students Intensive 2.0 enrolled in AE 599 must either pay a per-credit AE 606 Research in Education 3.0 charge for all credits exceeding the 18-credit alott- AE 547+ Program Design and Methods: ment, or must delay two credits of electives to a Elementary 3.0 future semester. Students who have successfully AE 548+ Program Design and Methods: taken the Instructional I Praxis Tests, Reading and Writing, prior to entry into the MAT program are Middle and Secondary 3.0 exempt from the department’s Writing Proficiency AE 559+ Saturday Practicum 3.0 Exam and AE 599 Professional Writing Intensive. AE 552 The Art of Teaching 3.0 ** May be taken either the summer or fall semester. Unrestricted Electives 3.0 +These courses have a required field placement, Fall Total 18.0* and may be taken in either the fall or spring Spring semester. AE 659++ Student Teaching Practicum 9.0 ++ The Student Teaching Practicum consists of two 4.5-credit components: seven-week elementary field Art Education placement and a seven-week secondary field place- Technology Elective 3.0 ment. The two field placements may be taken over Unrestricted Electives 3.0 two semesters. If this option is elected, the full 15- AE 533+ Art and Inclusionary week seminar that accompanies the Practicum must Education 3.0 be taken in both semesters. Spring Total 18.0 Total Credits 42.0
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Students frequently choose to use their including state-of-the-art computers, gal- Book Arts/ elective credits for internships in profes- leries, and the Greenfield Library, whose Printmaking sional laboratories and organizations and visual art collection (books, periodicals, are welcome as interns in many prestigious and slides) is one of the largest among the Master of Fine Arts conservation labs. nation’s visual art schools. Its special col- The MFA Program invites internationally lection of artists’ books provides a valuable Patricia M. Smith recognized visiting artists and critics to give teaching resource. [email protected] workshops, exhibit, speak about their work, Director address issues of entry into the profession, Academic Requirements 215-717-6490 and critique the work of students. A cumulative GPA of 3.0 is required for Distinguished artists are also frequently good standing and for graduation for grad- The MFA Program in Book Arts/ invited to produce books or prints in the uate students. A qualifying review at the Printmaking focuses on the book as a con- Borowsky Center for Publication Arts; stu- conclusion of the first year’s coursework is ceptual departure for art making and dents are welcome to observe or assist in the required to continue in the program. The personal expression. A two-year, 60-credit printing process. final semester culminates in a MFA Thesis program built upon the University’s long By the conclusion of the MFA program, Exhibition. Please refer to CAD Graduate tradition of involvement with the book and the student will have developed the concep- Programs for further information on grad- the printed image, it is open to qualified stu- tual and technical skills necessary to teach, uate requirements. dents with an undergraduate degree in print, design, publish, curate, work in the liberal arts, design, photography, print- fields of book conservation, or open an MFA in Book Arts/Printmaking making, or fine art. independent studio or business. Students explore the book as an art form Faculty that incorporates three-dimensional as well Specialized Facilities James Green as two-dimensional structure, time and Students have individual workstations sequence, text and image. It embraces both Master Lecturer where light tables, storage space, book BFA, Oberlin College the rich history of the book and the new presses, and paper cutters are available. processes and forms created by digital tech- MPh, Yale University They enjoy full use of the University’s well- MLS, Columbia University nology. Its concept of book arts includes equipped studios and specialized facilities, fine-press printing and illustrated texts, including studios for papermaking, non- visual and verbal narratives, and works that Lois M. Johnson silver photography, bookbinding, Professor push the idea of a book toward expressions water-based screenprinting, letterpress, as different as sculpture and multimedia. BSEd, University of North Dakota intaglio and relief printing, stone and paper MFA, University of Wisconsin-Madison Important features of the program are its lithography, and offset lithography. printmaking opportunities, its emphasis on Stationary vertical and portable book investigating traditional and modern book- Peter Kruty presses, a board shear, tabletop shears, and a Master Lecturer binding, and its encouragement of writing guillotine paper cutter are available for and the use of text. Its situation in an arts BA, University of Chicago bookbinding. Letterpress facilities include MLS, MA, University of Alabama university gives the students a unique four Vandercook proof presses, a pho- opportunity to draw on other art areasÐpho- topolymer platemaking system, and over tography, graphic design, multimedia, Hedi Kyle 400 drawers of monotype, foundry, and Adjunct Associate Professor crafts, and sculpture, among others. wood type. Five etching presses and four The course of study, which is individually Diploma, Werk-Kunstschule, Wiesbaden, lithography presses are available for Germany tailored to each student’s interests and expe- printing. Besides an ATF-Davidson offset rience, encourages the development of new press in the lithography pressroom, students concepts, while offering proficiency in both Carol Moore have access to the Borowsky Center for Associate Professor traditional and contemporary processes. The Publication Arts, equipped with a core program of bookbinding, offset lithog- BFA, MFA, Tyler School of Art, Heidelberg KORS offset press and a full Temple University raphy, and letterpress courses is augmented darkroom for experimental and production by investigations into related fields of study printing. An imaging lab houses a darkroom in studio arts and colloquia and seminars on Mary Phelan equipped with enlargers, horizontal and ver- Associate Professor art and the book. Courses in the first tical copy-cameras, and a state-of-the-art semester intersect, reflecting the integration BS, College of Saint Rose filmsetting system integrated with the MA, University of Wisconsin-Madison of skills and concepts integral to book arts. University’s Macintosh computer labs. Through both years, students are encour- In the graduate Book Arts/Printmaking Winifred Radolan aged to work on their writing. The second resource room, students can find book struc- year concentrates on the MFA Thesis Senior Lecturer ture models, books, journals, and BS, Moore College of Art Exhibition under the supervision of an advi- newsletters relating to book arts and print- sory committee. making, and professional materials on book artists, presses, and programs. Students also have access to many of the University’s other extensive facilities,
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Patricia M. Smith Book Arts/Printmaking Assistant Professor Master of Fine Arts 60 credits BA, Immaculata College MA, Philadelphia College of Art Yoshida Hanga Academy, Tokyo Year One Credits Year Two Credits Fall Fall Lori Spencer PR 600 A Colloquium A: PR 700 A Colloquium: Adjunct Assistant Professor Text and Image 1.5 Professional Practices 1.5 BFA, State University of New York, PR 610 A Book Arts Studio: PR 710 A MFA Thesis Studio: Purchase Color Mark 3.0 Projects Tutorial 3.0 MFA, The University of the Arts PR 612 A* Book Arts Studio: PR 711 A MFA Thesis Studio 3.0 Lynne Sures Letterpress 4.5 PR 723 A Bookbinding 1.5 Master Lecturer PR 623 A Bookbinding 1.5 GR 691 University Seminar: BA, University of Maryland PR 626* Offset Lithography 1.5 Structure and Metaphor 3.0 MFA, University of Maryland Electives 3.0 Electives 3.0 Fall Total 15.0 Fall Total: 15.0 Susan T. Viguers Spring Spring Professor PR 600 B Colloquium B: PR 700 B Colloquium: BA,Bryn Mawr College History of the Book 1.5 Professional Practices 1.5 MA, University of North Carolina at PR 610 B Book Arts Studio: Projects 3.0 PR 710 B MFA Thesis Studio: Chapel Hill PR 612 B* Book Arts Studio: Projects Tutorial 3.0 Ph.D., Bryn Mawr College Letterpress 3.0 PR 711 B MFA Thesis Studio: PR 623 B Bookbinding 1.5 Susan White Thesis Exhibition 3.0 GR 692 University Seminar: PR 723 B Bookbinding 1.5 Lecturer BFA, Moore College of Art Art and Design in Society 3.0 GR 791 University Seminar: MFA, The University of the Arts Electives 3.0 Criticism 3.0 Spring Total: 15.0 Electives 3.0 Spring Total: 15.0 First Year Total 30.0 Second Year Total 30.0
Total Credits 60.0
* These courses may be taken for variable credit.
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Studios and Facilities MFA in Ceramics, Painting, Ceramics, During residence at the University, or Sculpture Faculty Painting, or summer MFA students enjoy access to well- Tom Csaszar Sculpture equipped studios and facilities that support Senior Lecturer work undertaken in each discipline. These BFA, University of Pennsylvania Master of Fine Arts include: dedicated painting studios, three major gas kilns with 90, 40, and 30 cubic Gerard Brown Low Residency Program foot capacity, numerous electric kilns, wood Senior Lecturer and metal shops, carving studios, a forge, BFA, Boston University Carol Moore and foundry. Students are expected to locate MFA, School of the Art Institute [email protected] off-campus studio space for work under- of Chicago Director taken during the fall and spring independent 215-717-6106 studio semesters. In addition, students have Jeanne Jaffe access to the University’s extensive facilities Professor These studio-based Master of Fine Arts that include the Greenfield Library, whose BFA, Tyler School of Art, degree programs are intended to broaden visual arts collection ranks among the Temple University and advance the conceptual, critical, histor- largest of the nation’s visual art schools; MFA, New York State College of ical, and practical knowledge needed to state-of-the-art academic computing labora- Ceramics at Alfred University sustain a contemporary studio. The pro- tories; numerous galleries and performance grams have been designed to meet the needs spaces; and the more than 100 museums and Sumi Maeshsima of artists holding BFA or BA degrees who cultural institutions that comprise the Lecturer are interested in pursuing an MFA in either extended campus of the city of Philadelphia. BFA, Parsons School of Design Ceramics, Painting, or Sculpture within a The cultural resources of New York and MFA, The University of the Arts time frame that accommodates their Washington, D.C., are only hours away. employment or academic year schedule. Students will be challenged by the broadly Carol Moore Departing from the traditional semester diverse aesthetic and critical opinions of dis- Associate Professor format, students enter this three-year program tinguished studio faculty and noted visiting BFA, MFA, Tyler School of Art, in summer and complete the major portion of artists and critics who are invited to partici- Temple University their work during three annual eight-week pate in the program each summer. summer residencies of intensive, individually Recent visiting artists and critics have Eileen Neff focused studio experience. In addition to included: Siah Armajani, Barry Bartlett, Jose Adjunct Professor exploration in the major, students pursue Bedia, Paul Bloodgood, Tom Butter, William BA,Temple University interdisciplinary investigations in studio Daley, Arthur Danto, Heidi Fasnacht, Sharon BFA, Philadelphia College of Art topics common to each discipline and address Horvath, Komar and Melamid, Janet Koplos, MFA, Tyler School of Art, contemporary critical issues and methodology Sean Landers, Winifred Lutz, Dominique Temple University in University graduate seminars. Nahas, Thomas Nozkowski, Lisa Orr, Sheila During the fall and spring semesters, stu- Pepe, Howardena Pindell, Elaine Reichek, Gerald Nichols dents complete independent studios, writing Kathy Rose, Annabeth Rosen, Sandy Professor and research projects, and independent Skoglund, Robert Storr, Stephen Tanis, Diploma, Cleveland Institute of Art thesis preparations. Regional students main- George Trakas, Ursula Von Rydingsvard, Dan MFA, University of Pennsylvania tain contact with studio faculty and present Walsh and Leslie Wayne. studio work at specific intervals throughout Summer MFA candidates are expected to Robin Rice the off-campus semester and at final cri- follow the curriculum as structured in order Adjunct Assistant Professor tiques held at the end of the fall and spring to complete the program within three years BFA, Ohio Wesleyan University semesters. Non-regional students meet with and present a final thesis exhibition fol- MA, University of Missouri assigned studio mentors in their geographic lowing the completion of the third summer. region for concurrent periodic and final cri- Jennie Shanker tiques of in-progress and completed work. Vermont Studio Center Lecturer Off-campus writing and research projects Graduate Study Exchange BFA, MAT, The University of the Arts are completed via mail or email communi- The University of the Arts has a special MFA, Yale University cation with seminar faculty. A final thesis relationship with the Vermont Studio Center review and exhibition is held following in Johnson, Vermont. Summer Master of completion of the third summer. Fine Arts candidates who have completed Please note that students enrolled in the the first year in the SUMFA program may Summer MFA program do not qualify for apply to attend VSC during the off-campus student visas as a result of the structure of fall and spring semesters by contacting the the program, and therefore, the programs Director of the Summer MFA Programs. are unfortunately closed to international stu- Scholarships received during the summer dents who need a visa in order to attend. session are not transferable for tuition pay- ment during the off-campus fall and spring semesters. The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 75 CAD 04 8/24/04 10:19 PM Page 76
Ceramics, Painting, or Sculpture Master of Fine Arts 60 credits
Year One Credits Year Two Credits Year Three Credits Summer I Summer II Summer III XX 610 Major Studio in Ceramics, XX 611 Major Studio in Ceramics, XX 710 Major Studio in Ceramics, Painting, or Sculpture 6 .0 Painting, or Sculpture 6.0 Painting, or Sculpture 6.0 FA 611 Graduate Drawing 3.0 Elective* 3.0 FA 612 Professional Practices 3.0 Choose one of the following two: Choose one of the following two: GR 791 University Seminar: GR 691 University Seminar: GR 691 Structure and Metaphor or 3.0 Criticism 3.0 Structure and Metaphor 3.0 GR 692 University Seminar: Summer Total: 12.0 GR 692 University Seminar: Art and Design in Society 3.0 Fall III Art and Design in Society 3.0 Summer Total: 12.0 FA 795 Thesis Exhibition 6.0 Summer Total: 12.0 Fall II Fall Total: 6.0 Fall I FA 781 Thesis Writing Project I in Ceramics, Third Year Total 18.0 FA 691 Independent Studio I in Ceramics, Painting, or Sculpture 1.5 Painting, or Sculpture 3.0 FA 793 Thesis Preparation I 3.0 Total Credits 60.0 FA 695 Independent Writing Fall Total: 4.5 Project I 1.5 Spring II Note: Prefixes (XX) for the major studio courses Fall Total: 4.5 FA 782 Thesis Writing Project II in Ceramics, reflect the student’s area of concentration: Spring I Painting, or Sculpture 1.5 Ceramics (CR), Painting (PT), or Sculpture (SC). FA 692 Independent Studio II in Ceramics, FA 794 Thesis Preparation II 3.0 Painting, or Sculpture 3.0 Spring Total: 4.5 FA 696 Independent Writing Second Year Total 21.0 Project II 1.5 Spring Total: 4.5 *Recommended electives include but are not lim- First Year Total 21.0 ited to: FA 610 Studio Topic AE 602 History of Ideas in Art and Museum Education HU 448 A American Art Since 1945 HU 448 B European Art Since 1945 HU 456 Major Artists
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We are an interdisciplinary program, so Master of Industrial Design Industrial Design we welcome applicants from diverse fields Faculty Master of Industrial such as the fine arts, architecture, sociology, law, business, engineering, and information David Comberg Design technologies. What unites the students is Adjunct Associate Professor their enthusiasm for design and material Jamer Hunt BFA, Massachusetts College of Art culture, as well as an interest in the social MFA, Yale School of Art [email protected] impact of design on our society. All candi- Director dates must hold a bachelor’s degree (or 215-717-6253 Douglas Fanning equivalent). In addition, in order to be Adjunct Associate Professor accepted at the graduate level, all qualified The Master’s Program in Industrial BS, University of Maryland applicants must demonstrate some form of MArch, Columbia University Design is a graduate laboratory for postin- professional involvement in a design-related dustrial design. Students and faculty are field. Each candidate is then carefully actively exploring how to design for new Anthony Guido selected to assure a comprehensive balance Associate Professor social conditions in which behavioral, mate- of disciplines in the program. rial, technological, and natural landscapes BSID, The Ohio State University are shifting. We are committed to devel- Specialized Facilities oping new models of design practice that Jamer Hunt In the graduate design studio, each stu- are multidisciplinary, collaborative, and Director MID, Associate Professor dent is provided with an Apple computer for team-based. We stress process, with an BA, Brown University his/her desktop, access to the University emphasis on research, conceptualization, Ph.D., Rice University network and the Internet, and a powerful communication, and appropriate form- suite of software; there are Windows NT giving. Jonas Milder machines as well for advanced 3-D mod- The program itself is a two-year, 60- Assistant Professor eling. The department also provides access credit curriculum consisting of studio, BID, Fachhochschule für Gestaltung, to digital cameras and projectors for process methods, and seminar courses. The cur- Germany documentation and presentation. riculum is project-based, which means that MID, Hochschule der Künste, Germany Students in the MID program have access each semester, course content is integrated to an Envisiontec Perfactory 3D printer. The around studio-based projects. Projects range Slavko Milekic printer automatically constructs physical from the development of new urban indus- Associate Professor models made of methacrylate (a plactis tries to incubating independent publishing MD, Belgrade University, Yugoslavia material) from digital CAD models. The labels for hard and soft design. By pro- MSc, Ph.D., University of Connecticut Perfactory prints single objects as large as viding research proposals, future studies, 7.5 x 6 x 9 and larger objects may be built in and case studies, we are promoting a new, Barent Roth sections. The plastic may be used as the more proactive role for design education. Senior Lecturer final product, or it may be painted, com- Because design is a collaborative profes- BSID, University of Illinois bined with other materials, transformed into sion, most studio projects will be MID, The University of the Arts other materials, transformed into other team-based. During the first and third materials using molding and casting tech- semesters of study, first-year students will niques, or transformed into metal through work with second-year students in a shared investment casting or electroforming. studio. Semester two is more individually oriented. The final semester of the two-year program is devoted to a master’s thesis in which the candidate will work more inde- pendently with a group of internal faculty and/or outside professionals to develop a thesis project that must advance the candi- date’s chosen field of study. Like the program itself, the faculty repre- sent a wide range of approaches to the practice of design. This means that students have access to currently practicing design professionals with backgrounds in fields ranging from architecture, graphic design, cultural anthropology, and psychology to industrial, systems and environmental design. The Industrial Design Department thus offers a unique core faculty group who share a common philosophy and commit- ment to the design process.
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Industrial Design Master of Industrial Design 60 credits
Year One Credits Fall ID 600 ID Seminar: Concepts and Contexts 3.0 ID 601 Graduate Design Studio 6.0 ID 620 Advanced Design Methods 3.0 GR 691 University Seminar: Structure and Metaphor 3.0 Fall Total 15.0 Spring ID 710 Advanced Project Tutorial I 6.0 ID 627 Human Factors: Interactivity 3.0 GR 692 University Seminar: Art and Design in Society 3.0 Elective 3.0 Spring Total 15.0 First Year Total 30.0
Year Two Fall ID 700 ID Seminar: Professional Development 3.0 ID 602 Advanced Design Studio 6.0 ID 625 Advanced Computer Applications 3.0 Elective 3.0 Fall Total 15.0 Spring ID 711 Advanced Project Tutorial II 6.0 ID 749 Master’s Thesis Documentation 6.0 Elective 3.0 Spring Total 15.0 Second Year Total 30.0
Total Credits 60.0
In addition to required courses, students take elec- tive courses that enable them to pursue their spe- cific interest, as well as overcome deficiencies in their design preparation. In certain cases, particu- larly for applicants from non-design undergraduate programs, it is necessary to complete specific courses in industrial design. These courses are selected from appropriate undergraduate courses and may not apply towards degree requirements.
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Museum Studies Faculty Aaron Goldblatt Museum Studies Senior Lecturer Katherine Beacher BFA, Philadelphia College of Art Polly McKenna-Cress Adjunct Assistant Professor MFA, Tyler School of Art, [email protected] AA, Bauder College Temple University Chairperson Jane Bedno 215-717-6328 Professor Emerita DeShawn Hall BA, Roosevelt University Adjunct Assistant Professor The Museum Studies Department pro- JD, College of William and Mary BFA, The University of the Arts vides students with the skills and MA, The University of the Arts knowledge necessary to promote and Gerard Brown enhance the relationship between museums Senior Lecturer Jamer Hunt and the public. In all three graduate BFA, Boston University Assistant Professor museum programs, students take core MFA, School of the Art Institute BA, Brown University courses addressing the character of of Chicago Ph.D., Rice University museums, the nature of museum audiences, current museum practice, and the theory Allegra Burnette Polly McKenna-Cress underlying museum practice. Senior Lecturer Associate Professor Lecture courses, seminars, and studio BA, Dartmouth College BFA, Rhode Island School of Design courses allow students to understand the MFA, The University of the Arts MFA, The University of the Arts demands of museum practice, to understand past and current issues in the profession, to Susan Clarke-Plumb Janet Kamien address the future needs of museums, to Adjunct Assistant Professor Senior Lecturer meet and talk with professionals in the field, BA,Mary Washington College, BFA, Boston University and to acquire hands-on skills in the many The University of Virginia MED, MFA, Lesley University areas of museum practice. MED, Pennsylvania State University Students specialize in the areas of MED, Harvard University Wm. Frank Mitchell museum exhibition or museum education, Ph.D., Pennsylvania State University Assistant Professor or pursue a more general course of study AB, Bowdoin College focusing on the interface between the Richard Cress MA, Yale University museum and the public. Most museum Adjunct Assistant Professor MA, University of Michigan studies courses are open to all museum BFA, Virginia Commonwealth University Ph.D., University of Michigan studies majors, and some are open to stu- dents from other departments who are Tom Csaszar Carol Moore interested in museum practice and profes- Senior Lecturer Associate Professor sions. A wide range of concepts, BFA, University of Pennsylvania BFA, MFA, Tyler School of Art, experiences, and approaches are encoun- Temple University tered, including hands-on visitor studies Alice A. Dommert and on-site internships and practicums; Senior Lecturer William Plant computer skills are developed for use in BS, Architecture, Louisiana State Adjunct Associate Professor design, publication, museum record- University BA, College of the Atlantic keeping, interactive museum media, and MFA, The University of the Arts MFA, The University of the Arts museum outreach via the Web. Museum Studies graduates find career Barry Dornfeld Mark Shephard opportunities as museum educators, cre- Associate Professor Adjunct Professor ators of museum exhibitions, museum BA,Tufts University BArch, Cornell University digital media specialists, program special- MA, Ph.D., University of Pennsylvania MFA, Hunter College, City University ists, and in the ranks of museum of New York administration dealing with the public: Anne El-Omami MSAAD, Columbia University directorships, collections management and Associate Professor display, public relations, development, and BFA, BA, University of Nebraska, Portia Hamilton Sperr related activities in museums, historic sites, Lincoln Adjunct Associate Professor zoos, aquariums, botanic gardens, and spe- MA, University of Nebraska Diploma in Pedagogy, Assoc. cialist consultancies. Montessori International Laura Foster BA, Barnard College Adjunct Associate Professor BA, Barnard College of Mira Zergani Columbia University Adjunct Assistant Professor JD, University of Baltimore BA,Temple University School of Law
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Museum Communication participate in lectures, seminars, workshops, Museum Master of Arts and study visits to appropriate museums, historic sites, galleries, and government cul- Communication Wm. Frank Mitchell tural agencies. All courses in the department Master of Arts 45 credits [email protected] welcome visiting scholars and museum pro- Director fessionals to give lectures and hold Year One Credits 215-717-6640 discussion groups on aspects of museum Fall practice. The MA in Museum Communication is a The department of Electronic Media, the MS 501 Museum Seminar: course of study in the contemporary theory Master of Industrial Design program, and The Museum 3.0 and practice of museum work. Museum pro- the College of Media and Communication MS 508 The Museum Audience 3.0 fessionals seeking a graduate degree in contribute to the graduate student’s educa- MS 600 Museology 3.0 museum studies for professional advance- tion through interdepartmental coursework, GR 691 University Seminar: ment, and museum volunteers who seek workshops, seminars, and interdisciplinary Structure and Metaphor 3.0 professional credentials to make the transi- special projects. Elective* 3.0 tion into professional museum work can Applicants to the Master of Arts in Fall Total 15.0 acquire the skills, knowledge, and practical Museum Communication should possess a training in dealing with the public sector, BFA, BA, or BS degree, demonstrated work Spring with responsibilities that include museum experience in the museum field or in related MS 601 Issues in Museums Seminar 3.0 publications, public relations, membership, institutions/consultancies, or discipline- MS 740 Thesis Research 3.0 development, record-keeping, outreach activ- based training, and the intention of utilizing MS 749 A Thesis Development 1.5 ities including Internet presence, and visitor this specialized training in a museum con- Elective* 3.0 services. text, and basic word processing and Internet Elective* 3.0 Organized within the traditional academic research skills. GR 692 University Seminar: semester framework, with some short, inten- sive one- and two-week-long sessions during Art and Design in Society 3.0 the winter and summer academic breaks, and Spring Total 16.5 annual international museum issues semi- First Year Total 33.0 nars, the Department of Museum Studies prepares those who seek careers as collec- Year Two tions managers, exhibition developers, Summer educators, and media and public affairs spe- cialists. International museum professionals MS 759 Museum Internship 3.0 may further their careers through the acqui- Summer Total 3.0 sition of academic credentials and through a Fall broader perspective and knowledge of cur- rent museum practices acquired in courses, MS 602 Museum Governance: Legal Issues, seminars, special museum placements, Ethics in Museums 3.0 internships, and a thesis. Course content and MS 749 B Thesis Development 1.5 design, which bridge the academic and the Elective* 3.0 professional, recognize the growing need for Elective* 3.0 specialized museum training and preferences Fall Total 10.5 in a competitive job market for those with Second Year Total 13.5 both graduate degrees and museum studies training. Graduates work in museums of Total Credits 45.0 anthropology, archaeology, fine art, history, natural history, science centers, zoos, arbore- tums, and national parks. Others find * Nine credit hours of electives must be in Museum employment in government agencies, histor- Studies. ical societies, historic sites and houses, and with private and corporate collections and foundations. Full-time MA students undertake a three- semester academic course of study, and a 12-week (240-hour) internship placement. Those students studying for the MA in Museum Communication conclude their degree program through the submission of a written thesis, thesis defense, and examination. During each 15-week semester, students
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Museum Education separately or in conjunction with another Museum Education Master of Arts master’s program at The University of the Arts. The core includes courses from the Master of Arts 36 credits Anne El-Omami museum studies core and may also include [email protected] the Graduate Museum Project and Year One Credits Director Internship with special approval. This series Fall 215-717-6051 or 717-6050 of courses may be combined with the Master of Arts in Teaching in the Visual AE 606 Research in Education: The Master of Arts in Museum Education Arts, the Master of Arts in Art Education, or Methods and Trends 3.0 is a concentrated program focused on the the MFA in Museum Exhibition Planning GR 691 University Seminar: development and implementation of appro- and Design. Structure and Metaphor 3.0 priate pedagogical practices and AE 550 Creative and Cognitive critical/interpretive skills for communi- Development 3.0 cating to the public about culture and the MS 510 Museum Education arts. Coursework comprises three distinct Practicum 3.0 areas: a broad education core addressing MS 508 The Museum Audience 3.0 theory and methods, a concentration in MS 658 Museum Education museum studies and practices, and a profes- Internship 3.0 sional core including research and an internship with a cooperating museum. Fall Total 18.0 Applicants should have had a core of at Spring least 40 credits in the arts, liberal arts, MS 622 Media for Museum and/or communications, with a minimum of Communication 3.0 18 credits in art history (or 12 credits in art MS 615 Educational Programming history and six credits in anthropology or for Museums and communications). This degree is an appro- Alternative Sites 3.0 priate option for those with a strong commitment to providing educational pro- MS 648 Graduate Museum Project 3.0 gramming within a museum context or MS 658 Museum Education alternative site, as well as for teachers who Internship 3.0 wish a concentration in museum education Choose one of the following two: so they may utilize museum resources more MS 501 Museum Seminar: effectively in the classroom. The Museum 3.0 Museums and galleries worldwide are MS 600 Museology 3.0 becoming more dependent upon their audi- GR 692 University Seminar: ences for support. The role of museums is Art and Design in Society 3.0 changing to meet audience demands, Spring Total 18.0 including expectations for more relevant and accessible public educational program- Total Credits 36.0 ming to promote cultural knowledge and interests. This growing trend has created a Additional elective courses are encouraged in greater demand for well-trained profes- interactive media, multicultural learning arts, sionals with special knowledge and design for interdisciplinary learning, history of expertise in planning and implementing ideas in art and museum education, and media for museum programs. Additionally, current museum communication. educational theory and methodology embrace the inclusion of art history, criti- cism, and aesthetics as critical components of the arts education curriculum, all areas heavily dependent upon museums for exem- plary resources and reference. The MA in Museum Education focuses on a wide variety of museums and institutions with similar missions and operations, and pre- pares educators to function within the changing context of contemporary schools, museums, and related institutions. The MA in Museum Education may be completed in two semesters and a summer or in three semesters. The Museum Studies core may be taken
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Museum Exhibition to develop the necessary background in Specialized Facilities design. Students from non-design, non-art The graduate studios in Museum Planning and Design backgrounds are also encouraged to apply. Exhibition Planning and Design feature Master of Fine Arts The first year provides a basic under- direct student access to a Computer-Aided Polly McKenna-Cress standing of the exhibition process, with the Design Center. The Computer-Aided Design [email protected] first semester focused on conceptual develop- Facility and the Academic Computing labora- Director ment, planning, systems, and intellectual tories are completely equipped computer 215-717-6328 analysis of problems, and the second on the centers dedicated to drafting, rendering, practical implementation of concepts and on desktop publishing, computer-aided graphic Recognized formally by the American understanding materials and methods of exhi- design, multimedia, and illustration. Students Association of Museums since 1981, the field bition design and production. The second get installation experience through the of exhibition planning and design has year is dedicated to practice of skills learned University galleries and regional institutions. become a demanding, fast-growing profes- during the first year, and practical exposure sion as museums respond to the demand for to actual exhibition development practice in exhibitions addressed to public needs and museums and museum consultancies. interests. With the cooperation of a group of Activities during the final semester are major regional museums, following the focused primarily on thesis development and guidelines established by N.A.M.E. (National completion. Association for Museum Exhibition), The University of the Arts offers a two-year, 60- credit Master of Fine Arts degree that prepares students for professional careers in the development and design of exhibits for museums and other interpretive centers, focusing on methods of presentation for col- Museum Exhibition lections, while exploring the full range of Planning and Design exhibition communication and methodology. Master of Fine Arts 60 credits Representatives of cooperating museums and the University faculty offer a curriculum that addresses the conceptualization, Year One Credits Year Two Credits research, organization, design, and produc- Fall Summer tion of museum exhibits and educational presentations, utilizing a variety of tech- MS 501 Museum Seminar: MS 759 Museum Internship* 3.0 niques and media. It also explores exhibit The Museum 3.0 Summer Total 3.0 MS 610 A Museum Exhibition programming, evaluation, and management Fall Design Studio 6.0 methods applicable in a wide range of MS 710 Museum Exhibition MS 620 A Museum Graphics 1.5 museum situations. Visiting experts teach Design Studio 6 .0 MS 623 A Exhibition Materials many aspects of museum presentation, edu- MS 508 The Museum Audience 3.0 and Methods 1.5 cation, and management, and students make MS 749 A Thesis Development 3.0 Elective 3.0 formal visits to design departments, produc- GR 691 University Seminar: tion shops, galleries, exhibits, and programs Fall Total 15.0 Structure and Metaphor 3.0 in numerous museums, service providers, and Spring consultancies in Philadelphia, the Mid- Fall Total 15.0 Atlantic Region, Washington, D.C., and New MS 502 Museum Seminar: Spring The Exhibition 3.0 York. MS 622 Media for Museum MS 610 B Museum Exhibition Students undertake a thesis project and a Communication 3.0 Design Studio 6.0 supervised museum internship related to their MS 749 B Thesis Development 3.0 MS 620 B Museum Lighting career interests during the second year of the GR 791 University Seminar: and Color 1.5 program. To preserve the intimate contact Criticism 3.0 with museum professionals and to guarantee MS 623 B Exhibition Materials Elective 3.0 participants studio facilities, the program is and Methods 1.5 limited to nine entrants per year. GR 692 University Seminar: Spring Total 12.0 Most candidates for this program will have Art and Design in Society 3.0 Second Year Total 30.0 previously completed a baccalaureate degree Spring Total 15.0 in industrial, graphic, interior, or architectural Total Credits 60.0 design, and demonstrate an acceptable level First Year Total 30.0 of professional accomplishment through a portfolio or another appropriate means. * Students with at least six months of direct exhibition- Alternatively, they may seek admission with related experience in a museum, equivalent institution, a baccalaureate in a discipline related to a or a museum consultancy may substitute one three- hour elective for the internship requirement. particular career direction, and take courses
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Graduate Seminars The graduate seminar serves as a lively, interdisciplinary forum that brings together students engaged in discreet graduate pro- grams to examine relationships between contemporary visual culture and historic ideas about art and design. Recognizing Philadelphia as a setting and laboratory for the development of collaborative projects and career initiatives, students in the seminar can discuss and apply ideas being explored in their own fields of study in order to identify and cultivate connections between and beyond their respective areas of study. In practice, graduate seminar study empha- sizes the development of writing, research, and critical skills to aid students in the com- munication and documentation of their work and ideas — both in the major, as it pertains to their specific explorations, and in the wider contemporary context of art and design issues. The seminar experience offers stu- dents the opportunity to develop presentation skills by maximizing the use of multimedia applications for presentations of their research results. Each graduate program in The College of Art and Design offers a selection of semi- nars designed to inform the direction of the major curriculum. Seminar course listings, Structure and Metaphor, Art and Society, and Criticism are described in the course descrip- tions, and are listed as part of each graduate program’s curriculum.
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College of Media and Communication
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College of Media and Programs of Study The College of Media and Communication is dedicated to the inte- Communication gration of art, technology, and communication. In recognition of the new artistic opportunities that have recently emerged and of the Neil Kleinman importance of technology in many areas of communication, pro- [email protected] grams in the College of Media and Communication are characterized Dean by their reliance on text, their use of appropriate technologies, and 215-717-6590 their commitment to collaboration and other strategies that take advantage of individual expertise and vision placed in a cooperative Barbara Spodobalski setting. [email protected] A distinctive aspect of the programs in the College is their multi- Assistant to the Dean disciplinary nature. Specialized courses that are unique and essential 215-717-6024 to the field are augmented by major courses drawn from various pro- grams throughout the University, and students are encouraged to The College of Media and Communication has approval of the explore The University’s vast artistic and academic offerings through Commonwealth of Pennsylvania to grant Bachelor of Fine Arts and electives and minor courses of study. Bachelor of Science degrees as part of The University of the Arts. The programs offered in the College are: The newest of The University’s three colleges, the College of ¥ BS in Communication Media and Communication provides a crossroads for students inter- ¥ BFA in Multimedia ested in performing and visual arts, writing and narrative, new ¥ BFA in Writing for Film and Television media, new technology, and interactivity. In small classes, students Each program is designed as a rigorous sequential course of study, take advantage of an extremely close and supportive atmosphere, and balancing major requirements with electives and a 42-credit liberal the opportunity to shape an education that is highly individualized arts core. As a result, each program promotes an education that is and able to reflect their goals and interests. broad and deep, as well as being practical and richly theoretical. Students graduate knowing both how to make ideas using a diverse set of media while also learning to think about what they are making and why. To extend their education, CMAC students may also develop spe- cialized competencies by taking minors in a number of new areas: ¥ Documentary Video ¥ E-Music ¥ E-Publishing ¥ Game Design ¥ Information Architecture ¥ Multimedia ¥ Narrative Video ¥ Screenwriting ¥ Strategic Advertising ¥ Web Design ¥ Web Drama These minors have been designed to complement the College’s majors and have been developed with an eye both to new forms of creative expression and the new careers that have emerged as a result of the Internet and the growth of new media. Special Facilities & Resources The College of Media and Communication is housed in the recently renovated Terra Building where students and faculty have access to excellent facilities and equipment. Production Studio The College houses a multi-functional production studio available for use by students in the College’s video, audio, advertising, and journalism classes. The studio offers students a flexibly designed space in which to produce documentary television features, educa- tional video and films, news features, corporate media, and television commercials. Associated with it is a sound studio that also serves as the center for the Communication Department’s Web radio, Web TV, and Webzine.
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Digital Labs and Editing Rooms New Media Center Students in Communication use a digital lab with a range of state- Chris Garvin of-the-art audio and video systems, pre- and post-production equip- Director ment, PC, Mac, and Unix systems, and a complete spectrum of audio, The University of the Arts is proud to be a member of the New video, and Web software used to create films, videos, advertising Media Centers, a group of the nation’s leading academic institutions campaigns, and Web dramas. In addition, there is a logging and dub- and technology corporations dedicated to the advancement of tech- bing studio, as well as several private editing suites available to nology in education. The University of the Arts is one of the few art students who need a quiet place and long blocks of uninterrupted schools worldwide to be welcomed into this organization, whose time to edit their work. members include New York University, Cornell, MIT, and UCLA. The University of the Arts’ New Media Center (NMC) is a state- Multimedia Studios and Labs of-the-art digital laboratory that provides Internet access and permits The College’s multimedia studios provide students with the most the integration of text, graphics, imagery, animation, music, and advanced multimedia equipment in the region. The cross-platform sound. While the entire University community uses these labs, the production environment spans Macintosh, PC, and Unix-based oper- NMC is the primary classroom for students in the College’s ating systems. A MAVIO station (Mobile Audio-Visual Input/Output) Multimedia Program. allows users to input analog and digital information and to output digital and analog information as well. These studios are equipped CMAC Minors with industry-standard software from which students can create illus- The College of Media and Communication offers minors that trations, scan images, record sounds, digitize video, and create enable a student to focus on a specific discipline through organized CD-ROMs. Students in the Multimedia Program use these labs to electives. Open to majors throughout the University, CMAC minors work on video games, animations, Web narratives, interactive have been designed to complement a major course of study so that Websites, and digital videos. students can develop cross-disciplinary skills and applications, to support interdisciplinarity collaboration, and to add skills and experi- MIDI Studio ences that enrich a student’s capabilities in a variety of career and The College features a MIDI Studio (Musical Instrument Digital creative fields. Each minor has a coordinator/advisor, but students are Interface), which is used by students in multimedia and e-music to expected to work with their major advisors so that a minor does not create electronic and experimental music for documentary and narra- conflict with the courses required by their major. tive film and video, Web drama, and games. 1. Students must meet eligibility requirements, which may include a satisfactory grade-point average, prerequisites, and departmental Equipment Room portfolio review. The College’s Equipment Room offers CMAC students the oppor- 2. An intent to complete a minor is declared by filing the com- tunity to borrow the most current portable video, audio, and pleted Minor Declaration Form with the Office of the Registrar. The photographic equipment for off-campus production. The equipment forms are available in the Office of the Registrar. includes digital video and still cameras, DAT and Minidisk audio 3. A student may not major and minor in the same program, except recorders, Lowell location lighting kits, and an array of microphones, where indicated. field monitors, and accessories. 4. Courses applied to the minor may only be applied towards elec- tive requirements. Galleries 5. All minors require a minimum of 15 credits, with the exception There are a number of galleries and display areas throughout the of E-Music for Music majors. Generally, no substitutions to the College that are highly flexible, equipped with professional lighting, minor requirements are allowed. In exceptional situations where sub- and supported by multimedia equipment for the display of work in all stitutions are granted, they must have the approval of both the major media. There are periodic shows of student documentaries, final and minor program advisors. projects and works-in-progress developed by students as part of their 6. The requirements of the minor must be completed prior to grad- classes or independent study, as well as shows of work by faculty and uation. distinguished outsiders. 7. A student pursuing a minor may be required to complete more than the minimum number of credits required to complete the under- Special Resources graduate degree in order to also complete the minor. To provide its students with experience in publishing new media, 8. Minors are available only to undergraduate students. the College sponsors a student-run Webzine, a Web radio, and Web TV site, hosts a number of student- and alumni-produced Websites, and supports student-developed videos, games, and interactive projects.
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Documentary Video Minor E-Publishing Minor The minor in documentary video provides instruction in the The minor in e-publishing provides students with skills connected to making of creative non-fiction stories, essays, and informational pro- both the craft and business of writing and publishing online. This minor grams, primarily in video form. It is designed for students who wish provides students with an opportunity to strengthen their journalistic to augment their studies in a related field. Through this minor, stu- and expository writing styles especially as used in electronic media, dents learn to document the lives and narratives of people and places, while also learning the basics of the business of establishing a Website, portray historical, political and contemporary events, present infor- Webzine, Web radio, or Weblog. The skills learned are useful for stu- mation in accessible and stimulating forms, and make persuasive dents who are interested in online publishing as an independent arguments, as well as to learn the skills related to documentary pro- publisher or freelance writer, as well as those who wish to work with duction. Communication majors may not declare a Documentary online publishing enterprises. Majors in Communication may not Video minor. declare an E-Publishing minor.
CM 293 History of Documentary 3.0 credits CM 381 Digital Journalism I 3.0 credits CM 391 Documentary Production I 3.0 HU 272 Money Matters: CM 392 Documentary Production II 3.0 Applied Economics 3.0 Elective* 3.0 CM 340 E-Publishing Thesis Project 3.0 One of the following: Elective** 3.0 CM 120 Sound Communication 3.0 One of the following: PF 320 Film Sound 3.0 MM 221 Interactive Studio I* 3.0 MM 340 Interactive Programming 3.0 *To be determined with minor advisor. *Not applicable as minor credit for Multimedia majors. E-Music Minor **To be determined with minor advisor. The minor in e-music offers students majoring in both Multimedia and Music an opportunity to create electronic and experimental Game Design Minor music, to develop skills that allow them to produce, package, and dis- The minor in game design explores the principles that inform tribute music by taking advantage of digital technology, and to design games Ð how they work, how to make them, why they are important, electronic instrumental interfaces. The minor prepares students for a and how they help us understand our world and social interactions. variety of highly entrepreneurial careers ranging from entertainment Students learn to construct logical narratives and rules that make pos- and product development to creative and production work in the sible the creation of an active space in which gaming can take place. recording and musical fields. This minor is only available to students Using skills based upon interface and experience design, students majoring in Multimedia or Music. Please note that this minor program, write, and design interactive games. Upon completing the requires 17 credits for Music majors. Specific requirements for minor, students will have completed a fully functional prototype of Music majors can be found in the School of Music section of this cat- an original game. alog. MM 240 Writing for Games 3.0 credits MU 306 History of Rock & MM 342 Game Play 3.0 Experimental Music 3.0 credits MM 344 Game Design Thesis 3.0 MU 413 A Recording 2.0 Elective ** 3.0 MM 370 E-Music Thesis Project 3.0 One of the following: MU 111 A/B Composition/Non-Majors 2.0 MM 221 Interactive Studio I *+ 3.0 MM 440 Innovative Interfaces 3.0 MM 222 Interactive Studio II * 3.0 MU 130 A/B Piano for Non-Majors (1/1) 2.0 MM 341 Programming for Games 3.0
*Not applicable as minor credit for Multimedia majors. +Not applicable as minor credit for Communication majors. **To be determined with minor advisor; must be fulfilled with MM 121 for Writing for Film and Television majors.
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Information Architecture Minor Narrative Video Minor The minor in information architecture shows students how The minor in Narrative Video explores digital video as a medium designed information creates meaning. Students develop an under- for storytelling. It introduces students to various aspects of video pro- standing of user workflow, information design, and interactivity. duction, including scriptwriting, storyboarding, editing, sound They learn to create easy-to-use interfaces and information spaces. design, directing, and producing. Students develop their skills as they The program has been created for students interested in developing advance from scene exercises through a short film to a final year-long web sites and CD-ROMs, as well as other vehicles whose purpose is project. Majors in Film/Digital Video may not declare a minor in to deliver information clearly and efficiently. Majors in Multimedia Narrative Video. may not declare a minor in Information Architecture. A portfolio review and interview are required before a student is accepted into One of the following: the minor. WM 219 Writing for Film* 3.0 credits CM 295 Narrative Video MM 121 Introduction to Production Workshop 3.0 Interface Design 3.0 credits PF 410 A Senior Cinema Production I 3.0 MM 130 Information Concepts 3.0 PF 410 B Senior Cinema Production II 3.0 MM 221 Interactive Studio I 3.0 One of the following: MM 222 Interactive Studio II 3.0 CM 120 Sound Communication** 3.0 MM 320 Advanced Interface Seminar 3.0 PF 320 Sync-Sound for Narrative Film** 3.0 Multimedia Minor The minor emphasizes the development of multimedia as an art *Not applicable as minor credit for Writing for Film and form, where students work in-depth to develop media-rich, multi-sen- Television majors. A production, film studies, or Liberal Arts film- sorial, interactive experiences. The minor provides skills, concepts, related elective is taken instead, and is to be determined with minor and tools for students interested in multimedia as a creative and adviser. expressive art form. Majors in Multimedia may not declare a minor **Not applicable as minor credit for Communication majors. A in Multimedia. production, film studies, or Liberal Arts film-related elective is taken instead, and is to be determined with minor advisor. MU 149 Aural Concepts 3.0 credits MM 219 Intro. to Multimedia 3.0 Recommended electives for Communication and Writing for Film MM 310 Multimedia Studio I 3.0 and Television majors include: CM 391 Documentary Media MM 311 Multimedia Studio II 3.0 Production I; PF 423 Professional Practices in Film/Video; PF 424 One of the following: Time: A Multidisciplinary Seminar; WM 215 Screenwriting II; WM MM 111 Visual Concepts 3.0 225 Interactive Writing; WM 241 Arts of the Media; WM 243 Acting EM 110 Computer Concepts 3.0 and Directing for Writers. MM 231 Digital Storytelling 3.0 Screenwriting Minor The minor in screenwriting provides instruction and applied expe- rience in the craft of scriptwriting for motion pictures and episodic television. Topics include story structure, character, plot, beats, dra- matic conflict, dialogue, and industry script formats. Students advance from scene exercises through short scripts to major, profes- sional-length portfolio pieces. Majors in Writing for Film & Television may not declare a screenwriting minor.
WM 215 Screenwriting II 3.0 credits WM 219 Writing for Film 3.0 WM 243 Screenplay Analysis 3.0 One of the following sequences: WM 321 Adv. Screenwriting I 3.0 WM 322 Adv. Screenwriting II 3.0 or WM 317 Episodic TV Writing I 3.0 WM 318 Episodic TV Writing II 3.0
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Strategic Advertising Minor Web Drama Minor The minor in advertising strategy provides instruction in strategic The minor in web drama allows students to learn and apply dra- thinking and creative execution required to design advertisements and matic storytelling techniques to the web. It focuses on the ad campaigns in multiple formats (print, audio, video, and interactive). fundamentals of scriptwriting and interactivity, the acquisition of This minor offers tools and concepts to students interested in marketing basic video and animation techniques, and the overall adaptation of and promoting any product, service, or artistic activity. It broadens the these elements to the Internet. The minor allows students to combine career options of students in any of the media and communication disci- the principles necessary to write for television, film, or video with plines, and prepares them to work in both the profit and not-for-profit those of interactivity required for web production. Upon completion sectors of the media and communication industries. Communication of this minor, students will have written and produced a dramatic majors may not declare a strategic advertising minor. story that is suitable for web distribution.
CM 271 Creative Concepts I 3.0 credits WM 225 Interactive Writing I 3.0 credits CM 371 Advertising Strategy 3.0 WM 226 Interactive Writing II 3.0 CM 372 Creative Concepts II 3.0 WM 330 Web Drama Studio 3.0 Elective*** 3.0 One of the following: One of the following: WM 219 Writing for Film* 3.0 CM 211 Writing for Media* 3.0 MM 221 Interactive Studio I** 3.0 CM 373 Introduction to One of the following: Public Relations** 3.0 CM 120 Sound Communication*** 3.0 CM 290 Video Production *Not applicable as minor credit for Multimedia majors. Workshop**** 3.0 **Required for Multimedia majors. MM 233 Interactive Narrative***** 3.0 ***To be determined with minor advisor. *Not applicable as minor credit for Writing for Film and Web Design Minor Television majors. Required for Communication and Multimedia The minor in web design provides skills, concepts, and tools for majors. students interested in web design as a creative medium of expression, **Applicable as minor credit only for Writing for Film and as a form of communication, or as a profession. The skills learned Television Students. enhance the preparedness of students wishing to enter the design, ***Not applicable as minor credit for Communication majors. communication, and media industries. Fine artists interested in the ****Not applicable as minor credit for Writing for Film and role that Internet-based technologies and interactivity play in their Television majors. work will also find this minor to be broadening. Multimedia majors *****Not applicable as minor credit for Multimedia majors. may not declare a web design minor.
MM 121 Introduction to Interface Design 3.0 MM 311 Multimedia Studio II 3.0 One of the following: MM 110 Visual Concepts I# 3.0 MM 111 Visual Concepts II* 3.0 Two of the following: MM 221 Interactive Studio I**+ 3.0 MM 222 Interactive Studio II*+ 3.0 MM 332 Advanced Interface Seminar 3.0
*Required for Communication majors. **Not applicable as minor credit for Communication majors. + Required for Writing for Film and Television majors.
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College of Media and Nicole Marie Keating Steven Saylor Communication Faculty Assistant Professor Assistant Professor BA, McGill University BA,Franklin and Marshall College David Brown MA, Ph.D., University of Pennsylvania MA, MFA, Temple University Assistant Professor BS, Duquesne University Neil Kleinman Art Stiefel MTS, Eastern Baptist Theological Professor Senior Lecturer Seminary BA, University of California, BFA, The School of Visual Arts Santa Barbara Geoff DiMasi MA, Ph.D., University of Connecticut Diane Walsh Assistant Professor JD, University of Pennsylvania Associate Professor BA, Rutgers University BA, San Jose State University MFA, The University of the Arts Gary Kopervas Senior Lecturer Michael Wellenreiter Barry Dornfeld BA, Gettysburg College Senior Lecturer Associate Professor BS, University of Wisconsin, Madison BA,Tufts University K. Lynne Koval-Bauer MFA, Temple University MA, Ph.D., University of Pennsylvania Assistant Professor BA, University of Texas at Austin Jeffrey Wolper De Angela Duff BA, University of Akron Adjunct Associate Professor Assistant Professor BA, LaSalle University BFA, Georgia State University Sharon Lefevre MS, Ph.D., University of Pennsylvania BS, Georgia Institute of Technology Assistant Professor BA,Princeton University Mark Ellis MA, MPhil, Columbia University Master Lecturer BA, Pennsylvania State University Larry Loebell Adjunct Assistant Professor Louis Fuiano BA,MFA,Temple University Senior Lecturer MA, Colorado State University
Chris Garvin Slavko Milekic Assistant Professor Associate Professor BFA, State University of New York MSc, MD, Belgrade University, Yugoslavia at Buffalo Ph.D., University of Connecticut MFA, The Ohio State University Jack Murnighan Marty Goldensohn Assistant Professor Senior Lecturer BA, Brown University BA,New York University MA, Duke University
Dave Hartl Camille A. Paglia Assistant Professor University Professor BM, West Chester University BA, State University of New York at Binghamton Susan Jacobson MPhil, Ph.D., Yale University Adjunct Assistant Professor BS, University of Florida John J. H. Phillips MPS, New York University Adjunct Professor
Ron Kanter Barent Roth Master Lecturer Adjunct Assistant Professor BS, Temple University BSID, University of Illinois MFA, University of Pennsylvania MID, The University of the Arts Jeff Ryder Associate Professor BA, Rider College
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Freshmen take courses that offer both an Communication Communication historical and a social perspective to commu- nication, while they learn visual and sound Core Curriculum Barry Dornfeld fundamentals through introductory courses. The core curriculum is common to all majors in the [email protected] They are introduced to digital still and video Communication program. These required courses Director cameras and post-production studios, and develop a solid foundation from which students 215-717-6470 begin to produce and critique their own work. pursue their choice of concentration. Students for- The year-long Media Forms and Contexts mally select their concentration during the advising Media makers occupy a place of great course in the sophomore year acts as a key- period in the fall of the junior year. stone to the basic Communication curriculum. influence and importance in our increasingly Freshman Year Credits The course gives students experience in pro- mediated world. This studio-based Fall Communication program is designed to ducing in a broad range of media genres, and CM 120 Sound Communication 3.0 reflect the changing nature of the media includes screenings of cutting-edge film and CM 250* History of Communication 3.0 industries due to new technologies, demo- video work. Interactive Studio and Writing for graphic diversity, and the increase in global Media teach important basics in web design MM 110 Visual Concepts I 3.0 flows of ideas, images, and products. Upon and writing. The Interactive Studio and Writing LA CR 101 First Year Writing I 3.0 their graduation, we expect our students to be for Media courses round out this year. HU 103 A Intro. to Modernism I 3.0 able to work in a variety of media forms, to In the junior year, students work more Fall Total 15.0 intensively in each of the program concentra- be broadly knowledgeable about the media Spring tions Ð Documentary Production, Digital industry, and able to think critically about CM 290 Video Production Workshop 3.0 media making and the media’s impact on cul- Journalism, and Advertising. Media Industries and Communication Theory and MM 130 Information Concepts 3.0 ture and society. Electives 3.0 Students learn how to create work in one Culture in the 20th Century deepen students’ understanding of the changing landscape of LA CR 102 First Year Writing II 3.0 or more of three principal concentrations: HU 103 B Intro. to Modernism II 3.0 documentary production, digital journalism, media industries and their cultural impact. and advertising using the digital tools of the For their senior year, students choose one Spring Total 15.0 trade. While developing professional skills in of the three concentrations as the focus of Freshman Year Total: 30 .0 these areas, they are exposed to theory in their major work, taking a year-long produc- communication and media studies, grounding tion course. Through this intensive training, Sophomore Year students develop a portfolio of media work, their production work in an understanding of Fall how to think about media and its place in pulling together their previous experiences and interests into a project that can represent CM 201 Media Forms and Contexts I 4.5 contemporary culture. Students learn about CM 211 Writing for Media 3.0 the connections between aesthetic their abilities to the professional world. Additional courses, including two intern- PF 220 Intro. to Documentary approaches and communicated meaning, Photography 3.0 about the history of communication, and ships, prepare students for professional life Electives 3.0 about cultural context and organizational beyond the University. HU XXX Liberal Arts 3.0 constraints, and grapple with the ethical con- In addition to the major, students may siderations that arise in professional practice. minor in a five-course sequence designed to Fall Total 16.5 Throughout their undergraduate training, augment their major. Students in Spring students take a range of courses in the liberal Communication are particularly interested in CM 202 Media Forms and Contexts II 4.5 minors in: arts and choose electives throughout the CM 271 Advertising: Narrative Video University. Students’ production work builds Creative Concepts I 3.0 Screenwriting on this intellectual base, beginning with exer- MM 221 Interactive Studio I 3.0 cises and growing to intensive projects in the Web Design Photography Electives 3.0 selected area of concentration. The program HU 272 Money Matters 3.0 stresses digital media production across plat- Spring Total 16.5 forms and promotes an understanding of what these new tools make possible and what Sophomore Year Total: 33.0 they limit. * Indicates discipline history requirement.
Liberal Arts Distribution Note all Liberal Arts courses are 3.0 credits. LA CR 101/102 3 cr. 3 cr. HU 103 A/B 3 cr. 3 cr. CM 250/251 3 cr. 3 cr. CM 260 3 cr. Literature 3 cr. Humanities 3 cr. Social Science 3 cr. 3 cr. Science/Math 3 cr. Lib. Arts Electives 3 cr. 3 cr.
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Advertising Concentration Digital Journalism Documentary Production 123 credits Concentration 123 credits Concentration 123 credits Students learn to work in the creative sectors of the Students learn to combine research, reporting, Students learn to use digital video and audio to cap- advertising industry by combining creative skills, writing, editorial, and interactive design skills ture real-world stories in moving images. Courses strategic thinking, and the use of multiple media. by developing news-based material for online emphasize technique, project management, and publications. moving from concept through research to execution Junior Year Credits of documentary projects. Fall Junior Year Credits CM 371 Advertising Strategy Fall Junior Year Credits Development 3.0 CM 381 Digital Journalism I 3.0 Fall CM 381 Digital Journalism I 3.0 CM 391 Documentary Media Prod. I 3.0 CM 381 Digital Journalism I 3.0 CM 391 Documentary Media Prod. I 3.0 CM 260 * Media Industries 3.0 CM 391 Documentary Media Prod. I 3.0 CM 260 * Media Industries 3.0 Electives 3.0 CM 260 * Media Industries 3.0 HU XXX Liberal Arts 3.0 HU XXX Liberal Arts 3.0 Electives 3.0 Fall Total 15.0 Fall Total 15.0 HU XXX Liberal Arts 3.0 Spring Spring Fall Total 15.0 CM 372 Adv: Creative Concepts II 3.0 CM 382 Digital Journalism II 3.0 Spring CM 373 Intro. to Public Relations 3.0 CM 383 News and Culture CM 392 Documentary Media Prod. II 3.0 CM 251* Communication in the Digital Age 3.0 CM 293 History of Documentary 3.0 Theories and Culture 3.0 CM 251* Communication CM 251* Communication Electives 3.0 Theories and Culture 3.0 Theories and Culture 3.0 HU XXX Liberal Arts 3.0 Electives 3.0 Electives 3.0 Spring Total 15.0 HU XXX Liberal Arts 3.0 HU XXX Liberal Arts 3.0 Junior Year Total: 30.0 Spring Total 15.0 Spring Total 15.0 Junior Year Total: 30.0 Junior Year Total: 30.0 Senior Year Fall Senior Year Senior Year CM 461 Senior Studio I 4.5 Fall Fall CM 499 Internship 1.5 CM 461 Senior Studio I 4.5 CM 461 Senior Studio I 4.5 Electives 3.0 CM 499 Internship 1.5 CM 499 Internship 1.5 HU XXX Liberal Arts 6.0 Electives 3.0 Electives 3.0 Fall Total 15.0 HU XXX Liberal Arts 6.0 HU XXX Liberal Arts 6.0 Spring Fall Total 15.0 Fall Total 15.0 CM 462 Senior Studio II 4.5 Spring Spring CM 435 Current Issues in Comm. 3.0 CM 462 Senior Studio II 4.5 CM 462 Senior Studio II 4.5 CM 499 Internship 1.5 CM 435 Current Issues in Comm. 3.0 CM 435 Current Issues in Comm. 3.0 Electives 3.0 CM 499 Internship 1.5 CM 499 Internship 1.5 HU XXX Liberal Arts 3.0 Electives 3.0 Electives 3.0 Spring Total 15.0 HU XXX Liberal Arts 3.0 HU XXX Liberal Arts 3.0 Senior Year Total: 30.0 Spring Total 15.0 Spring Total 15.0 Senior Year Total: 30.0 Senior Year Total: 30.0
* Indicates discipline history requirement.
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in full-length self-directed projects, preparing them for entry into the profession. Multimedia Graduates of the program often work in advertising, web and product design, digital Chris Garvin video, business, and the entertainment indus- [email protected] tries, while some choose to chart their own Director entrepreneurial path. 215-717-6585 Popular minors for multimedia students Multimedia students receive a broad edu- include: cation. With courses covering subjects ¥ E-music ranging from Dada to Interface Design, Pop ¥ Game Design Art to Punk Rock, multimedia majors are ¥ Narrative Video encouraged to question, to experiment, and to ¥ Typography push their talents to the limit Ð and beyond. ¥ Photography Their classrooms are both battlegrounds for ¥ Strategic Advertising new ideas and applications and playgrounds for fun and creativity. As might be expected Popular electives for multimedia students in such a landscape, Multimedia students include: learn through play, hands-on experimenta- Fromthe College of Media and tion, and practical application. Communication: Using today’s technology, our students ¥ CM 290 Video Production Workshop create E-music, movies, motion graphics, ¥ CM 350 Gender Images in Media games, web sites, installations, and whatever ¥ MM 440 Innovative Interfaces their imaginations can envision, while ¥ MM 499 Multimedia Internship working in an interactive and collaborative ¥ WM 253 History of Television studio environment. As they refine their craft and learn how to become professionals in Fromthe College of Performing Arts: their field, students gain insights into the ¥ DA 773 Modern Dance Ensemble work they are doing, and how it affects the ¥ MU 111 A Composition for Non-Majors world we live in. ¥ MU 123 Guitar Class for Non-Majors The curriculum consists of a four-year ¥ MU 413 A Recording studio sequence accompanied by a corre- ¥ TH 123 Scene and Lighting Tech sponding academic sequence with a generous amount of liberal arts and elective courses. Fromthe College of Art and Design: Freshmen are introduced to the basic aes- ¥ GD 212 Typography Fundamentals thetic and technical issues essential to ¥ ID 312 Architectonics multimedia. Students develop the ability to ¥ PF 316 Computer Animation II work collaboratively; learn design skills; ¥ PF 331 Image and Performance develop facility in the use of digital tools, and ¥ PR 202 Screen Printing an understanding of the principles of music and of information management. From the Liberal Arts Department: Built on that foundation, the sophomore ¥ HU 366 The City curriculum addresses in greater depth the ¥ HU 394 Play, Performance, and components of multimedia. Students are Literature encouraged to continue taking electives ¥ HU 480 Psychology and Creativity throughout the University in order to feed ¥ HU 498 Art, Media and Society their interests and broaden their skills. ¥ HU 497 Women and Sex Roles Students in their junior year refine their craft with advanced multimedia work in a project-based environment. In the Business Seminar and the Special Projects courses, multimedia professionals address profes- sional practice, essential business skills, and current industry issues in order to prepare students to pursue satisfying careers in their field of choice. The senior year curriculum enables stu- dents to synthesize the concepts and techniques learned during the first three years
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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 LA CR 101 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 415 B Intro. to MIDI and Electronic HU XXX Liberal Arts 6.0 Technology 3.0 Spring Total 14.0 Electives 2.0 Junior Year Total: 29.0 HU 103 B Intro. to Modernism II 3.0 LA CR 102 First Year Writing II 3.0 Senior Year Spring Total 17.0 Fall Freshman Year Total: 32.0 MM 410 Senior Studio I 4.0 MM 472 Special Projects in Sophomore Year 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 Spring Electives 3.0 MM 411 Senior Studio II 4.0 HU XXX Liberal Arts 3.0 Electives 6.0 Fall Total 15.0 HU XXX Liberal Arts 3.0 Spring Spring Total 13.0 MM 150 Collab. and Spontaneity Sem. 3.0 Senior Year Total: 29.0 PF 332 Video and Animation Tech. 3.0 MM 223 Interactive Narrative 3.0 MM 222 Interactive Studio II 3.0 * Fulfills three credits of the discipline history Electives 3.0 requirement. HU XXX Liberal Arts 3.0 Liberal Arts Distribution Spring Total 18.0 Note all Liberal Arts courses are 3.0 credits. LA CR 101/102 3 cr. 3 cr. Sophomore Year Total: 33.0 HU 103 A/B 3 cr. 3 cr. MM 271 3 cr. Discipline History 3 cr. 3cr. Literature 3 cr. Humanities 3 cr. Social Science 3 cr. 3 cr. Science/Math 3 cr. Lib. Arts Electives 3 cr. 3 cr.
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Writing for Film Writing for Film and Television and Television Bachelor of Fine Arts 123 credits Jeff Ryder Junior Year Credits [email protected] Freshman Credits Director Fall Fall 215-717-6466 WM 113 Dramatic Structure I 3.0 WM 321 Advanced Screenwriting I 3.0 WM 253 History of Television 3.0 WM 341 Acting/Directing for Writers 3.0 Writing for Film and Television is an WM 251 Narrative Cinema I 3.0 HU 411* Shakespeare 3.0 undergraduate program dedicated to the art LA CR 101 First Year Writing I 3.0 Electives 6 .0 of dramatic writing for film and television. HU 103 A Intro. to Modernism I 3.0 HU XXX Liberal Arts 3.0 The dramatic script serves as the creative Fall Total: 15.0 Fall Total: 18.0 blueprint for the collaborative creation in Spring film and television. The curriculum for the Spring program aims to educate and prepare stu- WM 114 Dramatic Structure II 3.0 WM 322 Advanced Screenwriting II 3.0 dents for the professional world in this WM 252 Narrative Cinema II 3.0 WM 317 Episodic TV Writing 3.0 unique genre of writing. HU 264* Modern American History 3.0 CM 211 Writing for Media 3.0 A four-year sequence of studio writing LA CR 102 First Year Writing II 3.0 Electives 6.0 courses act as the cornerstone of the cur- HU 103 B Intro. to Modernism II 3.0 Spring Total: 15.0 riculum. Starting with Dramatic Structure in Spring Total: 15.0 the first year, students will create their own Junior Total: 33.0 written work in an intensive workshop envi- Freshman Year Total: 30.0 ronment. In the second year, screenwriting is Senior Year Sophomore Year introduced, along with script analysis. In the Fall Fall third and fourth years, students will be WM 411 Senior Thesis I 3.0 writing full-length scripts for film. WM 214 Screenwriting I 3.0 WM 314 Screenplay Adaptation 3.0 Adaptation from fiction and nonfiction WM 241 Arts of the Media 3.0 Electives 6 .0 sources complements students’ original HU 320 A* Western Literary HU XXX Liberal Arts 3.0 written work. To appreciate the art form, as Masterpieces I 3.0 well as the collaborative spirit of film and tel- HU XXX Liberal Arts 6.0 Fall Total: 15.0 evision, there are courses in film and video Fall Total: 15.0 Spring production, as well as survey courses in the WM 412 Senior Thesis II 3.0 Spring history of film and television. A strong liberal WM 499 Internship 3.0 WM 215 Screenwriting II 3.0 arts experience in drama, literature, and his- Electives 6.0 WM 243 Screenplay Analysis 3.0 tory gives students the breadth of knowledge HU XXX Liberal Arts 3.0 required of the professional writer. CM 290 Video Production Workshop 3.0 Spring Total: 15.0 Internships in the senior year will provide HU 320 B* Western Literary students with an exposure to a professional Masterpieces II 3.0 Senior Year Total: 30.0 work setting. HU XXX Liberal Arts 3.0 In addition to the major, students may take Spring Total: 15.0 several minors in five-course sequences * Fulfills three credits of the discipline Sophomore Year Total: 30.0 history requirement. designed to complement their major. Students in Writing for Film and Television ** Fulfills Social Science requirement. are particularly interested in the minors in Liberal Arts Distribution digital filmmaking, documentary video, Note all Liberal Arts courses are 3.0 credits. game design, strategic advertising, or Web LA CR 101/102 3 cr. 3 cr. drama. The department also offers a minor in HU 103 A/B 3 cr. 3 cr. screenwriting available to students in the HU 264 3 cr. other majors offered by the College. HU 320 A/B 3 cr. 3 cr. HU 411 3 cr. Literature 3 cr. Humanities 3 cr. Social Science 3 cr. Science/Math 3 cr. Lib. Arts Electives 3 cr. 3 cr.
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College of Performing Arts
Undergraduate and Graduate Course Catalog 2004 • 2005 CPA 04 8/24/04 10:18 PM Page 98
College of Performing Arts Major Areas of Study All students are assigned to a faculty advisor. Lists are posted in each of the schools’ offices during the first week of the academic Richard J. Lawn, Dean year. Appointments are made at the mutual convenience of the stu- [email protected] dent and the faculty advisor. 215-717-6126 Students should feel free to see their advisor at any time con- Marianne Mele, Assistant to the Dean cerning problems they may encounter. [email protected] 215-717-6127 School of Dance Undergraduate Programs The College of Performing Arts (CPA) is comprised of the Schools Bachelor of Fine Arts (BFA) in Dance of Dance, Music, and Theater Arts. Its curricula combine the per- Bachelor of Fine Arts (BFA) in Dance Education formance emphasis of the traditional conservatory, stressing Certificate in Dance (two-year program) individualized training, practice, and discipline, with a liberal arts Dance Majors education. Ballet Founded in 1870 as the Philadelphia Musical Academy, and Jazz/Theater Dance merged with the Philadelphia Conservatory of Music in 1962, the Modern Dance College has long been regarded as one of America’s foremost profes- Dance Education sional schools of higher education. In 1976, the institution was renamed the Philadelphia College of School of Music the Performing Arts, thereby signaling its intention to expand its pro- gram to include all three of the performing arts disciplinesÐMusic, Undergraduate Programs Dance, and Theater. In 1977, The Philadelphia Dance Academy Bachelor of Music (BM in Jazz Studies) joined the College to become the School of Dance. Founded in 1947, in Composition The Philadelphia Dance Academy was one of the foremost conserva- Bachelor of Music (BM in Jazz Studies) tories of dance in the nation and one of the first three institutions in in Instrumental Performance the country to grant a degree in dance. The School of Theater was ini- Bachelor of Music (BM in Jazz Studies) in Vocal Performance tiated in 1983. Diploma in Jazz Studies The College of Performing Arts thus became Pennsylvania’s first Certificate in Jazz Studies (two-year program) and only independent college dedicated exclusively to the performing Graduate Programs arts, and one of the first of its kind in the United States. Its philos- Master of Arts in Teaching (MAT), Music Education ophy is founded on the principle that there is a common bond among Master of Music (MM), Jazz Studies artists, whatever their discipline, and that artists must interact with Areas of Concentration each other for their inspiration and growth. Indeed, many of the Flute College’s students have developed interdisciplinary careers that Clarinet require familiarity with all the performing arts, as well as the visual Saxophone and media arts. Woodwinds Trumpet Trombone Tuba Guitar Electric and/or Upright Bass Violin Cello Percussion Drums Piano Voice Composition Minors E-Music Music Education School of Theater Arts Undergraduate Programs Bachelor of Fine Arts (BFA) in Theater Arts Majors Acting Applied Theater Arts Musical Theater Theater Design and Technology
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CPA Minors Music Education Minor The College of Performing Arts offers minors that enable a stu- Professional musicians teach in various settings such as private dent to focus on a specific discipline through organized electives. lessons, classroom lectures, presentations at conferences, directing Students wishing to include a minor are governed by the fol- performing ensembles, and as artists-in-residence. The Music lowing guidelines: Education minor is open to all music majors desiring preparation for 1. Students must meet eligibility requirements, which may these roles. include a satisfactory grade-point average, prerequisites, and depart- The Music Education minor complements the degree studies of mental portfolio review. all music majors with two courses even counting within the liberal 2. An intent to complete a minor is declared by filing the com- arts core of the student’s bachelor degree. Coursework includes pleted Minor Declaration Form with the Office of the Registrar. The instruction in each of the instrument families, pedagogy of private forms are available in the Office of the Registrar. instruction and improvisation, conducting, rehearsing jazz ensem- 3. A student may not major and minor in the same program, bles, the psychology of teaching and learning music, and the needs except where indicated. of special learners. Field experiences include working with ensem- 4. Courses applied to the minor may only be applied towards elec- bles in public and private schools. tive requirements. Music Education minors will be able to complete the Master of 5. All minors require a minimum of 15 credits, with the exception Arts in Teaching degree (MAT) and receive teacher certification in of E-Music for Music majors. Generally, no substitutions to the one additional academic year. This “4 +1” option allows students to minor requirements are allowed. In exceptional situations where earn a MUED minor, bachelor degree, master degree, and teacher substitutions are granted, they must have the approval of both the certification in only 5 years. major and minor program advisors. 6. The requirements of the minor must be completed prior to MUED 110 Brass Instruments graduation. MUED 111 Flute & Double Reed Instruments 7. A student pursuing a minor may be required to complete more MUED 112 Folk & Social Instruments than the minimum number of credits required to complete the under- MUED 113 Percussion Instruments graduate degree in order to also complete the minor. MUED 114 Single Reed Instruments 8. Minors are available only to undergraduate students. MUED 115 String Instruments MUED 320 Music Pedagogy I Ð Private Lessons E-Music Minor, Multimedia/Music Department MUED 321 Music Pedagogy II - Improvisation The minor in E-Music offers students majoring in both MUED 400 Psychology of Music Teaching & Learning Multimedia and Music an opportunity to create electronic and MUED 401 Music & Special Children experimental music, to develop skills that allow them to produce, MUED 430 Rehearsal Techniques Ð Jazz Ensemble package and distribute music by taking advantage of digital tech- MUED 431 Basic Conducting nology, and to design electronic instrumental interfaces. The minor MU 499 Internship Ð Jazz Band/Choir prepares students for a variety of highly entrepreneurial careers MU499 Internship Ð March Band/Musical ranging from entertainment and product development to creative and production work in the recording and musical fields. This minor is only available to students majoring in Multimedia or Music. Please note that this minor requires 17 credits for Music majors.
MU 306 History of Rock & Experimental Music 3.0 credits MU 413 A Recording 2.0 MM 370 E-Music Thesis Project 3.0
For Multimedia Majors MU 111 A/B Composition/Non-Majors 2.0 MM 440 Innovative Interfaces 3.0 MU 130 A/B Piano for Non-Majors (1/1) 2.0
For Music Majors MM 110 Visual Concepts I 3.0 MM 121 Introduction to Interface Design 3.0 One of the following: MM 221 Interactive Studio I 3.0 MM 222 Interactive Studio II 3.0
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CPA Full- and Part-Time Nancy Kantra Faye Snow Faculty BA, University of Colorado Adjunct Associate Professor MFA, Philadelphia College of BS, West Chester State College Performing Arts MA, George Washington University School of Dance Ronen Koresh Eva Szabo Kim Bears-Bailey Adjunct Assistant Professor Adjunct Assistant Professor Assistant Professor Diploma, Ballet Institute, Budapest, BFA, The University of the Arts Donald Lunsford Hungary Senior Lecturer Peter Bertini BFA, University of the Arts Elise Tropea Associate Professor Adjunct Associate Professor BS, State University of New York, Molly Misgalla BS, Bennington College Brockport Assistant Professor MS, Hahnemann Medical College MFA, Philadelphia College of BA, Point Park College Performing Arts Connie Vandarakis Brie Neff Assistant Professor Jennifer Binford Lecturer BS, Northern Illinois University Assistant Professor BFA, Temple University Doctor of Education candidate, BS, Utah State University Temple University MFA, The University of Utah R. Jeannine Osayande Adjunct Associate Professor School of Music Wayne David Assistant Professor Andrew Pap Paul Adkins BFA, The University of the Arts Associate Professor Senior Lecturer Baccalaureat Diploma, Scoala de BS, West Virginia University Manfred Fischbeck Coreogrefie, Cluj, Romania Professional Certificate, Adjunct Associate Professor Dance Education Degree, Certificate of Academy of Vocal Arts BA Equivalent - Freie Universitat Berlin Professor of Ballet, Ministry of Culture and Education, Bucharest, Romania Carl Allen Lisa Fox Senior Lecturer Senior Lecturer Catherine Robert BM, William Paterson University BFA, University of Colorado Adjunct Assistant Professor BA, Connecticut College for Women Steve Beskrone Susan Glazer MA, Ph.D., University of Pennsylvania Senior Lecturer Adjunct Professor BA, American University LaVaughn Robinson John Blake MA, Temple University Adjunct Professor Adjunct Associate Professor BM, West Virginia State University Theresa Greenland Anna Rubio Senior Lecturer Senior Lecturer Tim Brent BS, West Chester University Assistant Professor MM, Temple University Brian Sanders BM, Western Michigan University Adjunct Assistant Professor MA, University of Michigan Curt Haworth BFA, The University of the Arts Assistant Professor Robert Brosh BFA, University of California Pearl Schaeffer Adjunct Assistant Professor MFA, Tisch, New York University Adjunct Associate Professor BA, Glassboro State College BS, Drexel University MA, DA, New York University Nancy Heller MFA, Philadelphia College of Professor Performing Arts Brian Brown BA,Middlebury College Senior Lecturer MA, Ph.D., Rutgers University Jon Sherman BM, MM, Juilliard Adjunct Assistant Professor Stephen Jay BS, Temple University Jimmy Bruno Professor Adjunct Assistant Professor BM, MM Manhattan School of Music Carole Sklaroff Adjunct Associate Professor Scott Jovovich Visiting Part-time Faculty Suzanne Slenn Adjunct Associate Professor
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Donald Chittum Matt Gallagher Luke Housner Professor Senior Lecturer Lecturer BM, MM, DM, Philadelphia BS, West Chester University BM, Oberlin College Conservatory Conservatory of Music MM, University of the Arts of Music MM, University of Illinois Andrea Clearfield William Garton Adjunct Assistant Professor Senior Lecturer Damon Ireland BA, Muhlenberg College BA, MA, Glassboro State College BM, Hartt School of Music MM, Philadelphia College of Performing Arts Richard Genovese Jeff Jarvis DMA, Temple University Adjunct Assistant Professor Senior Lecturer Certificate, Curtis Institute of Music Meg Clifton Jamar Jones Lecturer Thomas Giacabetti Senior Lecturer BM, MM, University of the Arts Senior Lecturer Micah Jones Norman David Don Glanden Assistant Professor Adjunct Associate Professor Associate Professor BM, Temple University BA, McGill University BM, North Texas University MM, The University of the Arts MM, New England Conservatory MM, Rutgers University DMA, Temple University Patrick M. Jones Marjorie Goldberg Associate Professor Marc Dicciani Senior Lecturer BS, West Chester University Adjunct Professor BM, BME, Hartt School of Music Diploma of Fine Arts, BM, Philadelphia Musical Academy Suzuki Certificate, Temple University University of Calgary MA, George Mason University Annette DiMedio Janice Goltz Ph.D., Pennsylvania State University Professor Adjunct Assistant Professor BA,Swarthmore College BM, Philadelphia Musical Academy Michael Kennedy MM, Temple University BME, Philadelphia College of Senior Lecturer Ph.D., Bryn Mawr College Performing Arts BM, MM, The University of the Arts MME, Temple University Samuel Dockery Ronald Kerber Senior Lecturer Steven Goodsell Associate Professor BM, Philadelphia College of Lecturer BM, Philadelphia College of Performing Arts BS, State University of New York, Performing Arts Fredonia John Dulik Jeffrey Kern Lecturer Orlando Haddad Assistant Professor BM, Philadelphia Musical Academy Senior Lecturer BS, Lebanon Valley College MM, DMA, Temple University BM, North Carolina School for the Arts MM, University of Michigan MS, Drexel University Robert Durso Bruce Klauber Senior Lecturer Tim Hagans Lecturer BM, Indiana University Senior Lecturer BA,Temple University MM, Temple University MM, Combs College of Music Rick Hall Charles Fambrough Senior Lecturer John Knebl Senior Lecturer Adjunct Assistant Professor Dave Hartl BM, BME, Philadelphia Musical Chris Farr Assistant Professor Academy Adjunct Assistant Professor BM, West Chester State University MA, Villanova University BM, MAT, The University of the Arts Richard Hotchkiss Richard Lawn John Fedchock Senior Lecturer Professor Senior Lecturer BM, Philadelphia Colleges of the Arts BM, MM, Eastman School of Music BME, Ohio State University MM, Eastman School of Music Kevin MacConnell Senior Lecturer
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Tony Marino Thomas Rudolph Gia Walton Senior Lecturer Senior Lecturer Senior Lecturer BM, Philadelphia College of BM, Musical Academy Pat Martino Performing Arts MM, Temple University Senior Lecturer MM, West Chester University DME, Widener University Dennis Wasko Christopher Mauté Senior Lecturer Lecturer Anthony Salicondro BM, Philadelphia College of BM, The University of the Arts Senior Lecturer Performing Arts BM, Philadelphia Musical Academy Frank Mazzeo Bill Zaccagni Adjunct Assistant Professor Anne Sciolla Assistant Professor BS, West Chester University Senior Lecturer MM, Temple University BM, Philadelphia College of School of Theater Arts Performing Arts Kelly Meashey Irene Baird Senior Lecturer Marlon Simon Adjunct Associate Professor BME, MM Temple University Senior Lecturer BFA, Carnegie-Mellon BFA, New School for Social Research MFA, New York University Tony Miceli Senior Lecturer Suzanne Snizek James Brill BM, The University of the Arts Senior Lecturer Senior Lecturer BA, Indiana University Graduate, Neighborhood Playhouse Daniel Muller MM, The University of the Arts BM, MAT, The University of the Arts Thea Chaloner Evan Solot Senior Lecturer Joseph Nero Professor BA, Clark University Adjunct Associate Professor BM, BME, MM, Philadelphia Musical Diploma, Curtis Institute of Music Academy Jennifer Childs Senior Lecturer James Paxson Patricia Stasis BFA, The University of the Arts Adjunct Assistant Professor Adjunct Assistant Professor Diploma, Curtis Institute Karen Cleighton Reginald Pindell Diploma, Munich Conservatory of Music Senior Lecturer Senior Lecturer BM, MM, Peabody Conservatory John Swana Charles Conwell of Music Senior Lecturer Professor Diploma, Curtis Institute of Music BS, Northwestern University Craig Thomas MFA, Brandeis University Trudy Pitts Adjunct Associate Professor Adjunct Associate Professor BA, Rutgers University Kali Lela Cotton BM, Philadelphia Musical Academy BM, Philadelphia Musical Academy Senior Lecturer MM, Rowan University Bill Pusey Aaron Cromie Senior Lecturer David Thomas Senior Lecturer BM, University of the Arts Senior Lecturer BM, College of New Jersey BS, Westchester University Michael Quaile MM, Peabody Conservatory of Music Eric Ebbenga Senior Lecturer Senior Lecturer BM, Philadelphia College of Gerald Veasley BM, MM, Temple University Performing Arts Master Lecturer MM, The University of the Arts Mari Fielder Rick Van Horn Adjunct Professor Robert Quaile Master Lecturer BA,Temple University Senior Lecturer MA, Ohio State University BM, BME, Philadelphia Elio Villafranca Ph.D., University of California, Musical Academy Senior Lecturer Los Angeles MM, University of Art, Havana, Cuba George Rabbai Manfred Fischbeck Senior Lecturer Adjunct Associate Professor BA Equivalent - Freie Universitat, Berlin
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Charles Gilbert Forrest McClendon Gene Terruso Professor Adjunct Assistant Professor Professor BA, University of Delaware BM, University of Connecticut AB, MA, University of Scranton MFA, Carnegie-Mellon University MFA, Rutgers University Drucie McDaniel Mary Ellen Grant-Kennedy Adjunct Assistant Professor Neal Tracy Senior Lecturer BA, University of Maine Adjunct Associate Professor BM, Temple University BM, MM, DM, Indiana University Tammy Meneghini Theresa Greenland Adjunct Assistant Professor Joan Twiss Senior Lecturer MFA, Northern Illinois University Adjunct Assistant Professor BS, West Chester University MFA, Rutgers University MM, Temple University David Newer BSN, Ohio State University Adjunct Assistant Professor Neill Hartley BA, University of California, D’Arcy Webb Adjunct Assistant Professor Santa Barbara Senior Lecturer BA, SUNY Oneonta MFA, Rutgers University BA, Point Park College MFA, Temple University Michael Pedretti Jiri Zizka Linda Henderson Senior Lecturer Adjunct Professor Senior Lecturer BS, University of Wisconsin BA,Graphic Design School, Prague MM, West Chester University MA, University of Kansas MFA, MWI of Charles IV, Prague BFA, Indiana University Aaron Posner Rex Henriques Adjunct Associate Professor Senior Lecturer BS, Northwestern University
Johnnie Hobbs, Jr. Peter Pryor Associate Professor Senior Lecturer BFA, The University of the Arts David Howey Associate Professor Patricia Raine Assistant Professor Nancy Kantra BM, Arizona State University Assistant Professor MM, Northern Arizona University BA, University of Colorado MFA, Philadelphia College of Owen Robbins Performing Arts Assistant Professor BLArch., Virginia Polytechnic Institute Connie Koppe MS, University of Pennsylvania Senior Lecturer BS, Indiana University of Pennsylvania Ed Shockley MM, Temple University Adjunct Assistant Professor MFA, Temple University Rebecca Lisak Senior Lecturer Leigh Smiley BFA, University of North Carolina at Adjunct Assistant Professor Greensboro BA,Marlboro College
Ernest Losso Rick Stoppleworth Assistant Professor Assistant Professor Carnegie-Mellon University BS, University of Wisconsin/Madison MFA, Temple University Troy Martin O’Shia Lecturer Denise Taylor BFA, Webster University Senior Lecturer
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The School of Programs of Study The Curriculum Bachelor of Fine Arts (BFA) in Dance The curriculum in the School of Dance Dance Bachelor of Fine Arts in Dance Education has been carefully organized to allow the (BFA Dance Ed) students to grow to their maximum potential Susan B. Glazer Certificate in Dance — two-year program as dancers. It has been developed over the [email protected] Majors years by professionals who are experienced Director Ballet with the world of dance and its demands. Maria Urrutia Jazz/Theater Dance Daily technique classes in ballet, modern [email protected] Modern Dance dance, and jazz dance are basic to all Assistant to the Director Dance Education courses of study and are the heart of the pro- 211 South Broad Street gram. One year of tap is required. Each 215-717-6577 Bachelor of Fine Arts in Dance: student must be familiar with all major Ballet, Modern, or styles of dance in order to become as versa- The School of Dance is dedicated to the Jazz/Theater Dance tile as possible. Dance electives offered training of young artists for careers as pro- The Bachelor of Fine Arts (BFA) degree every semester include African dance, fessional performers, dance educators, and in Dance is a program designed for those Spanish dance, Brazilian dance, Character, choreographers, and provides an intensive students who wish to prepare for profes- pointe, men’s class, partnering, and yoga. exploration of dance in its physical, intellec- sional careers in dance performance and/or In addition to the rigorous study of tech- tual, and creative aspects. The School choreography. The BFA in Dance program nique, the dance curriculum includes: provides an environment in which students is normally completed in four years of full- 1. Creative subjects such as improvisation may develop an individual artistic vision time study with a total requirement of 128 and composition; while being exposed to a variety of artistic credits (130 credits for Dance Education). 2. Academic dance subjects such as dance roles. history, music, Labanotation, anatomy/kine- Bachelor of Fine Arts in siology, pedagogy; Dance Education 3. Ensembles, repertory, and other per- Facilities forming courses; The Bachelor of Fine Arts (BFA) in The main studios of the School of Dance 4. Free electives including voice, acting, Dance Education is a program designed are located in the Terra Building at 211 and visual arts courses. South Broad Street. These spacious, bright, specifically for students whose primary intention is to enter the profession as a and well-lit studios are fully equipped with Declaration of Major bars and mirrors, huge windows, pianos, teacher of dance. Although there is currently and audio consoles. Their floors are con- no Pennsylvania state certification for dance In March of the sophomore year, the stu- structed with four-inch, state-of-the-art teachers, this program includes supervised dent must take an upper-divisional exam, at suspension for the safest and most comfort- class teaching in schools and/or private which time the student will be evaluated able dancing surface available. Lockers, dance studios. The BFA in Dance Education with respect to his or her requested major. dressing rooms, showers, and lounges are is designed as a four-year program of full- The student is evaluated for future success found adjacent to the studios. The time study with a total requirement of 130 and, if appropriate, invited to continue the University has completely restored its his- credits. program for the junior and senior years. The toric Merriam Theater, which serves as the student must complete a Declaration of institution’s major performance hall for stu- Certificate in Dance Major form, obtain approval for the major dents, as well as “home” to a number of The Certificate in Dance is a two-year, from the School of Dance, and submit the regional performing arts organizations, 55-credit program intended for those stu- completed form to the Office of the including the Pennsylvania Ballet. The dents who wish to concentrate exclusively Registrar. UArts Dance Theater, a 150-seat theater, is on dance studies. This intensive program is used for student performances. The Albert designed to develop the student’s familiarity School of Dance Faculty M. Greenfield Library contains books, with and proficiency in a broad spectrum of journals, and videotapes devoted to dance, dance styles. The Certificate in Dance is Ballet which are available to students for research awarded in recognition of achievement, and Christine Cox and coursework. does not constitute an academic degree. Scott Jovovitch Students wishing to transfer from this Andrew Pap program to the Bachelor’s degree program Jon Sherman may apply to do so and will be required to Carole Sklaroff obtain the approval of both the Director of Suzanne Slenn the School of Dance and the Director of Eva Szabo Liberal Arts. The Certificate in Dance is awarded only to students who are in resi- dence and are matriculated in the Certificate program.
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Jazz/Theater Dance Special Regulations/ Injuries/Illness Of Short-Term Peter Bertini Duration: Ronen Koresh Requirements If a student misses class due to illness or Donald Lunsford injury, medical documentation is necessary Molly Misgalla Dance Technique Class from one of the following sources: the uni- Wayne St. David Regular, consistent presence in dance versity nurse, the university trainer, or a technique classes is essential to the stu- medical doctor. The School of Dance needs Modern Dance dent’s professional development. Dance to have in writing the diagnosis of the Kim Bears-Bailey technique classes meet up to five times per nature of the injury/illness, specific dates of Jennifer Binford week, depending upon the course and level. how long the student will be unable to par- Manfred Fischbeck ticipate in technique classes, what, if any, Curt Haworth Physical Demands of the rehabilitation is being done and, finally, Nancy Kantra Program when re-evaluation will take place. Brian Sanders To be a dance artist, students must be Faye Snow physically prepared to attend and participate Longer-Term Injury/Illness in technique classes. Strength and stamina If a student is unable to participate in Tap Dance are key to the success of the education and class for two or more weeks, he/she must LaVaughn Robinson training. Dancers are expected to maintain make an appointment with the Director or Karen Cleighton and support their technique through phys- Assistant Director of the School of Dance to ical conditioning in and out of class. To this determine the course of action. If the African Dance end, it is expected that students attend all injury/illness happens at the end of the classes and make up those missed due to ill- R. Jeanine Osayande school term or well after the mid point, the ness or injury. student might be permitted to earn the Brazilian Dance Incomplete grade, rather than withdrawing Absences from technique courses. In this instance, the Peter Bertini Unexcused absences must not exceed the student will be permitted to make up the incomplete in the Summer World of Dance, Spanish Dance number of credits per semester for the par- ticular course, i.e., in a two-credit course, or by doing additional work the following Anna Rubio no more than two absences are permitted. semester. Extensive absences, whether “excused” or If the injury requires a student to miss, or Dance Studies “unexcused,” will adversely affect the sit out, in excess of four weeks, he/she will Peter Bertini course grade. If, after warnings, a student be required to withdraw from all technique Annette DiMedio persists in not attending or participating in classes. Under no circumstances may the Manfred Fischbeck class, he/she will fail the course and be student continue to remain on the sidelines Susan B. Glazer placed on departmental probation. for more than four weeks and expect to Theresa Greenland receive a grade for technique classes. Stephen Jay Policy on Injury and/or Illness If the injury/illness requires abstaining Nancy Kantra If a student is injured and cannot partici- from rigors of the class repeatedly, it may be Catherine Robert pate in class, he/she is required to inform necessary for the student to take a leave of Pearl Schaeffer the faculty member and, if possible, attend absence, or to leave the program perma- Elise Tropea the class. If the student is “sitting out” the nently. In this case, the student must present Connie Vandarakis class, he/she must first get the teacher’s medical documentation to be considered for approval. To be counted as “present” the readmission. Accompanists student will be expected to take copious Larissa Bell notes of the class and/or write a research Dress Code Hans Boman paper that is to be given to the teacher. If the The School of Dance requires the fol- Asya Haykin injury is in the healing stage and the student lowing attire for all technique classes: Richard Iannacone feels able to participate in a limited way, WomenÐblack leotards with black tights John Levis he/she must again secure the approval of the for modern and jazz; pink or black tights for Tom Lowery faculty before the class begins. ballet; ballet, jazz, character, and tap shoes Tim Motzer In case of illness, the student should tele- are required. Valentina Slutsky phone the School of Dance to keep them MenÐblack tights with white tee shirts or apprised of the health situation. black leotard and tights and black ballet, Technical Director jazz, and tap shoes. Jay Madara Warm-ups are permitted only during the first 10 minutes of a class and must then be Costumer removed. Failure to adhere to the dress code Clyde Michael Hayes will result in the student not being able to take class.
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Extracurricular Activities Senior Dance Concert The production aspect of the concert is All students are expected to attend all One of the School’s most important graded by the faculty in charge of the classes and rehearsals for which they are requirements for graduation is the creation of course. The final grade thus reflects both the registered. Outside commitments must a senior dance concert, which includes process and the choreographic end result. never interfere with school work. If a stu- responsibility for choreography, rehearsals, dent has an outside professional lighting, costume and sound design, and Student Evaluations performance, he/she must ask the Director advertising. Juried examinations in each technique for special permission to be absent from Preparation for the senior concert takes take place at the end of each semester. In school, and the school’s “Professional place during the two-semester Dance addition, individual conferences are sched- Engagement Form” must be completed and Production course. A faculty advisor will uled in December and May. At this time, the approved by the instructor and the Director assist in the choreographic and technical faculty and student explore the progress of the School of Dance two weeks prior to production of the concert. Performance made in the program and review the stu- the engagement. dates are chosen in September. Concerts are dent’s potential for future success. shared by several seniors. The School of Dance recognizes that it is Performance Requirements possible for a student to earn a passing To fulfill the curricular requirement in Requirements grade in a course, yet not truly be able to performance, every sophomore, junior, and Students should refer to the School of perform on a professional level in the art senior dance major is required to participate Dance Senior Dance Production Guidebook form. In this instance, the faculty and in at least one performance each semester in for details. Director will advise the student of this lack either faculty-directed ensembles or a senior a. Choreography — All majors must of promise for a future career and make sug- student’s work. choreograph at least one group piece. In gestions for alternative career options. Scheduled concerts include end-of- addition, students may choreograph either a semester performances in the Merriam second group work or a solo; however, the Academic Progress Theater, senior concerts, and freshman, total must not exceed 10 minutes. All music Students will receive Academic Censure, sophomore, and junior composition con- must be approved by the faculty advisors. as determined by the Academic Review certs in the UArts Dance Theater. b. Performance — All students must per- Committee, for the following reasons: form in at least one work. 1. Semester GPA below 2.0. Ensemble Requirements c. Technical Assistance — Each student 2. Failure to meet the stipulation for Sophomores are required to take a max- must fulfill a crew requirement in another removal of Academic Censure by the imum of one ensemble per semester. student’s performance either as stage man- end of the specified period will result Junior Modern majors are required to ager; lighting, sound, or video technician; or in dismissal. take one ensemble plus Modern Repertory. backstage assistant. Please refer to the section in the front of Junior Jazz majors may take a maximum this catalog on Academic Review. of two ensembles per semester. Responsibilities Junior Ballet majors may take Ballet The University provides the theater, a Professional Standards Ensemble and an optional ensemble for a technical director, and the basic technical and Behavior maximum of two ensembles per semester. facilities. Any additional support, special Students are expected to maintain high Seniors may take a maximum of three lighting, or sound needs must be provided standards of professionalism in studio, ensembles per semester. by the student. All programs, flyers, and classroom, rehearsal, and performance com- If a student wishes to drop the assigned promotional materials can be duplicated by mitments. Failure to follow directions, and ensemble, he/she will not be able to register the dance office if presented well in advance absence from or lateness to rehearsals, per- (or take for noncredit) another ensemble, of the production in a finished state. formances, and related activities may result unless there is a class schedule conflict. in Academic Censure including lowering of All students are placed in one required Evaluation grade or course failure. ensemble by audition. Juniors (except for Dance students view their senior concert as Modern majors) and seniors may add an the culmination of their four years at the additional ensemble for credit. University of the Arts and an extremely important aspect of their college experience. The faculty, too, judge this performance as a serious demonstration of the student’s ability as a dance artist. All senior dance students must present their finished choreography on a date scheduled by the School to a jury con- sisting of three faculty members and the Director of the School of Dance. Evaluations of the content of the performance are offered by at least three faculty members after the performance.
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Dance Core Curriculum The Core Curriculum is common to all Bachelor of Fine Arts programs in the School of Dance for the first two years. These required courses develop a solid foundation from which students pursue their specific areas of interest.
Freshman Year Credits Sophomore Year Fall Fall DA 100 Rhythm for Dancers 1.0 DA 201 A Ballet III 2.0 DA 101 A Ballet I 2.0 DA 203 A Modern Dance III 2.0 DA 103 A Modern Dance I 2.0 DA 213 A Jazz Dance III 1.0 DA 113 A Jazz Dance I 1.0 DA 205 A Notation I 2.0 DA 123 A Tap I 1.0 DA 211 A** Dance History I 3.0 DA 116 A Fundamentals of Dance I 1.0 DA 216 Music for Dancers 1.0 DA 190 Language of Music 1.0 DA 77X Dance Ensemble 1.0 Elective 1.0 HU 281* Dynamic Anatomy 3.0 LA CR 101 First Year Writing I 3.0 Electives 2.0 HU 103 A Intro. to Modernism I 3.0 Fall Total 17.0 Fall Total 16.0 Spring Spring DA 201 B Ballet IV 2.0 DA 101 B Ballet II 2.0 DA 203 B Modern Dance IV 2.0 DA 103 B Modern Dance II 2.0 DA 213 B Jazz Dance IV 1.0 HU 103 B Intro. to Modernism I 3.0 DA 211 B** Dance History II 3.0 DA 113 B Jazz Dance II 1.0 DA 217 Dance Composition I 1.0 DA 123 B Tap II 1.0 DA 77X Dance Ensemble 1.0 DA 109 Improvisation I 1.0 Electives 2.0 DA 116 B Fundamentals of Dance II 1.0 HU xxx Liberal Arts 3.0 DA 117** Survey of Music 3.0 Spring Total 15.0 Elective 1.0 Sophomore Year Total: 32.0 LA CR 102 First Year Writing II 3.0 Spring Total 18.0 Freshman Year Total: 34.0 * May be taken either term, and fulfills the Liberal Arts science requirement. ** Fulfills Liberal Arts discipline history require- ment.
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Ballet Major 128 credits The final two years of the Ballet major emphasize advanced technique in Ballet, including Pointe or Men’s Ballet class. In addition, Ballet majors continue non-major studies in either Modern or Jazz Dance. * May be taken either term, and fulfills the Liberal Arts science requirement. Freshman Year Credits Junior Year Credits ** Fulfills Liberal Arts discipline history require- Fall Fall ment. DA 100 Rhythm for Dancers 1.0 DA 301 A Ballet V 4.0 Note: DA 328 and DA 428 may substitute for DA 101 A Ballet I 2.0 DA 308 A Dance Pedagogy I 2.0 DA 326 and DA 426. DA 103 A Modern Dance I 2.0 DA 307 A Ballet Repertory I 1.0 DA 113 A Jazz Dance I 1.0 DA 309 A Partnering I 1.0 Liberal Arts Distribution DA 123 A Tap Dance I 1.0 DA XXX Dance for Non-Majors 1.0 Note all Liberal Arts courses are 3.0 credits. LA CR 101/102 3 cr. 3 cr. DA 116 A Fundamentals of Dance I 1.0 DA 321 A Pointe I or 1.0 HU 103 A/B 3 cr. 3 cr. DA 190 Language of Music 1.0 DA 327 A Men’s Class I HU 281 3 cr. Elective 1.0 DA 77X Dance Ensemble 1.0 DA 117 3 cr. LA CR 101 First Year Writing I 3.0 Electives 3.0 DA 211 A/B 3 cr. 3 cr. HU 103 A Intro. to Modernism I 3.0 HU XXX Liberal Arts 3.0 Literature 3 cr. Humanities 3 cr. Fall Total 16.0 Fall Total 17.0 Social Science 3 cr. 3 cr. Spring Spring Lib. Arts Electives 3 cr. 3 cr. DA 101 B Ballet II 2.0 DA 301 B Ballet VI 4.0 DA 103 B Modern Dance II 2.0 DA 307 B Ballet Repertory II 1.0 HU 103 B Intro. to Modernism I 3.0 DA 308 B Dance Pedagogy II 2.0 DA 113 B Jazz Dance II 1.0 DA 309 B Partnering II 1.0 DA 123 B Tap Dance II 1.0 DA 319 Theater Functions 1.0 DA 109 Improvisation I 1.0 DA 324 Character Dance 1.0 DA 116 B Fundamentals of Dance II 1.0 DA XXX Dance for Non-Majors 1.0 DA 117** Survey of Music 3.0 DA 321 B Pointe II or 1.0 Elective 1.0 DA 327 B Men’s Class II LA CR 102 First Year Writing II 3.0 DA 77X Dance Ensemble 1.0 Spring Total 18.0 Elective 1.0 HU XXX Liberal Arts 3.0 Freshman Year Total: 34.0 Spring Total 17.0 Sophomore Year Junior Year Total: 34.0 Fall DA 201 A Ballet III 2.0 Senior Year DA 203 A Modern Dance III 2.0 Fall DA 213 A Jazz Dance III 1.0 DA 401 A Ballet Major VII 4.0 DA 205 A Notation I 2.0 DA 419 A Dance Production I 2.0 DA 211 A** Dance History I 3.0 DA XXX Dance for Non-Majors 1.0 DA 216 Music for Dancers 1.0 DA 77X Dance Ensemble 1.0 DA 77X Dance Ensemble 1.0 Elective 1.0 HU 281* Dynamic Anatomy 3.0 HU XXX Liberal Arts 6.0 Electives 2.0 Fall Total 15.0 Fall Total 17.0 Spring Spring DA 401 B Ballet Major VIII 4.0 DA 201 B Ballet IV 2.0 DA 419 B Dance Production II 2.0 DA 203 B Modern Dance IV 2.0 DA XXX Dance for Non-Majors 1.0 DA 213 B Jazz Dance IV 1.0 DA 77X Dance Ensembles 1.0 DA 211 B** Dance History II 3.0 Electives 2.0 DA 217 Dance Composition I 1.0 HU XXX Liberal Arts 3.0 DA 77X Dance Ensemble 1.0 Spring Total 13.0 Electives 2.0 Senior Year Total: 28.0 HU xxx Liberal Arts 3.0 Spring Total 15.0 Sophomore Year Total: 32.0
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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. * May be taken either term, and fulfills the Liberal Arts science requirement. Freshman Year Credits Junior Year Credits ** Fulfills Liberal Arts discipline history require- Fall Fall ment. DA 100 Rhythm for Dancers 1.0 DA 311 A Jazz Dance V 4.0 Note: DA 328 and DA 428 may substitute for DA 326 and DA 426. DA 101 A Ballet 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 Liberal Arts Distribution DA 113 A Jazz Dance I 1.0 DA 323 A Tap III 1.0 Note all Liberal Arts courses are 3.0 credits. DA 123 A Tap Dance I 1.0 DA 325 A Ballet for Non-Majors VI 1.0 LA CR 101/102 3 cr. 3 cr. DA 116 A Fundamentals of Dance I 1.0 Choose one of the following two: HU 103 A/B 3 cr. 3 cr. DA 190 Language of Music 1.0 DA 345 A Voice I or 1.0 HU 281 3 cr. DA 117 3 cr. Elective 1.0 TH 100 A Acting for Non-Majors I DA 211 A/B 3 cr. 3 cr. LA CR 101 First Year Writing I 3.0 DA 77X Dance Ensemble 1.0 Literature 3 cr. HU 103 A Intro. to Modernism I 3.0 Electives 2.0 Humanities 3 cr. Social Science 3 cr. 3 cr. Fall Total 16.0 HU XXX Liberal Arts 3.0 Lib. Arts Electives 3 cr. 3 cr. Spring Fall Total 17.0 DA 101 B Ballet II 2.0 Spring DA 103 B Modern Dance II 2.0 DA 311 B Jazz VI 4.0 HU 103 B Intro. to Modernism I 3.0 DA 308 B Dance Pedagogy II 2.0 DA 113 B Jazz Dance II 1.0 DA 317 B Dance Composition III 2.0 DA 123 B Tap Dance II 1.0 DA 319 Theater Functions 1.0 DA 109 Improvisation I 1.0 DA 323 B Tap IV 1.0 DA 116 B Fundamentals of Dance II 1.0 DA 325 B Ballet for Non-Majors VI 1.0 DA 117** Survey of Music 3.0 Choose one of the following two: Elective 1.0 DA 345 B Voice II or 1.0 LA CR 102 First Year Writing II 3.0 TH 100 B Acting II Spring Total 18.0 DA 77X Dance Ensemble 1.0 Freshman Year Total: 34.0 Elective 1.0 HU XXX Liberal Arts 3.0 Sophomore Year Spring Total 17.0 Fall Junior Year Total: 34.0 DA 201 A Ballet III 2.0 DA 203 A Modern Dance III 2.0 Senior Year DA 213 A Jazz Dance III 1.0 Fall DA 205 A Notation I 2.0 DA 411 A Jazz VII 4.0 DA 211 A** Dance History I 3.0 DA 419 A Dance Production I 2.0 DA 216 Music for Dancers 1.0 DA XXX Dance for Non-Majors 1.0 DA 77X Dance Ensemble 1.0 DA 77X Dance Ensemble 1.0 HU 281* Dynamic Anatomy 3.0 Elective 1.0 Electives 2.0 HU XXX Liberal Arts 6.0 Fall Total 17.0 Fall Total 15.0 Spring Spring DA 201 B Ballet IV 2.0 DA 411 B Jazz VIII 4.0 DA 203 B Modern Dance IV 2.0 DA 419 B Dance Production II 2.0 DA 213 B Jazz Dance IV 1.0 DA XXX Dance for Non-Majors 1.0 DA 211 B** Dance History II 3.0 DA 77X Dance Ensemble 1.0 DA 217 Dance Composition I 1.0 Electives 2.0 DA 77X Dance Ensemble 1.0 HU XXX Liberal Arts 3.0 Electives 2.0 Spring Total 13.0 HU xxx Liberal Arts 3.0 Spring Total 15.0 Senior Year Total: 28.0 Sophomore Year Total: 32.0
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Modern Dance Major 128 credits Modern Dance majors further develop technique, repertoire, and composition in the area of Modern Dance. In addition, Modern Dance Majors also pursue non-major studies in either Ballet or Jazz Dance.
Freshman Year Credits Junior Year Credits * May be taken either term, and fulfills the Liberal Arts science requirement. Fall Fall ** Fulfills Liberal Arts discipline history require- DA 100 Rhythm for Dancers 1.0 DA 303 A Modern Dance V 4.0 ment. DA 305 A Modern Repertory I 1.0 DA 101 A Ballet I 2.0 Note: DA 328 and DA 428 may substitute for DA 103 A Modern Dance I 2.0 DA 308 A Dance Pedagogy I 2.0 DA 325 and DA 425. DA 113 A Jazz Dance I 1.0 DA 317 A Dance Composition II 2.0 DA 123 A Tap Dance I 1.0 DA 322 A Improvisation II 1.0 Liberal Arts Distribution DA 116 A Fundamentals of Dance I 1.0 DA XXX Non-Major Dance 1.0 Note all Liberal Arts courses are 3.0 credits. DA 190 Language of Music 1.0 DA 77X Dance Ensemble 1.0 LA CR 101/102 3 cr. 3 cr. Elective 1.0 Elective 1.0 HU 103 A/B 3 cr. 3 cr. HU 281 3 cr. LA CR 101 First Year Writing I 3.0 HU XXX Liberal Arts 3.0 DA 117 3 cr. HU 103 A Intro. to Modernism I 3.0 Fall Total 16.0 DA 211 A/B 3 cr. 3 cr. Literature 3 cr. Fall Total 16.0 Spring Humanities 3 cr. Spring DA 303 B Modern Dance VI 4.0 Social Science 3 cr. 3 cr. DA 101 B Ballet II 2.0 DA 305 B Modern Repertory II 1.0 Lib. Arts Electives 3 cr. 3 cr. DA 103 B Modern Dance II 2.0 DA 308 B Dance Pedagogy II 2.0 HU 103 B Intro. to Modernism I 3.0 DA 317 B Dance Composition III 2.0 DA 113 B Jazz Dance II 1.0 DA 319 Theater Functions 1.0 DA 123 B Tap Dance II 1.0 DA 322 B Improvisation III 1.0 DA 109 Improvisation I 1.0 DA XXX Non-Major Dance 1.0 DA 116 B Fundamentals of Dance II 1.0 DA 77X Dance Ensemble 1.0 DA 117** Survey of Music 3.0 Elective 1.0 Elective 1.0 HU XXX Liberal Arts 3.0 LA CR 102 First Year Writing II 3.0 Spring Total 17.0 Spring Total 18.0 Junior Year Total: 33.0 Freshman Year Total: 34.0 Senior Year Sophomore Year Fall Fall DA 403 A Modern Dance VII 4.0 DA 201 A Ballet III 2.0 DA 419 A Dance Production I 2.0 DA 203 A Modern Dance III 2.0 DA XXX Dance for Non-Majors 1.0 DA 213 A Jazz Dance III 1.0 DA 77X Dance Ensemble 1.0 DA 205 A Notation I 2.0 Electives 2.0 DA 211 A** Dance History I 3.0 HU XXX Liberal Arts 6.0 DA 216 Music for Dancers 1.0 Fall Total 16.0 DA 77X Dance Ensemble 1.0 Spring HU 281* Dynamic Anatomy 3.0 DA 403 B Modern Dance VIII 4.0 Electives 2.0 DA 419 B Dance Production II 2.0 Fall Total 17.0 DA XXX Dance for Non-Majors 1.0 Spring DA 77X Dance Ensemble 1.0 DA 201 B Ballet IV 2.0 Electives 2.0 DA 203 B Modern Dance IV 2.0 HU XXX Liberal Arts 3.0 DA 213 B Jazz Dance IV 1.0 Spring Total 13.0 DA 211 B** Dance History II 3.0 Senior Year Total: 29.0 DA 217 Dance Composition I 1.0 DA 77X Dance Ensemble 1.0 Electives 2.0 HU xxx Liberal Arts 3.0 Spring Total 15.0 Sophomore Year Total: 32.0
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Dance Education Major 130 credits Students choosing to pursue the Bachelor of Fine Arts in Dance Education continue dance technique studies in one major area and one non-major area of concentration. The culmination of the program is an internship as a student teacher.
Freshman Year Credits Junior Year Credits * May be taken either term, and fulfills the Liberal Arts science requirement. Fall Fall ** Fulfills Liberal Arts discipline history require- DA 100 Rhythm for Dancers 1.0 DA 3XX A Major Technique 4.0 ment. DA 101 A Ballet I 2.0 DA XXX Non-Major Dance 1.0 DA 103 A Modern Dance I 2.0 DA 308 A Dance Pedagogy I 2.0 Liberal Arts Distribution DA 113 A Jazz Dance I 1.0 DA 317 A Dance Composition II 2.0 Note all Liberal Arts courses are 3.0 credits. LA CR 101/102 3 cr. 3 cr. DA 123 A Tap I 1.0 DA 77X Dance Ensemble 1.0 HU 103 A/B 3 cr. 3 cr. DA 116 A Fundamentals of Dance I 1.0 Elective 1.0 HU 281 3 cr. DA 190 Language of Music 1.0 HU XXX Liberal Arts 6.0 DA 117 3 cr. Elective 1.0 Fall Total 17.0 DA 211 A/B 3 cr. 3 cr. LA CR 101 First Year Writing I 3.0 Literature 3 cr. Spring HU 103 A Intro. to Modernism I 3.0 Humanities 3 cr. DA 3XX B Major Technique 4.0 Social Science 3 cr. 3 cr. Fall Total 16.0 DA XXX Non-Major Dance 1.0 Lib. Arts Electives 3 cr. 3 cr. Spring DA 308 B Dance Pedagogy II 2.0 DA 101 B Ballet II 2.0 DA 317 B Dance Composition III 2.0 DA 103 B Modern Dance II 2.0 DA 319 Theater Functions 1.0 HU 103 B Intro. to Modernism I 3.0 DA 77X Dance Ensemble 1.0 DA 113 B Jazz Dance II 1.0 Electives 3.0 DA 123 B Tap II 1.0 HU XXX Liberal Arts 3.0 DA 109 Improvisation I 1.0 Spring Total 17.0 DA 116 B Fundamentals of Dance II 1.0 DA 117** Survey of Music 3.0 Junior Year Total: 34.0 Elective 1.0 Senior Year LA CR 102 First Year Writing II 3.0 Fall Spring Total 18.0 DA 4XX A Major Technique 4.0 Freshman Year Total: 34.0 DA XXX Non-Major Dance 1.0 DA 408 A Dance Symposium I 3.0 Sophomore Year DA 419 A Dance Production I 2.0 Fall Elective 1.0 DA 201 A Ballet III 2.0 HU XXX Liberal Arts 6.0 DA 203 A Modern Dance III 2.0 Fall Total 17.0 DA 213 A Jazz Dance III 1.0 Spring DA 205 A Notation I 2.0 DA 408 B Dance Symposium II 3.0 DA 211 A** Dance History I 3.0 DA 410 Student Teaching 7.0 DA 216 Music for Dancers 1.0 DA 419 B Dance Production II 2.0 DA 77X Dance Ensemble 1.0 Electives 1.0 HU 281* Dynamic Anatomy 3.0 Electives 2.0 Spring Total 13.0 Fall Total 17.0 Senior Year Total: 30.0 Spring DA 201 B Ballet IV 2.0 DA 203 B Modern Dance IV 2.0 DA 213 B Jazz Dance IV 1.0 DA 211 B** Dance History II 3.0 DA 217 Dance Composition I 1.0 DA 77X Dance Ensemble 1.0 Electives 2.0 HU xxx Liberal Arts 3.0 Spring Total 15.0 Sophomore Year Total: 32.0
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Certificate in Dance 55 credits
First Year Credits Fall DA 100 Rhythm for Dancers 1.0 DA 101 A Ballet I 2.0 DA 103 A Modern Dance I 2.0 DA 190 Language of Music 1.0 DA 113 A Jazz Dance I 1.0 DA 116 A Fundamentals of Dance I 1.0 DA 123 A Tap I 1.0 Electives 3.0 Fall Total 12.0 Spring DA 101 B Ballet II 2.0 DA 103 B Modern Dance II 2.0 DA 109 Improvisation I 1.0 DA 113 B Jazz Dance II 1.0 DA 116 B Fundamentals of Dance II 1.0 DA 117 Survey of Music 3.0 DA 123 B Tap II 1.0 DA 319 Theater Functions 1.0 Elective 1.0 Spring Total 13.0 First Year Total: 25.0
Second Year Fall DA 201 A Ballet III 2.0 DA 203 A Modern Dance III 2.0 DA 211 A Dance History I 3.0 DA 213 A Jazz Dance III 1.0 DA 216 Music for Dancers 1.0 DA 308 A Dance Pedagogy I 2.0 DA 77X Dance Ensemble 1.0 Electives 3.0 Fall Total 15.0 Spring DA 201 B Ballet IV 2.0 DA 203 B Modern Dance IV 2.0 DA 211 B Dance History II 3.0 DA 213 B Jazz Dance IV 1.0 DA 308 B Dance Pedagogy II 2.0 DA 77X Dance Ensemble 1.0 DA 217 Dance Composition I 1.0 Electives 3.0 Spring Total 15.0 Second Year Total: 30.0
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American, and world music. Students are Facilities The School of involved in a rigorous schedule of perform- The School of Music is located in the ances, with over 150 concerts and recitals Music Merriam Theater building at 250 South presented each year. Broad Street. Facilities include fully This contemporary curriculum is organ- equipped music studios, practice rooms, a Marc Dicciani ized in three degree programs: the Bachelor class piano laboratory, and classrooms. The [email protected] of Music in Jazz Studies, which prepares school’s MARS (MIDI and Recording Director students for careers as music professionals Studios) is a modern recording and music 250 South Broad Street in vocal or instrumental performance, or technology facility, with a complete 32- 215-717-6342 composition; the Master of Arts in Teaching input recording studio, MIDI and computer in Music Education, which prepares stu- labs, computer and synthesizer workstation dents for certification as music teachers for Mission Statement labs, and an audio-for-video dubbing and kindergarten through 12th grade; and the The School of Music at The University of editing lab. Most practice rooms are Master of Music in Jazz Studies, which is a the Arts prepares musicians for 21st century equipped with grand pianos. A suite of fully finishing program for highly advanced stu- careers in the creative arts as performers, equipped percussion and drumset studios is dents preparing for careers as performers or composers and educators. Jazz serves as the available for student practice. college-level instructors. A unique aspect of nucleus of the School’s curriculum with the The University’s historic Merriam the undergraduate program allows students belief that it nurtures creativity in young Theater, Gershman Building and the Arts to select a special Music Education or Jazz musicians. Faculty continue to reaffirm tra- Bank are used for student and faculty per- Master’s track that may enable them to earn ditional techniques and methodologies in formances. The music library, located in the both a bachelor’s and master’s degree in the instruction of music theory, perform- Merriam building, contains books, manu- five years. ance, and history, while experimentation, scripts, journals, scores, records, tapes, and The School of Music faculty is made up improvisation and innovation inspired by compact discs, as well as listening and of experienced and practicing professionals, the jazz curriculum drives the School’s viewing facilities, a music education infor- many of whom have attained international overarching educational goals, pedagogy, mation center, and online access to the stature as performing and recording artists. and methodologies. Internet for students. This professional faculty is supplemented by a long list of guest artists and a regular Overview series of workshops, master classes, and Performance The School of Music is dedicated to the performances with greats that has included Opportunities/Ensembles preparation and training of musicians for a Wynton Marsalis, Randy and Michael career in music performance, composition, Brecker, Arturo Sandoval, Dave Weckl, Afro-Cuban Ensemble and music education. The student’s growth Joshua Redman, Jack DeJohnette, Terence Big Band as a musician is the primary goal of Blanchard, Danilo Perez, Bill Stewart, Peter “Blue Note” Ensemble the program. Nero, Ernie Watts, Mike Stern, Chris Potter, Brass Ensemble The music program is distinguished by its Adam Nussbaum, Dave Liebman, Mike Brazilian Jazz Ensemble emphasis on American music idioms, such Mainieri, Gonzalo Rubalcaba, Dennis Brazilian Percussion Ensemble as jazz and contemporary music, and Rowland, Gregg Field, Grover Washington, “Brecker Brothers” Ensemble includes study in European and world tradi- Jr., Max Roach, Eddie Gomez, Phil Woods, Chamber Singers tions. The School’s mission of training Yo-Yo Ma, Ray Brown, Scott Henderson, “Charles Mingus” Ensemble professional musicians and educators of the John Fedchock, Pat Martino, Phil Ramone, Chorus highest caliber is maintained through a con- Bill Watrous, Bob Mintzer, Billy Joel, Peter Drumset Ensemble servatory atmosphere, which stresses Erskine, Jon Faddis, James Moody, Marvin Fusion Ensemble individualized training, and a comprehen- “Smitty” Smith, Dave Samuels, Rob Handbell Choir sive curriculum that includes private lessons McConnell, Dennis Chambers, McCoy Inter-arts Ensemble with master faculty, and an abundance and Tyner, Patti Austin, Kurt Elling, Nestor Jazz Guitar Ensemble diversity of ensembles. Coursework for Torres, The Yellowjackets, and Joey “Jazz Messengers” Ensemble instrumental, vocal, and composition majors DeFrancesco. Jazz Lab Band includes jazz improvisation, jazz theory and Founded in 1870 as the Philadelphia Jazz Singers ear training, arranging, orchestration, basic Musical Academy, which later merged with Latin Jazz Ensemble piano and jazz piano, music and computer the Philadelphia Conservatory of Music, the “Maynard Ferguson” Ensemble technology, MIDI, recording engineering, School counts among its alumni some of the “Miles Davis” Ensemble music business, music histories (classical, nation’s most accomplished musicians, Musical Theater Ensemble jazz, American, rock), and world music. including bassist Stanley Clarke, pianists New Orleans Ensemble Performance opportunities play an impor- Kenny Barron, Andre Watts, and Sumi Percussion Ensemble tant part in the student’s education by Tonooka, vocalists Florence Quivar and Saxophone Ensemble sharpening technical and improvisation Osceola Davis, drummer Gerry Brown, sax- “Steely Dan” Ensemble skills, and increasing the student’s command ophonist Lew Tabackin, trombonist Trombone Ensemble of repertoire and styles. The School’s Robin Eubanks, composer Vincent World Music Ensemble numerous performance ensembles represent Persichetti, and TV/film composers John “Yellowjackets” Ensemble a wide range of styles and categories of jazz, Davis and Edd Kalehoff.
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Faculty Recitals Bachelor of Music in Jazz Diploma Program Guest Artist Concerts Studies in Instrumental This four-year program is designed pri- Opera Scenes Performance marily for students who wish to take the Small Jazz Ensemble Concerts The Jazz Studies instrumental curriculum entire musical portion of the undergraduate Student Recitals provides a direct and pragmatic education curriculum without liberal arts courses. for students interested in establishing a Students wishing to transfer from this pro- Programs of Study career as a performer or arranger in jazz gram to the bachelor’s degree program may Major Areas of Concentration and/or contemporary music. Students apply to do so in any year of their matricula- receive weekly, one-hour private lessons in tion and will be required to obtain the Flute their major area with renowned artist approval of both the Director of the School Clarinet teachers. Performance opportunities are of Music and the Director of Liberal Arts. Saxophone plentiful in the school’s award-winning jazz The Diploma program is ideal for students Woodwind Doubling ensembles. Special courses include Jazz who have already earned a degree in a field Trumpet Improvisation, Jazz Theory, Jazz Ear- other than music, but who want the benefit Trombone Training, Basic Piano, Jazz Piano, Jazz of a complete undergraduate training and Tuba Arranging, History of Jazz, The Business of education in music. Guitar Music, MIDI Synthesis, Music Technology, Bass (Electric and/or Upright) Recording Engineering, Transcription and Certificate in Music Percussion Analysis, Acoustics, Orchestration, World The two-year Certificate in Music pro- Drums Music, 20th Century Music, Advanced gram consists of the musical studies Piano Rhythmic Theory, and Advanced normally taken during the first two years of Violin Improvisation. the Bachelor of Music program. No liberal Composition Woodwind majors may elect to enroll in a arts courses are required. Voice woodwind specialist program that includes The Certificate in Music is awarded only Cello the study of various woodwind instruments. to students who are in residence and are matriculated in the certificate program. Bachelor of Music in Jazz Undergraduate Studies in Vocal Performance E-Music Minor Programs The Vocal Jazz Studies program in the The minor in e-music offers students School of Music is a unique curriculum that majoring in both Multimedia and Music an Bachelor of Music in Jazz provides strong training in traditional vocal opportunity to create electronic and experi- Studies in Composition technique, and combines skills and knowl- mental music, to develop skills that allow Students enrolled as majors in edge in a range of vocal styles and literature them to produce, package, and distribute Composition take private lessons with our including jazz/contemporary, and classical music by taking advantage of digital tech- faculty who work professionally in contem- and musical theater. Students receive private nology, and to design electronic porary classical, jazz, and commercial instruction in voice, and take a core of instrumental interfaces. The minor prepares (radio, TV, film, industrial) and pop idioms. courses in jazz ear training, jazz theory, jazz students for a variety of highly entrepre- Monthly workshops featuring guest com- history, styles and diction, theory, basic neurial careers ranging from entertainment posers representing a variety of musical piano, jazz piano, advanced piano, music and product development to creative and genres present students with an inside look technology, and careers in music. production work in the recording and at their creative processes and techniques. Additionally, Vocal majors select classes musical fields. This minor is only available Additional courses include Jazz Ear and ensembles that most accurately reflect to students majoring in Multimedia or Training, Jazz Theory, MIDI and Music performance and study interests, including Music. Please note that this minor requires Technology, Arranging, Orchestration, jazz vocal ensembles, chorus, and chamber 17 credits for Music majors. Specific Music History, Business of Music, and singers, vocal workshops, and an ongoing requirements for multimedia majors can be ensembles. Student compositions are read series of master classes. found in the CMAC section of this catalog. or performed by our ensembles, and fre- quent performances of students’ music MM 110 Visual Concepts I 3.0 credits highlight the school’s concert schedule. MM 121 Introduction to Composition students can also elect an option to take additional study on an instru- Interface Design 3.0 ment or voice. The University’s creative MU 306 History of Rock & environment encourages collaborations with Experimental Music 3.0 film, animation, dance, theater, and multi- MU 413 A Recording 2.0 media students. MM 370 E-Music Thesis Project 3.0 One of the following: MM 221 Interactive Studio I 3.0 MM 222 Interactive Studio II
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Music Education Minor Graduate Programs School of Music Faculty The Music Education minor comple- ments the degree studies of all music Master of Arts in Teaching- Applied and Ensemble Studies majors, with two courses counting towards Music Education (MAT) Composition the liberal arts core of the student’s bachelor The Master of Arts in Teaching Music Andrea Clearfield degree. Coursework includes instruction in Education is a 36-credit program designed Don Glanden each of the instrument families, pedagogy for students who have completed bachelor’s Rick Hall of private instruction and improvisation, degrees in applied music, music Evan Solot, Chair conducting, rehearsing jazz ensembles, the theory/composition, music history/litera- David Thomas psychology of teaching and learning music, ture, or other non-education, music-related and the needs of special learners. Field curricula. The MAT can be completed in Class Piano experiences include working with ensem- one academic year provided corequisite Annette DiMedio bles in public and private schools. requirements have been met and placement Jeffrey Kern Music Education minors will be able to testing does not indicate the need for sup- David Thomas complete the Master of Arts in Teaching plementary studies. Undergraduate students degree (MAT) and receive teacher certifica- in music at the University may take the Computer and Electronic Music tion in one additional academic year. This Music Education Minor, which satisfies all Steve Goodsell “4 +1” option allows students to earn a corequisites. The MAT in Music Education Dave Hartl MUED minor, bachelor degree, master leads to teaching certification in the Damon Ireland degree, and teacher certification in only Commonwealth of Pennsylvania. Micah Jones five years. Thomas Rudolph Master of Music in Jazz Studies Conducting The Master of Music in Jazz Studies is a Patrick Jones 32-credit program designed for students Jeffrey Kern who have completed a bachelor’s degree in jazz performance or other applied music Guitar with significant experience in jazz/contem- Jimmy Bruno porary music studies. The MM can be Thomas Giacabetti, Chair completed in a one-year, two-semester Michael Kennedy schedule, providing that all prerequisite Pat Martino skills are satisfied prior to beginning the Michael Quaile program. The entrance requirements include advanced technical and stylistic facility on Jazz Improvisation the major instrument or voice, and skills in Jimmy Bruno improvisation, jazz theory and ear training, Chris Farr and jazz history. The MM program is Don Glanden intended to dramatically increase the stu- Ronald Kerber dent’s performance abilities, as well as Pat Martino provide a diversity of other professional- Tony Miceli level competencies, preparing the student Michael Quaile for a career as a music professional or col- John Swana lege-level teacher. Craig Thomas Jazz Pedagogy Rick Lawn Keyboards Annette DiMedio Samuel Dockery Robert Durso Don Glanden, Chair Dave Hartl Jamar Jones Trudy Pitts Elio Villafranca
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Large Jazz Ensembles Musicianship Upright Jazz Bass/Electric Tim Brent Chris Farr Bass Frank Mazzeo Don Glanden Steve Beskrone Evan Solot Micah Jones Charles Fambrough Bill Zaccagni Ronald Kerber Micah Jones Jeffrey Kern Kevin MacConnell Latin-American Music Evan Solot Tony Marino Orlando Haddad Craig Thomas Marlon Simon Percussion/Drums Gerald Veasley Elio Villafranca Carl Allen Robert Brosh Vocal Ensembles and Music Business Marc Dicciani Conducting Marc Dicciani Orlando Haddad Tim Brent Orlando Haddad Tony Miceli Meg Clifton Joseph Nero, Chair Jeffrey Kern Music Education - James Paxson Undergraduate and Graduate Marlon Simon Voice Studies Rick Van Horn Paul Adkins Marc Dicciani Tim Brent Annette DiMedio Recording Meg Clifton William Garton Steven Goodsell Jeffrey Kern, Chair Marjorie Goldberg Kelly Meashey Janice Goltz Saxophone Reginald Pindell Patrick Jones, Head Chris Farr Patricia Raine Michael Kennedy Ronald Kerber, Chair Anne Sciolla Ronald Kerber Frank Mazzeo Patricia Stasis Jeffrey Kern Daniel Muller John Knebl Anthony Salicondro World Music Robert Quaile Bill Zaccagni Robert Brosh Thomas Rudolph Donald Chittum Gia Walton Small Jazz Ensembles Dennis Wasko All Jazz faculty Bill Zaccagni Strings Music History and Literature John Blake Robert Brosh Richard Hotchkiss Donald Chittum Norman David Theory Annette DiMedio Donald Chittum, Chair Bill Zaccagni Don Glanden Dave Hartl Music Journalism Micah Jones Bruce Klauber Evan Solot Rick Van Horn Craig Thomas David Thomas Music Librarian Bill Zaccagni Mark Germer Trombone Music Studies John Fedchock Arranging/Orchestration Richard Genovese Norman David Clint Sharman Bill Zaccagni Trumpet Matt Gallagher Tim Hagans Jeff Jarvis George Rabbai John Swana Dennis Wasko, Chair
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Special Regulations/ mitted by the student to the Office of the pletion of applied study. Requirements are Registrar. established for each year of study and are Requirements considered cumulative: e.g., a jury examina- Faculty Advisors tion of a second-year student may include Attendance All students are assigned to a faculty requirements from the first year. The number of hours of “Unexcused advisor. Lists are posted in the Merriam It is possible for a student to pass the jury Absences” permitted per semester in the Lobby during the first week of the academic examination and yet receive a failing grade School of Music may not exceed the year. Students should feel free to see their in the major, due to the different grading number of credits per course, i.e., in a three- advisor at any time concerning problems and evaluation criteria for each. However, a credit course, no more than three hours of that they may encounter. student who fails the jury will receive a unexcused absences are permitted; in a two- Appointments can be made at the mutual failure in the major. credit course, no more that two hours of convenience of the student and the faculty unexcused absences are permitted, etc. advisor. Senior or Graduate Recital/ Senior Showcase Attendance at Lessons Jury Examinations All fourth year students are required to Students must attend all private lessons as All first, second, and third-year music present a solo or group performance during scheduled except in the case of illness or majors must take a jury examination in their a designated period in the spring semester. emergency. It is the student’s responsibility applied area upon the completion of the This “Senior Showcase” is the official to notify the teacher if he/she is unable to second, fourth, and sixth semesters of applied recital required for graduation. The show- keep the appointment time. Failure to give study. This usually occurs in May during the case is graded pass/fail and will appear on at least 24 hours prior notice may result in week immediately following classroom the student’s transcript. Recital grading is forfeiture of the lesson. A maximum of examinations. However, students who began decided by a majority vote of a faculty com- three lessons per semester will be made up their matriculation in midyear, transferred mittee. Grading criteria include many in the case of excused absences. from another institution, or have failed their different aspects, including duration, prepa- Lessons missed because of unexcused jury in a prior year may be scheduled to take ration, performance, and presentation. A absences will not be made up. the examination in December. sample evaluation form is distributed at the Lessons missed due to the teacher’s Students are evaluated in comparison to beginning of the semester to all students absence will be rescheduled and made up by the Minimum Applied Jury Requirements in who are scheduled to present a senior show- the teacher, or his/her designee. their major. A list of these requirements is case. Unless circumstances render it impos- given to each student by his/her major All performances are audio- and video- sible, “make-up” lessons for the Fall teacher at the beginning of each year. The taped by the School for archival and grading semester are to be completed prior to the jury consists of at least two faculty members purposes only; they are not meant to be pro- Spring semester; “make-up” lessons for the in addition to the major teacher (who may fessional-quality productions or student Spring must be completed by June 15. be present but may not grade). The jury demos. Due to federal copyright laws, Normally, students are entitled to 28 one- examination is graded “Pass/Fail,” but also duplication by the School or the student is hour lessons during the academic year (14 includes areas of optional letter grading expressly prohibited. All performances are per semester). evaluation. staffed (sound, light and video) by Failure in any single “Pass/Fail” aspect of University personnel, and the official pro- Change of Major Teacher the jury examination constitutes an “F” grams must be printed by the School. Students who wish to petition for a (Failure) in the entire jury examination. A A series of workshops titled “Senior change of major teacher must: student who fails the jury fails the entire Showcase Forum” is offered during the fall 1. Secure a “Request for Change of Major semester in the applied major; the examina- semester prior to the scheduling of recitals, Teacher” form from the Director of the tion may not be retaken. A grade of “F” will during which faculty and staff outline the School of Music. appear on the student’s transcript for both the requirements such as the selection of mate- 2. State reasons for requesting a change major lessons and the jury exam, and the stu- rial, ensemble personnel, performance date, of teacher. dent will receive no credit for the semester’s set-up, stage presentation, etc. Attendance at 3. Obtain the signed approval of the work in major lessons. The student must the forum is mandatory for all students who present and the requested teacher. repeat the failed semester of applied study will be presenting a showcase, and is fac- 4. Obtain the signed approval of the and retake the jury examination at the com- tored into the final recital grade. Each department chair. pletion of the next semester. A student who student’s major teacher and department 5. Obtain the signed approval of the fails the same semester jury examination chair must approve the recital program. Director of the School of Music. more than once, or who fails a total of more Approval must be received in writing, at Such changes are not usually effected in than one jury examination during his/her least three weeks prior to the recital. mid-semester. If the change is approved matriculation at the University will be rec- Students failing the senior showcase will during the semester, in addition to the ommended for dismissal. be given one more opportunity to present a process stated above, the student must also The requirements that are tested in the successful one prior to the end of the complete a Drop/Add form to correct the jury examination are those that have been semester. If that attempt fails, the student current major teacher designation. The established, by a departmental faculty com- must wait until the following semester. A Drop/Add form must be signed by the mittee, to be the minimum set of skills and student who has not presented a satisfactory Director of the School of Music and sub- knowledge necessary for successful com- showcase cannot graduate. Students who have met the requirements
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of presenting a satisfactory showcase are Graduation Requirements free to use the School facilities at any other In addition to the general CPA require- time during the year to present a concert or ments for graduation, the following must be recital of their choosing. fulfilled: The forum, the preparation, and the showcase are intended to provide a valuable Undergraduate Requirements educational and professional experience for the student. 1. Performance majors must present a sat- isfactory graduation recital before the public Academic Censure (“satisfactory” performance to be determined by majority vote of a faculty jury). In addition to the criteria listed under 2. Composition majors must submit a sat- “Academic Censure” in the Academic isfactory substantial work in the senior year, Policies section of this catalog, a grade to be publicly performed, adjudicated by the below “B-” (2.67) in Major Lessons is con- Composition faculty. sidered to be criteria for Academic Censure. 3. The recital must include musical selections as stipulated by the faculty, and “First Wednesday” must conform to School of Music recital The first Wednesday of each month is requirements. devoted to faculty and guest recitals, lec- tures, master classes, and workshops, as Exit Requirements for the well as student performances. MAT in Music Education Music majors should not schedule other Successful completion of all course and commitments during the time designated as related requirements shall lead to the granting First Wednesday. In addition, all music stu- of the Master of Arts in Teaching with a dents are encouraged to attend student and major in Music Education, provided that an professional performances on a regular basis. overall GPA of 3.0 or higher is maintained. However, approval of the MAT in Music Professional Standards Education Committee is required for recom- and Behavior mendation for teacher certification. It should Students are required to maintain high be noted also that the initial Instructional I standards of professionalism in studio, Certificate cannot be issued by the classroom, rehearsal, and performance com- Commonwealth of Pennsylvania Department mitments. Failure to follow directions, and of Education unless PDE testing requirements absence from or lateness to rehearsals, per- have been met. formances, and related activities may result in Academic Censure, including lowering of Exit Requirements for the grades, course failure, removal from the Master of Music in Jazz Studies class, or suspension. All MM students must complete a satis- factory graduate project and a graduate Applied Workshops recital in order to meet the degree require- Workshops in each applied major/depart- ments for completion of the Master of ment are scheduled at least four times each Music. semester. Faculty and guests teach an array The recital must include musical selec- of topics that are supplemental and sup- tions as stipulated by the major teacher and portive to the major lesson. Attendance and department, and must conform to the guide- participation are required as part of the lines as stated in the school policy grade in the major. governing recitals and senior recitals. All MM candidates are required to main- tain a cumulative GPA of at least a 3.0.
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Bachelor of Music in Jazz Studies-Instrumental Performance 126 credits
N.B. All instrumental majors are required to suc- Freshman Credits Junior Credits cessfully complete one year of Chorus, which may Fall Fall be taken as ensemble or elective credits. Piano (MU 131 A/B) and Jazz Piano (MU 232 A/B) MU 192 A Applied Major Instruction 3.0 MU 392 A Applied Major Instruction 3.0 are not required for piano majors. Instead, substi- MU 107 A Music Theory I 3.0 MU 7XX Ensemble 1.0 tute four elective credits. This requirement may be MU 103 A Musicianship I 3.0 MU 310 Transcription and Analysis 1.0 completed either semester. MU 100 Major Workshop 1.0 MU 317 A Orchestration I 3.0 * All undergraduate music students must take either MU 131 A Class Piano I 1.0 MU 401 A** Jazz History 3.0 Business of Music (MU 420 A) or Careers in Music (MU 420 B). Students who take both may apply one MU 115 Music Technology Survey 1.0 HU XXX Liberal Arts 6.0 toward elective credits. LA CR 101 First Year Writing I 3.0 Fall Total 17.0 † Senior Recital may be completed in either Fall Total 15.0 Spring semester. ** Also fulfills Liberal Arts discipline history Spring MU 392 B Applied Major Instruction 3.0 requirement. MU 192 B Applied Major Instruction 3.0 MU 7XX Ensemble 1.0 MU 107 B Music Theory II 3.0 MU 311 Transcription and Analysis 1.0 Liberal Arts Distribution MU 103 B Musicianship II 3.0 Electives 6.0 Note all Liberal Arts courses are 3.0 credits. MU 113 Freshman Improvisation 1.0 MU 030 Jury Examination 0 LA CR 101/102 3 cr. 3 cr. HU 103 A/B 3 cr. 3 cr. MU 131 B Class Piano II 1.0 HU XXX Liberal Arts 6.0 MU 301 A/B 3 cr. 3 cr. MU 116 Music Technology Survey 1.0 Spring Total 17.0 MU 401 A 3 cr. LA CR 102 First Year Writing II 3.0 Literature 3 cr. Junior Year Total 34.0 MU 010 Jury Examination 0 Humanities 3 cr. Social Science 3 cr. 3 cr. Spring Total 15.0 Senior Science/Math 3 cr. Freshman Year Total 30.0 Fall Lib. Arts Electives 3 cr. 3 cr. MU 492 A Applied Major Instruction 3.0 Sophomore MU 301 A** Music History I 3.0 Fall MU 7XX Ensemble 2.0 MU 292 A Applied Major Instruction 3.0 Electives 3.0 MU 208 A Jazz Theory I 3.0 HU XXX Liberal Arts 3.0 MU 209 A Jazz Ear Training I 3.0 Fall Total 14.0 MU 7XX Ensemble 1.0 Spring MU 232 A Class Jazz Piano I 1.0 MU 492 B Applied Major Instruction 3.0 MU 213 A Jazz Improvisation I 2.0 MU 301 B** Music History II 3.0 HU 103 A Intro. to Modernism I 3.0 MU 7XX Ensemble 2.0 Fall Total 16.0 HU XXX Liberal Arts 6.0 Spring MU 040† Senior Recital 0 MU 292 B Applied Major Instruction 3.0 Select one of the following two: MU 208 B Jazz Theory II 3.0 MU 420A* Business of Music 2.0 MU 209 B Jazz Ear Training II 3.0 MU420 B Careers in Music MU 7XX Ensemble 1.0 Spring Total 16.0 MU 232 B Class Jazz Piano II 1.0 Senior Year Total 30.0 MU 213 B Jazz Improvisation II 2.0 HU 103 B Intro. to Modernism II 3.0 MU 020 Jury Examination 0 Spring Total 16.0 Sophomore Year Total: 32.0
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Bachelor of Music in Jazz Studies- Vocal Performance 126 credits
All undergraduate Music students must take either Freshman Credits Junior Credits Business of Music (MU 420 A) or Careers in Music Fall Fall (MU 420 B). Students who take both may apply one toward elective credits. This requirement may be MU 191 A Applied Major Instruction 3.0 MU 391 A Applied Major Instruction 3.0 completed in either semester. MU 107 A Music Theory I 3.0 MU 7XX Ensemble 1.0 † Senior Recital may be completed in either term. MU 103 A Musicianship I 3.0 MU 772 Chorus 1.0 ** Also fulfills liberal arts discipline history MU 139 Vocal Styles and Diction I 1.0 MU 331 A Advanced Piano and requirement. MU 772 Chorus 1.0 Accompanying 1.0 Liberal Arts Distribution MU 131 A Class Piano I 1.0 MU 401 A** Jazz History 3.0 Note all Liberal Arts courses are 3.0 credits. MU 115 Music Technology Survey 1.0 Electives 3.0 LA CR 101/102 3 cr. 3 cr. LA CR 101 First Year Writing I 3.0 HU XXX Liberal Arts 6.0 HU 103 A/B 3 cr. 3 cr. Fall Total 16.0 Fall Total 18.0 MU 301 A/B 3 cr. 3 cr. MU 401 A 3 cr. Spring Spring Literature 3 cr. MU 191 B Applied Major Instruction 3.0 MU 391 B Applied Major Instruction 3.0 Humanities 3 cr. MU 107 B Music Theory II 3.0 MU 7XX Ensemble 1.0 Social Science 3 cr. 3 cr. Science/Math 3 cr. MU 103 B Musicianship II 3.0 MU 772 Chorus 1.0 Lib. Arts Electives 3 cr. 3 cr. MU 140 Vocal Styles and Diction II 1.0 MU 331 B Advanced Piano and MU 772 Chorus 1.0 Accompanying 1.0 MU 131 B Class Piano II 1.0 MU 030 Jury Examination 0 MU 116 Music Technology Survey 1.0 Electives 3.0 LA CR 102 First Year Writing II 3.0 HU XXX Liberal Arts 6.0 MU 010 Jury Examination 0 Spring Total 15.0 Spring Total 16.0 Junior Year Total 33.0 Freshman Year Total 32.0 Senior Sophomore Fall Fall MU 491 A Applied Major Instruction 3.0 MU 291 A Applied Major Instruction 3.0 MU 772 Chorus 1.0 MU 208 A Jazz Theory I 3.0 MU 7XX Ensemble 1.0 MU 209 A Jazz Ear Training I 3.0 Select one of the following two: MU 772 Chorus 1.0 MU 420 A Business of Music 2.0 MU 232 A Class Jazz Piano I 1.0 MU 420 B Careers in Music MU 213 A Jazz Improvisation I 2.0 MU 301 A** Music History I 3.0 HU 103 A Intro. to Modernism I 3.0 Electives 3.0 Fall Total 16.0 HU XXX Liberal Arts 3.0 Spring Fall Total 16.0 MU 291 B Applied Major Instruction 3.0 Spring MU 208 B Jazz Theory II 3.0 MU 491 B Applied Major Instruction 3.0 MU 209 B Jazz Ear Training II 3.0 MU 772 Chorus 1.0 MU 772 Chorus 1.0 MU 040† Senior Recital 0 MU 232 B Class Jazz Piano II 1.0 MU 301 B** Music History II 3.0 MU 213 B Jazz Improvisation II 2.0 HU XXX Liberal Arts 6.0 HU 103 B Intro. to Modernism II 3.0 Spring Total 13.0 MU 020 Jury Examination 0 Senior Year Total 29.0 Spring Total 16.0 Sophomore Year Total 32.0
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Bachelor of Music in Jazz Studies- Composition 126 credits
Freshman Credits Junior Credits N.B. All composition majors are required to suc- cessfully complete one year of Chorus, which may Fall Fall be taken as ensemble or elective credits. MU 193 A Applied Major Instruction 3.0 MU 393 A Applied Major Instruction 3.0 * All undergraduate music students must take either MU 107 A Music Theory I 3.0 MU 401 A** Jazz History 3.0 Business of Music (MU 420 A) or Careers in Music MU 7XX Ensemble 1.0 (MU 420 B). Students who take both may apply one MU 103 A Musicianship I 3.0 toward elective credits. This requirement may be MU 7XX Ensemble 1.0 HU XXX Liberal Arts 3.0 completed in either semester. MU 131 A Class Piano I 1.0 Electives 6.0 † Senior Recital may be completed in either term. MU 115 Music Technology Survey 1.0 Fall Total 16.0 ** Also fulfills liberal arts discipline history requirement. LA CR 101 First Year Writing I 3.0 Spring Fall Total 15.0 MU 393 B Applied Major Instruction 3.0 Liberal Arts Distribution Spring MU 7XX Ensemble 1.0 Note all Liberal Arts courses are 3.0 credits. LA CR 101/102 3 cr. 3 cr. MU 193 B Applied Major Instruction 3.0 MU 315 Jazz Arranging I 3.0 HU 103 A/B 3 cr. 3 cr. MU XXX Composition Elective 3.0 MU 107 B Music Theory II 3.0 MU 301 A/B 3 cr. 3 cr. MU 103 B Musicianship II 3.0 MU 030 Jury Examination 0 MU 401 A 3 cr. MU 7XX Ensemble 1.0 HU XXX Liberal Arts 6.0 Literature 3 cr. MU 131 B Class Piano II 1.0 Spring Total 15.0 Humanities 3 cr. Social Science 3 cr. 3 cr. MU 116 Music Technology Survey 1.0 Junior Year Total 31.0 Science/Math 3 cr. MU 010 Jury Examination 0 Lib. Arts Electives 3 cr. 3 cr. LA CR 102 First Year Writing II 3.0 Senior Spring Total 15.0 Fall Freshman Year Total 30.0 MU 493 A Applied Major Instruction 3.0 MU 301 A** Music History I 3.0 Sophomore MU 7XX Ensemble 1.0 Fall Select one of the following two: MU 293 A Applied Major Instruction 3.0 MU 420 A* Business in Music 2.0 MU 208 A Jazz Theory I 3.0 MU 420 B Careers in Music MU 209 A Jazz Ear Training I 3.0 HU XXX Liberal Arts 6.0 MU 7XX Ensemble 1.0 Fall Total 15.0 MU 232 A Class Jazz Piano I 1.0 Spring MU 415 A Intro. to MIDI and Electronic MU 493 B Applied Major Instruction 3.0 Technology 3.0 MU 301 B** Music History II 3.0 HU 103 A Intro. to Modernism I 3.0 MU 7XX Ensemble 1.0 Fall Total 16.0 MU 040† Senior Recital 0 Spring Electives 3.0 MU 293 B Applied Major Instruction 3.0 HU XXX Liberal Arts 6.0 MU 208 B Jazz Theory II 3.0 Spring Total 16.0 MU 209 B Jazz Ear Training II 3.0 Senior Year Total 31.0 MU 7XX Ensemble 1.0 MU 232 B Class Jazz Piano II 1.0 MU 020 Jury Examination 0 MU 317 A Orchestration I 3.0 HU 103 B Intro. to Modernism II 3.0 Spring Total 17.0 Sophomore Year Total 34.0
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Diploma in Music in Jazz Studies-Instrumental Performance 104 credits
Freshman Credits Junior Credits Fall Fall MU 192 A Applied Major Instruction 3.0 MU 392 A Applied Major Instruction 3.0 MU 107 A Music Theory I 3.0 MU 7XX Ensembles 2.0 MU 103 A Musicianship I 3.0 MU 310 Transcription and Analysis 1.0 MU 100 Major Workshop 1.0 MU 401 A Jazz History 3.0 MU 7XX Ensemble 1.0 Electives 3.0 MU 131 B Class Piano I 1.0 Fall Total 12.0 MU 115 Music Technology Survey 1.0 Spring Fall Total 13.0 MU 392 B Applied Major Instruction 3.0 Spring MU 7XX Ensembles 2.0 MU 192 B Applied Major Instruction 3.0 MU 311 Transcription and Analysis 1.0 MU 107 B Music Theory II 3.0 MU XXX Music Elective 3.0 MU 103 B Musicianship II 3.0 MU 030 Jury Examination 0 MU 113 Freshman Improvisation 1.0 Electives 3.0 MU 7XX Ensemble 1.0 Spring Total 12.0 MU 131 B Class Piano II 1.0 Junior Year Total 24.0 MU 116 Music Technology Survey 1.0 MU 010 Jury Examination 0 Senior Spring Total 13.0 Fall Freshman Year Total 26.0 MU 492 A Applied Major Instruction 3.0 MU 7XX Ensembles 2.0 Sophomore MU 420 A Business of Music 2.0 Fall MU 040† Senior Recital 0 MU 292 A Applied Major Instruction 3.0 MU 301 A Music History I 3.0 MU 208 A Jazz Theory I 3.0 Electives 3.0 MU 209 A Jazz Ear Training I 3.0 Fall Total 13.0 MU 7XX Ensembles 2.0 Spring MU 232 A Class Jazz Piano I 1.0 MU 492 B Applied Major Instruction 3.0 MU 213 A Jazz Improvisation 2.0 MU 7XX Ensembles 2.0 Fall Total 14.0 MU 420 B Careers in Music 2.0 Spring MU 040† Senior Recital 0 MU 292 B Applied Major Instruction 3.0 MU 301 B Music History I, II 3.0 MU 208 B Jazz Theory I 3.0 Electives 3.0 MU 209 B Jazz Ear Training II 3.0 Spring Total 13.0 MU 7XX Ensembles 2.0 Senior Year Total 26.0 MU 232 B Class Jazz Piano II 1.0 MU 213 B Jazz Improvisation 2.0 MU 020 Jury Examination 0 N.B. All instrumental majors are required to successfully Spring Total 14.0 complete one year of Chorus (MU 772), which may be taken as ensemble or elective credits. Sophomore Year Total 28.0 Piano (MU 131 A/B) and Jazz Piano (MU 232 A/B) are not required for piano majors. Instead, substitute four elective credits. † Senior Recital may be completed either term.
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Diploma in Music in Jazz Studies-Vocal Performance 104 credits
Freshman Credits Junior Credits Fall Fall MU 191 A Applied Major Instruction 3.0 MU 391 A Applied Major Instruction 3.0 MU 107 A Music Theory I 3.0 MU 7XX Ensemble 1.0 MU 103 A Musicianship I 3.0 MU 772 Chorus 1.0 MU 139 Vocal Styles and Diction I 1.0 MU 331 A Advanced Piano and MU 772 Chorus 1.0 Accompanying 1.0 MU 131 A Class Piano I 1.0 MU 401 A Jazz History 3.0 MU 115 Music Technology Survey 1.0 Electives 3.0 Fall Total 13.0 Fall Total 12.0 Spring Spring MU 191 B Applied Major Instruction 3.0 MU 391 B Applied Major Instruction 3.0 MU 107 B Music Theory II 3.0 MU 7XX Ensemble 1.0 MU 103 B Musicianship II 3.0 MU 772 Chorus 1.0 MU 140 Vocal Styles and Diction II 1.0 MU XXX Music Elective 3.0 MU 772 Chorus 1.0 MU 331 B Advanced Piano and MU 131 B Class Piano II 1.0 Accompanying 1.0 MU 116 Music Technology Survey 1.0 MU 030 Jury Examination 0 MU 010 Jury Examination 0 Electives 3.0 Spring Total 13.0 Spring Total 12.0 Freshman Year Total 26.0 Junior Year Total 24.0
Sophomore Senior Fall Fall MU 291 A Applied Major Instruction 3.0 MU 491 A Applied Major Instruction 3.0 MU 208 A Jazz Theory I 3.0 MU 772 Chorus 1.0 MU 209 A Jazz Ear Training I 3.0 MU 7XX Ensemble 1.0 MU 772 Chorus 1.0 MU 420 A Business of Music 2.0 MU 7XX Ensemble 1.0 MU 040† Senior Recital 0 MU 232 A Class Jazz Piano I 1.0 MU 301 A Music History I 3.0 MU 213 A Jazz Improvisation I 2.0 Electives 3.0 Fall Total 14.0 Fall Total 13.0 Spring Spring MU 291 B Applied Major Instruction 3.0 MU 491 B Applied Major Instruction 3.0 MU 208 B Jazz Theory II 3.0 MU 772 Chorus 1.0 MU 209 B Jazz Ear Training II 3.0 MU 7XX Ensemble 1.0 MU 772 Chorus 1.0 MU 420 B Careers in Music 2.0 MU 7XX Ensemble 1.0 MU 040† Senior Recital 0 MU 232 B Class Jazz Piano II 1.0 MU 301 B Music History II 3.0 MU 213 B Jazz Improvisation II 2.0 Electives 3.0 MU 020 Jury Examination 0 Spring Total 13.0 Spring Total 14.0 Senior Year Total 26.0 Sophomore Year Total 28.0
† Senior Recital may be completed either term.
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Diploma in Music in Jazz Studies-Composition 104 credits
Freshman Credits Junior Credits Fall Fall MU 193 A Applied Major Instruction 3.0 MU 393 A Applied Major Instruction 3.0 MU 107 A Music Theory 3.0 MU 7XX Ensembles 2.0 MU 103 A Musicianship I 3.0 MU 317 A Orchestration I 3.0 MU 7XX Ensemble 1.0 MU415 A Intro. to MIDI and Electronic MU 131 A Class Piano 1.0 Technology 3.0 MU 115 Music Technology Survey 1.0 MU 030 Jury Examination 0 Fall Total 12.0 MU 401 A Jazz History 3.0 Spring Fall Total 14.0 MU 193 B Applied Major Instruction 3.0 Spring MU 107 B Music Theory 3.0 MU 393 B Applied Major Instruction 3.0 MU 103 B Musicianship II 3.0 MU 311 Transcription and Analysis 1.0 MU 7XX Ensemble 1.0 MU 7XX Ensembles 2.0 MU 131 B Class Piano 1.0 MU XXX Music Elective 3.0 MU 116 Music Technology Survey 1.0 MU 030 Jury Examination 0 MU 010 Jury Examination 0 Electives 3.0 Spring Total 12.0 Spring Total 12.0 Freshman Year Total 24.0 Junior Year Total 26.0
Sophomore Senior Fall Fall MU 293 A Applied Major Instruction 3.0 MU 493 A Applied Major Instruction 3.0 MU 208 A Jazz Theory I 3.0 MU 7XX Ensembles 2.0 MU 209 A Jazz Ear Training I 3.0 MU 420 A Business of Music 2.0 MU 7XX Ensemble 1.0 MU 301 A Music History 3.0 MU 232 A Class Jazz Piano 1.0 Electives 3.0 MU 315 A Jazz Arranging I 2.0 Fall Total 13.0 Fall Total 13.0 Spring Spring MU 493 B Applied Major Instruction 3.0 MU 293 B Applied Major Instruction 3.0 MU 7XX Ensembles 2.0 MU 208 B Jazz Theory II 3.0 MU 420 B Careers in Music 2.0 MU 209 B Jazz Ear Training II 3.0 MU 040† Senior Recital 0 MU 7XX Ensemble 1.0 MU 301 B Music History 3.0 MU 232 B Class Jazz Piano 1.0 Electives 3.0 MU XXX Music Elective 3.0 Spring Total 13.0 MU 020 Jury Examination 0 Senior Year Total 26.0 Spring Total 14.0 Sophomore Year Total 27.0 N.B. All composition majors are required to suc- cessfully complete one year of Chorus, which may be taken as ensemble or elective credits.
† Senior Recital may be completed either semester.
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Certificate in Music in Jazz Certificate in Music in Jazz Studies-Instrumental Studies-Vocal Performance Performance 54 credits 54 credits
First Year Credits First Year Credits Fall Fall MU 192 A Applied Major Instruction 3.0 MU 191 A Applied Major Instruction 3.0 MU 107 A Music Theory I 3.0 MU 107 A Music Theory I 3.0 MU 103 A Musicianship 3.0 MU 103 A Musicianship I 3.0 MU 100 Major Workshop 1.0 MU 139 Vocal Styles and Diction I 1.0 MU 7XX Ensemble 1.0 MU 7XX Ensemble 1.0 MU 131 A Class Piano 1.0 MU 131 A Class Piano I 1.0 MU 115 Music Technology Survey 1.0 MU 115 Music Technology Survey 1.0 Fall Total 13.0 Fall Total 13.0 Spring Spring MU 192 B Applied Major Instruction 3.0 MU 191 B Applied Major Instruction 3.0 MU 107 B Music Theory II 3.0 MU 107 B Music Theory II 3.0 MU 103 B Musicianship 3.0 MU 103 B Musicianship II 3.0 MU 113 Freshman Improvisation 1.0 MU 140 Vocal Styles and Diction II 1.0 MU 7XX Ensemble 1.0 MU 7XX Ensemble 1.0 MU 131 B Class Piano 1.0 MU 131 B Class Piano II 1.0 MU 116 Music Technology Survey 1.0 MU 116 Music Technology Survey 1.0 MU 010 Jury Examination 0 MU 010 Jury Examination 0 Spring Total 13.0 Spring Total 13.0 First Year Total 26.0 First Year Total 26.0
Second Year Second Year Fall Fall MU 292 A Applied Major Instruction 3.0 MU 291 A Applied Major Instruction 3.0 MU 208 A Jazz Theory I 3.0 MU 208 A Jazz Theory I 3.0 MU 209 A Jazz Ear Training I 3.0 MU 209 A Jazz Ear Training I 3.0 MU 7XX Ensembles 2.0 MU 7XX Ensembles 2.0 MU 232 A Class Jazz Piano I 1.0 MU 232 A Class Jazz Piano 1.0 MU 213 A Jazz Improvisation I 2.0 MU 213 A Jazz Improvisation I 2.0 Fall Total 14.0 Fall Total 14.0 Spring Spring MU 292 B Applied Major Instruction 3.0 MU 291 B Applied Major Instruction 3.0 MU 208 B Jazz Theory II 3.0 MU 208 B Jazz Theory II 3.0 MU 209 B Jazz Ear Training II 3.0 MU 209 B Jazz Ear Training II 3.0 MU 7XX Ensembles 2.0 MU 7XX Ensembles 2.0 MU 232 B Class Jazz Piano II 1.0 MU 232 B Class Jazz Piano 1.0 MU 213 B Jazz Improvisation II 2.0 MU 213 B Jazz Improvisation II 2.0 MU 020 Jury Examination 0 MU 020 Jury Examination 0 Spring Total 14.0 Spring Total 14.0 Second Year Total 28.0 Second Year Total 28.0
N.B. Piano (MU 131 A/B) and Jazz Piano (MU 232 A/B) are not required for piano majors. Instead, substitute four elective credits.
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Music Education Music Education Minor 20 credits Music Education Minor Professional musicians teach in various Course Credits settings such as private lessons, classroom lectures, presentations at conferences, MUED 110 Brass Instruments 1.0 directing performing ensembles, and as MUED 111 Flute & Double Reeds 1.0 artists-in-residence. The Music Education MUED 112 Folk & Social Instruments 1.0 minor is open to all music majors desiring preparation for these roles. MUED 113 Percussion Instruments 1.0 The Music Education minor comple- MUED 114 Single Reed Instruments 1.0 ments the degree studies of all music majors MUED 115 String Instruments 1.0 with two courses counting towards the lib- MUED 320 Music Pedagogy I Ð eral arts core of the student’s bachelor degree. Coursework includes instruction in Private Lessons 1.0 each of the instrument families, pedagogy MUED 321 Music Pedagogy II - of private instruction and improvisation, Improvisation 1.0 conducting, rehearsing jazz ensembles, the MUED 430 Rehearsal Techniques Ð psychology of teaching and learning music, Jazz Ensemble 2.0 and the needs of special learners. Field experiences include working with ensem- MUED 431 Basic Conducting 2.0 bles in public and private schools. MUED 400 Psychology of Music Music Education minors will be able to Teaching & Learning 3.0 complete the Master of Arts in Teaching MUED 401 Music & Special Children 3.0 degree (MAT) and receive teacher certifica- MU 499 Internship Ð Jazz Band/Choir 1.0 tion in one additional academic year. This “4 +1” option allows students to complete a MU499 Internship Ð MUED minor, a bachelor’s degree, a March Band/Musical 1.0 master’s degree, and teacher certification in Total Credits 20.0 only 5 years.
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MAT in Music Education The following listing presents the normal Music Education Faculty sequence of courses if completed within one Master of Arts in year: Marc Dicciani Teaching Annette DiMedio Music Education Patrick M. Jones William Garton Master of Arts in Teaching [email protected] Richard Genovese 36 credits Division Head Marjorie Goldberg 215-717-6356 Janice Goltz Patrick M. Jones Fall The Master of Arts in Teaching Ð Music Michael Kennedy MUED 600 Historical Foundations Education (MAT) is an advanced teacher Ronald Kerber of Music Education 3.0 certification program for professional musi- Jeffrey Kern MUED 601 Philosophical Foundations cians desiring a master’s degree and John Knebl of Music Education 3.0 Rick Lawn certification to teach music in K-12 schools MUED 530 Conducting & Rehearsal as well as in other educational settings and Christopher Mauté Robert Quaile Techniques: Elementary & for related careers. It is a unique program in Middle School 3.0 that candidates for the MAT typically will Thomas Rudolph have completed undergraduate studies in Gia Walton MUED 520 Music Pedagogy III Ð applied music, composition, theory, musi- Dennis Wasko PreK Ð Grade 4 2.0 cology, or other professional areas. MAT Bill Zaccagni MUED 521 Music Pedagogy IV Ð graduates are eligible to receive K-12 certi- Grades 5-8 2.0 fication from the Commonwealth of MUED 540 Student Teaching Ð Pennsylvania Department of Education to Elementary 4.0 teach music. The MAT in Music Education is designed MUED 541 Student Teaching Seminar Ð to develop and refine the student’s intellec- Elementary 1.0 tual, pedagogical, and musical skills. The Fall Total 18.0 program is a balance of intellectual founda- Spring tions, curriculum design, and assessment; partnered with hands-on pedagogy and con- MUED 602 Sociological Foundations ducting courses developed to provide of Music Education 3.0 relevant experiences for the classrooms of MUED 603 Curriculum & Assessment today, and leadership for the future of the in Music 3.0 profession. This preparation includes com- MUED 531 Conducting & Rehearsal Tech Ð prehensive instruction in the use of HS & Comm. 3.0 educational technology, field-based learning experiences, and site-based pedagogy MUED 522 Music Pedagogy V Ð courses, which provide direct feedback on Grades 9-12 2.0 instructional effectiveness. MUED 523 Music Pedagogy VI Ð The MAT curriculum comprises 36 Vocal/Choral 2.0 credits and may be completed in one aca- MUED 542 Student Teaching Ð demic year if all corequisites are satisfied Secondary 4.0 prior to matriculation. Corequisite require- ments may be satisfied in a number of ways, MUED 543 Student Teaching Seminar Ð including taking courses in the Music Secondary 1.0 Education Minor program. Working profes- Spring Total 18.0 sionals may opt to complete the degree over Total Credits 36.0 an extended period of time on a part-time basis.
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MM in Jazz Studies Faculty Percussion/Drums Jazz Studies Carl Allen Master of Music Composition and Arranging Robert Brosh Evan Solot Marc Dicciani Don Glanden Bill Zaccagni Tony Miceli [email protected] Joseph Nero Chair, Graduate Jazz Studies Guitar James Paxson 215-717-6353 Jimmy Bruno Marlon Simon Thomas Giacabetti The Master of Music in Jazz Studies Mike Kennedy Recording degree has its roots in three decades of Pat Martino Steven Goodsell University of the Arts leadership in the field Michael Quaile of jazz education, carefully balancing aes- Saxophone thetic goals and a pragmatic approach to Jazz Improvisation and Chris Farr vocational responsibility in the context of Transcription Ronald Kerber this American music idiom. Open to a small Jimmy Bruno Frank Mazzeo and highly advanced group of students who Chris Farr Daniel Muller have an undergraduate degree in jazz studies Thomas Giacabetti Anthony Salicondro or an undergraduate degree in music with Don Glanden Bill Zaccagni significant experience in jazz and contem- Ronald Kerber porary music, or the equivalent thereof, the Pat Martino Small Jazz Ensembles programÐwhile providing a solid foundation Tony Miceli All Jazz Faculty in contemporary musicÐ encourages a pri- John Swana mary focus on individual career goals. Strings Jazz Pedagogy John Blake Curriculum Richard Lawn Among the one-year, 32-credit program’s Trombone unique curricular components are advanced Keyboards John Fedchock private instruction in the major area to Samuel Dockery Richard Genovese develop professional-level artistry and Robert Durso Clint Sharman skills; hands-on internships; ensemble per- Don Glanden formances; arranging, composing, Jamar Jones Trumpet transcribing and analyzing jazz and contem- Trudy Pitts Matt Gallagher porary music; study of MIDI and music Elio Villafranca Tim Hagans technology; music journalism, jazz peda- Jeff Jarvis gogy and a final thesis/project/recital that Large Jazz Ensembles George Rabbai integrates in-depth research on a topic of Frank Mazzeo John Swana special relevance with personal musical Evan Solot Dennis Wasko growth, culminating in a public perform- Bill Zaccagni ance. Graduate Applied Studies are the core Upright Jazz Bass/Electric of the Master of Music in Jazz Studies. Bass Additionally, applied study at the graduate Latin American Music Steve Beskrone level includes a pedagogy component. Orlando Haddad Charles Fambrough Teaching is a facet of almost every per- Marlon Simon Micah Jones former’s and composer’s career; coursework Elio Villafranca Kevin MacConnell in the major applied area acknowledges this Tony Marino importance. Music Journalism Craig Thomas Students, in addition to completion of the Bruce Klauber Gerald Veasley requisite 32 credits, must take or have taken Rick Van Horn two corequisite courses of two credit hours each: Recording and The Business of Music Technology Voice Music. Steven Goodsell Tim Brent Thomas Rudolph Kelly Meashey Reginald Pindell Anne Sciolla
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MM in Jazz Studies 36 credits
Fall Credits MU 592 A Applied Major Instruction 3.0 MU 615 MIDI and Music Technology 2.0 MU 617 Advanced Transcription and Analysis 3.0 MU 620 Professional Internship 1.0 MU 622 Graduate Arranging 2.0 MU 625 Advanced Improvisation 2.0 MU 627 Graduate Forum 1.0 MU 764 Ensembles 2.0 Fall Total 16.0 Spring MU 515 Music Journalism 1.0 MU 516 Jazz Pedagogy 1.0 MU 592 B Applied Major Instruction 3.0 MU 621 Professional Internship 1.0 MU 624 Composing for Performers 2.0 MU 626 Graduate Improvisation 2.0 MU 628 Graduate Forum 1.0 MU 764 Ensembles 2.0 MU 603 Graduate Project/Recital 3.0 Spring Total 16.0 Total Credits 32.0
Additional prerequisite/corequisite courses: MU 413 Recording 2.0 MU 420 Business of Music 2.0 Total 4.0 Total Credits with corequisites 36.0
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240-seat theater at 601 South Broad Street aims to refine technique and deepen charac- The School of that also houses additional instructional terization. Advanced scene study and an Theater Arts spaces and a cabaret theater; the University’s introduction to style work are also integral to historic Merriam Theater at 250 South Broad this level of training. The focus of the fourth Street, a 250-seat dance theater; and a new year is on classical performance and Gene Terruso flexible studio theater space at the Gershman preparing the student to enter the profession. [email protected] Y, 401 South Broad Street, where stage Students are given instruction in audition and Director combat classes are also held. Design and camera techniques, resume preparation, how Nan Gilbert technical support are provided by a produc- to work with agents, etc. The fourth year cul- [email protected] tion shop, a costume shop, areas for both minates with an audition clinic given by a Assistant Director property and costume stock, and a video selected panel of agents, directors, and 211 South Broad Street editing studio inside the ArtsBank. The casting representatives. 215-717-6450 Albert M. Greenfield Library contains books, journals, and videotapes devoted to the the- Bachelor of Fine Arts (BFA) in The School of Theater Arts of The ater arts, which are available to students for Applied Theater Arts University of the Arts is committed to devel- research and coursework. The Bachelor of Fine Arts in Applied oping the skills and professionalism of its Theater Arts allows students with a range of students to prepare them for careers in the Programs of Study theatrical interests to shape their own individ- theater and related fields, or for advanced ualized course of study. It is designed to give study in graduate or conservatory programs. The curriculum is conservatory-based, acknowledging that the focal point of students the practical, artistic, and intellec- The goal of the theater school is to culti- tual foundation necessary for a successful vate practitioners for the live theater training in both the Bachelor of Fine Arts Acting and Bachelor of Fine Arts Musical professional life in live theater and allied dis- entertainment media, communications, and ciplines. Students focus on theatrical production. This is achieved by developing a Theater programs is the acting instruction, and that vocal and physical training are the disciplines such as mask, stage combat, stage practical knowledge and competence that management, playwriting, directing, drama- include sensitivity to technique, artistry, and principal support areas for this instruction. The first responsibility of the faculty is to turgy, production, and arts administration. style, as well as an insight into the role of the Practical studio and production training, theater arts. invest students with a foundation techniqueÐ a rehearsal/performance processÐwhich they received in the student’s first two years, is All of the School’s degree programs enriched by an understanding of the theater employ a professional approach to training will continue to refine and personalize as their creative development evolves. as an art, an industry, and an institution, with and highly rigorous standards for evaluation a history and a vital role in society. and retention. As with any theater program, Opportunities for master classes, guest speakers, internships, and apprenticeships This foundation training prepares the stu- production work may serve as an important dents to emphasize one or more of the means of gauging a student’s growth in with many professional companies in the city and region are among the experiences open above-mentioned disciplines at the upper- his/her respective program. It is in the studio, division levels and shape their own however, where the primary efforts of both to students in all School of Theater Arts programs. curriculum. Much of the senior year in the student and faculty are concentrated. The ATA program is shaped by production proj- highly focused and demanding training is ects, independent study, and internships enhanced by appropriate courses in the lib- Bachelor of Fine Arts (BFA) Acting Program arranged through the School’s close associa- eral arts. These are of particular importance tion with professional companies in the area. The four-year Bachelor of Fine Arts to the theater artist, who is charged with This program is a good choice for students Acting program prepares students for careers commenting on the human condition. The who are drawn to the collaborative nature of in the professional theater or for continued effectiveness of that commentary is theater. It is an ideal program of study for the study at the graduate level. In the first year, dependent upon a sincere commitment to student who has a profound passion for the- students concentrate on finding the “core of excellence in liberal arts. ater and/or the entertainment field, but whose the actor” through the study of improvisation, All programs within the School of Theater long-term interest may lie outside per- monologue, emotional discovery, speech, and Arts require 123 credits for graduation. forming. At the same time, it is a curriculum movement. In addition to fostering these that places that student at the heart of the pro- acting skills, the first year of training is also duction process. The program is also Facilities designed to encourage an in-depth self- well-suited to students who may have an Most facilities for the School of Theater analysis of the student’s commitment, interest in advanced or graduate study in Arts are located in UArts’ new Terra Building discipline, and professionalism. The second theater. at 211 South Broad Street. These include year is devoted to technique training, in seminar and classroom spaces, and studios which actors develop a sense of conversa- for individual voice instruction, speech, tional reality and strengthen their Bachelor of Fine Arts (BFA) dance, movement, and acting. The studios are imagination, responsiveness, and spontaneity. Musical Theater Program well-lit and individually equipped with prop This level of training also addresses an The four-year Bachelor of Fine Arts storage and audiovisual capabilities. Lockers actor’s skill for evoking a full and accessible Musical Theater Program prepares students and lounges are located adjacent to the stu- inner life. for professional careers as performers in the dios. Performances are held at a number of The third year is dedicated to giving shape musical theater or for continued study in sites: the ArtsBank, a technically up-to-date, and specificity to the actor’s behavior and graduate school. The program defines the
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term “musical theater” in a way that The Curriculum ¥ an awareness of mask techniques as a embraces the richness and diversity of this BFA Programs in Acting and platform from which characterization challenging interdisciplinary art form, and behavior can evolve; which includes musical comedy, the Musical Theater ¥ basic skills in performing for the musical play (in the Hammerstein- Actor training in the School of Theater camera, a familiarity with their image in Sondheim tradition), new and alternative Arts lies at the heart of the two-performance two-dimensional media, and some music theater, “Broadway opera,” cabaret, curricula. The training is designed to culti- experience in fundamental issues such and revue. Students receive the same tech- vate the actor’s ability to “live truthfully as slating, continuity, hitting marks, nique training as do acting majors through under imaginary circumstances.” Students working within frame, etc.; and their first five semesters. This training is develop an understanding that such truth ¥ scene study skills that will serve them in complemented by training in vocal tech- begins with a shared interconnectedness the interpretation of classical material nique, musicianship and dance, and the between actors onstage. that requires a command of both style study of the repertoire of the musical theater Early technique studies, for majors in and language. in print, recordings, and in rehearsal and both acting and musical theater, emphasize performance. the “reality of doing” as it is rooted in a full BFA Program in Applied emotional life, driven by action and Theater Arts Bachelor of Fine Arts (BFA) in expressed with meaning, clarity, and theatri- cality. To this end, students are challenged Theater artists must be well-versed in a Theater Design and variety of disciplines, each vital in itself and Technology to cultivate a fuller understanding of them- selves, and to continually exercise their intimately related to all that occurs in a pro- The Bachelor of Fine Arts (BFA) in skills as analysts of text and as observers of duction effort. Students majoring in Applied Theater Design and Technology is dedicated human behavior. Theater Arts are called upon to develop to providing foundation training in the The program introduces students to a range competencies across a spectrum of these entire range of theatrical design principles of approaches (Linklater, Meisner, LeCoq, disciplines. As such, they study stage man- as a prelude to the student’s declaring an Williamson, Fitzmaurice, Laban) as a part of agement, directing, playwriting, combat, area of emphasis upon which they focus their training. The successful student should mask, administration, theater history, and during their final two years at UArts. This emerge from the program with a practicable dramatic literatureÐ all in a context that sup- range of disciplines includes scenic, performance technique in place, which ports theatrical production. This program is lighting, costume and sound design, as well enables her/him to develop and sustain a role designed to provide practical training for the as training in the field of technical direction. from first rehearsal to closing night. student who possesses a collaborative per- Studies in this program are supported by Students completing these programs are spective. The BFA in Applied Theater Arts ample production opportunities and intern- also expected to be knowledgeable about a (ATA) allows the students, in their junior ships in which the student can both work variety of styles and types of drama, and the year, to move toward a concentration in a alongside guest artists and assume primary challenges presented by each; to work in a particular area of emphasis, such as many of responsibility for design assignments. vocally and physically free and efficient those mentioned here. manner; to be able to identify their character Upon declaring a concentration in one of Stage Combat Program type and its potential range within the these fields, students complete their course The School of Theater Arts is home to casting conventions of the industry; to have of study via a series of production practica one of the nation’s most renowned stage a sense of how to begin to establish a career and independent study projects. Internships, combat programs, serving as host to the as a performer; and to possess a work ethic arranged through the School’s outstanding annual Philadelphia Stage Combat that will support the collaborative nature of relationship with area professional theaters, Workshop. It is one of only a handful of theatrical production. further strengthen the students’ skills and institutions that offers the option of an The Musical Theater Program seeks to enhance their professional viability. eight-semester sequence of combat training. train students who: Students completing this program are pre- One semester of combat is required for all ¥ use the singing voice in a vibrant, pared to enter the industry on either the BFA Acting majors. Although not a degree healthy, and dramatically effective production or the administrative end, and program in itself, students completing the manner; may pursue a range of career options or requisite course of study are tested on • understand music as the singing actor’s choose to pursue further study in the above campus each year and, if found proficient, second text and clearly present its fields. certified by the Society of American Fight expressive intentions; Directors. A year ago, the program was ¥ have a solid dance technique and a com- Production Season ranked third in the country, based on the mand of the language of dance and The School of Theater Arts presents at number of certified stage combatants that movement; and least 12 major productions a year Ð six in emerged from its ranks. ¥ integrate all component skills of our subscription series, and six more in our musical theater performance to create studio series. These include comedies, consistently honest and expressive dramas, and musicals. Plays are selected behavior. based on the educational and competitive Additionally, the Acting Program seeks to needs of the current casting pool, and on a train students who have developed: four-year cycle representing styles and ¥ fundamental skills in stage combat and genres to which the faculty feels students the use of selected weaponry; should be exposed.
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All students in performance majors are Crew Assignments Professional Standards required to audition for all School-spon- All students are required to serve on pro- and Behavior sored shows and to accept roles as cast, duction crews in their second through fifth Students are expected to maintain high unless excused as provided for in the School semesters. Crew assignments and calls are standards of professionalism in studio, of Theater Arts Student Handbook. Students scheduled and monitored by the Production classroom, rehearsal, and performance com- are also required to attend each production. Office, located in the main School of mitments. Professionalism in rehearsal and These audition and attendance requirements Theater office. production is a factor in the grading for will be part of all acting studio syllabi. All crew members are expected to be Acting studio. Failure to follow directions Failure to comply with these requirements prompt for crew calls. Lateness will not be and absence from or lateness to rehearsals, will have a direct impact upon one’s grade tolerated. Attendance at all crew calls is performances, and related activities may in acting studio. mandatory. There are no unexcused result in Academic Censure including low- absences permitted. A student who misses a ering of grade or course failure. Absences crew call without prior permission from the Students in the School of Theater Arts are Production Office will receive an ‘F’ for the Academic Progress expected to attend all classes, studios, work- semester. A professional training environment and shops, rehearsals, and crews for which they an academic environment have goals that are registered or otherwise committed. Extracurricular Activities are at once mutual and distinct. Within a tra- Generally, the School of Theater Arts Students in the School of Theater Arts ditional university, a student receiving a does not make a distinction between an may not participate in any theater projects grade of C may feel that he/she has done excused and unexcused absence. Rather it outside the University prior to completion “adequate” work and is entitled to continue recognizes that in the course of a student’s of six semesters in the School of Theater in his/her course of training. As a university, studies, circumstances may arise that, in the Arts. Even students who have achieved UArts recognizes this right. By the stan- student’s judgment, may require absence or senior status must formally apply in writing dards required of professional training, lateness. The general policy of the School of to the University director for such permis- however, an “adequate” grade does not sug- Theater is that any number of absences that sion in advance of auditioning or gest a student’s viability within the result in the student missing more than the interviewing for such work. Students entertainment industry. Further, the world of equivalent of two weeks’ work will result in involved with such projects without the play production is a meritocracy Ð i.e., failure or require withdrawal from the director’s authorization will receive a grade being in a play is not a right; it is earned by course in question. This standard may be of “F” in their major studio and be restricted a consistently demonstrated work ethic, somewhat more restrictive for acting from moving forward in their core classes command of material, and strength of skills. studios. (see “Academic Progress”). A second occur- As such, the School of Theater Arts has Students should consult the syllabi for rence may result in dismissal from the developed the following standards by which any given course to see how this policy School. Instructors are specifically directed the purposes of both the academic experi- applies to the course's number of weekly not to allow the absences nor scheduling ence and the requirements of professional meetings and contact hours. Please refer to arrangements that may provide such oppor- training and production will be served. the “Absences” section of Academic tunities. Regulations in this catalog for more infor- The following are considered core courses: mation, and to the Theater Arts Student Physical Demands of the Handbook. Program Acting Major Advisors The Theater Arts program is physically TH 103 A Acting Studio I demanding. Good health and its mainte- TH 103 B Acting Studio II Students are assigned advisors when they nance are of paramount importance to an TH 109 A Voice and Speech for Actors I enter the School of Theater Arts. Advisory actor. TH 109 B Voice and Speech for Actors II lists are posted in the theater lounge during Occasional illness or injuries are, of TH 115 A Movement for Actors I the first week of the academic year. The course, justification for short-term absences. TH 223 Acting Studio III advisor conveys information from the fac- Specific chronic physical or emotional dis- TH 224 Acting Studio IV ulty to the student and counsels the student orders that impair attendance or ability to TH 209 A Speech for Actors III in artistic and academic matters. The stu- function within the program over a longer TH 209 B Speech for Actors IV dent, however, is wholly responsible for period of time should be covered by a TH 215 A Movement for Actors III fulfilling his or her artistic and academic formal leave of absence. TH 215 B Movement for Actors IV obligations, and for meeting the require- In either case, the student should confer TH 309 Speech for Actors V ments for graduation. with his or her advisor as soon as a potential TH 310 Speech for Actors VI health problem arises. TH 315 A Movement for Actors V Call Boards TH 315 B Movement for Actors VI All Theater students must check the call TH 323 Acting Studio: Technique III boards daily and will be responsible for all TH 324 Acting Studio: Poetic Realism official notices posted there within 24 hours. TH 415 A Movement for Actors VII The call boards are used for the posting TH 423 Acting Studio: Verse Drama I of all rehearsal and crew notices, as well as TH 424 Acting Studio: Verse Drama II School and professional audition notices.
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Applied Theater Arts TH 124 L Costume & Property Tech Lab verbal fashion at the student’s in-person TH 103 A Acting Studio I TH 139 Theater Design I: evaluation (or jury), and in writing as a TH 103 B Acting Studio II Introduction to Design follow-up to that evaluation. A student may TH 103 L Crew TH 237 Fundamentals of also receive such warning if he/she lacks TH 123 Scene and Lighting Technology Technical Direction seriousness of purpose, demonstrates attitu- TH 123 L Scene & Lighting Tech Lab TH 239 Theater Design II: Scene Design dinal behavior that proves disruptive to the TH 124 Costume & Property TH 339 Theater Design III ensemble or educational process, is exces- Technology TH 349 Production Practicum sively tardy, is not prepared to work in class, TH 124 L Costume & Property Tech Lab TH 429 Design Technology Seminar or is not seriously committed to profes- TH 227 Fundamentals of TH 439 Theater Design IV: sional training. Stage Management I Costume Design TH 228 Theater Management TH 451 Senior Project Evaluations TH 317 Fundamentals of Directing In the School of Theater Arts, progress HU 322 Scriptwriting To remain in good standing for casting from one semester to the next is based not TH 327 Advanced Stage Management consideration or production assignments in only on successful completion of course- TH 349 Production Practicum the School of Theater Arts, a student must work, but also on the faculty’s positive TH 430 Stage to Video Production receive a grade of B or better in the core assessment of the student’s potential for a TH 451 Senior Project courses listed above. In the view of the career in the professional theater. TH 452 Senior Project SOTA faculty, a student whose work fails to This assessment is recorded through a TH 460 ATA Seminar meet this level of achievement will be con- process of in-person and written evaluation. sidered non-competitive by professional Students whose grade in core classes (see Musical Theater Major standards. The following grades may result “Academic Progress”) is less than C- may TH 103 A Acting Studio I in the actions indicated: not be permitted to move on to the next TH 103 B Acting Studio II Grades of B-, C+, or C in core courses: level of training in that area. Because the TH 141 A Voice for Musical Theater I ¥ student placed on Casting Restriction or curriculum is frequently integrated (i.e., TH 141 B Voice For Musical Theater II Production Restriction. what is being taught in speech or dance may TH 142 A Voice Lesson Ð Musical Theater directly parallel what is being taught in TH 142 B Voice Lesson Grade of C- in core courses: acting studio) the student may be prevented TH 223 Acting Studio: Technique I ¥ student placed on Probation (refer to from moving forward in those disciplines TH 224 Acting Studio: Technique II “Academic Censure” in this bulletin for as well. TH 241 Foundations of Singing/Acting more information), and In all degree programs, both the student TH 242 A Voice Lesson Ð Musical Theater ¥ student placed on Casting Restriction or and the Director’s Office will be provided TH 242 B Voice Lesson Production Restriction. with copies of the written summation of the TH 318 A Musical Theater Repertory student’s evaluation. A student who has not TH 318 B Musical Theater Repertory Grades of D, D+ or F in core courses: shown satisfactory improvement may be TH 323 Acting Studio: Technique III ¥ student placed on Probation (refer to asked to leave the program. TH 324 Acting Studio: Poetic Realism “Academic Censure” in this bulletin for In the BFA Acting program, in-depth TH 341 A Voice for Musical Theater V more information); evaluations will be conducted in semesters TH 341 B Voice for Musical Theater VI ¥ student placed on Casting Restriction or two through five. These in-person evalua- TH 342 A Voice Lesson Ð Musical Theater Production Restriction; tions will be held with the student’s acting, TH 342 B Voice Lesson ¥ student receives no course credit for an movement and speech teacher present and TH 423 Acting Studio: Verse Drama I F grade, elective credit only for the will focus specifically on the student’s work TH 424 Acting Studio: Verse Drama II grade of D or D+; and progress through the program. Ideally, TH 441 A Voice for Musical Theater: ¥ student may not advance to the next these sessions should recap the ongoing Cabaret/Audition semester of any core training class until input the student has received throughout TH 441 B Voice for Musical Theater: the course has been repeated with a the term in studio. Cabaret/Audition grade of C- or better; and As a follow-up to these sessions, the stu- TH 442 A Voice Lesson Ð Musical Theater ¥ both the original grade and repeated dent will receive a written evaluation TH 442 B Voice Lesson grade will remain on the transcript and reviewing the points covered in person and will be applied to a student’s cumulative including a statement on the student’s status Theater Design and Technology GPA. in the program (i.e., reinvitation assured, FP 101 Sketching and Drawing contingent upon further improvement, or FP 102 Sketching the Human Figure Warnings in jeopardy). FP 103 Color Basics The School’s obligation to its students is The BFA in Musical Theater employs a TH 103 L Crew to keep them abreast of their progress by jury system by which students are evalu- FP 104 Materials, Tools and Form personal contact and review. A student will ated. Musical Theater jury exams are held at TH 123 Scene and Lighting Technology be warned if his/her performance in class is the end of semesters one to seven to eval- TH 123 L Scene & Lighting Tech Lab below par as defined by the instructor’s uate students’ progress. Each student is TH 124 Costume & Property expectations expressed in the class syllabus, required to prepare a minimum of five songs Technology rules, etc. Such warning will be issued as a (three for first-year students) to be presented part of ongoing studio critiques, in a formal before a panel of Musical Theater faculty. It
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is expected that these songs be fully devel- Voice/Speech Training BFA Theater Design and oped musically and dramatically. After Neill Hartley Technology Program completion of the jury, the student receives a Connie Koppe Krista Billings written evaluation from each member of the Edward Snyder Cory Bova panel. D’Arcy Webb Nick Embree Junior musical theater majors must be Pete Jakubowski approved at midyear to proceed to advanced BFA Musical Theater Program Ed Johnson acting technique. Not being approved for Dance Training Jay Madara such study, however, will not impede the stu- Karen Cleighton Troy Martin-O'Shia dent’s progress toward graduation. Rex Henriques Anna Michelle Oldham Initial evaluations in the BFA for Applied Scott Jovovitch Theater Arts are conducted at the conclusion Nancy Kantra of the first year and throughout the second year. The student will convene with her/his Performance Training advisor and head of program. During these Charles Gilbert first evaluations, the primary issues dealt Patricia Raine with will be the student’s satisfactory per- Owen Robbins formance in production lab assignments and Rick Stoppleworth aptitude in the areas of stage management Neal Tracy and dramaturgy. The first evaluation in a stu- dent’s third year will focus on the student’s progress and a statement submitted by the Voice Training student discussing the areas of emphasis that Eric Ebbenga have drawn his/her primary interest. Mary Ellen Grant-Kennedy Evaluators will consider how effectively the Theresa Greenland student has demonstrated skills in those Forrest McClendon areas. By the end of the third year, evalua- Patricia Raine tions will focus on the student’s declared area Neal Tracy of emphasis. BFA Applied Theater Arts School of Theater Arts Faculty Program* Jennifer Childs Kali Colton BFA Acting Program Charles Conwell Acting Training Mari Fielder Irene Baird June Fortunato Jennifer Childs Nan Gilbert Johnnie Hobbs, Jr Johnnie Hobbs, Jr. David Howey Aaron Posner Ernest Losso Ed Shockley Drucie McDaniel Denise Taylor David Newer Gene Terruso Mike Pedretti Jiri Zizka Peter Pryor * The BFA program in Applied Theater Arts Rick Stoppleworth draws instructors from all areas of the School Gene Terruso of Theater Arts. Joan Twiss Design and Production Training Movement Training Pete Jakubowski Karen Cleighton Edward Johnson Kali Colton Anna Michelle Oldham Aaron Cromie Troy Martin O’Shia Manfred Fischbeck Gail Grigg Nancy Kantra Dee King Rebecca Lisak Janice Orlandi
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Acting Bachelor of Fine Arts 123 credits
Freshmen Year Credits Junior Credits Fall Fall TH 103 A Acting Studio I 3.0 TH 323 Acting Studio: Technique III 3.0 TH 109 A Voice and Speech TH 103 L Crew 0 for Actors I 2.0 TH 309 Voice and Speech TH 105 A Stage Combat I 2.0 for Actors V 2.0 TH 115 A Movement for Actors I 1.0 TH 315 A Movement for Actors V 2.0 TH 123 Scene and Lighting Tech. 2.0 TH 330 Acting on Camera 1.0 TH 113 Encounters with Theater Arts 3.0 HU XXX Liberal Arts 3.0 LA CR 101 First Year Writing I 3.0 Electives 3.0 Fall Total 16.0 Fall Total 14.0 Spring Spring TH 101 Neutral Mask 1.0 TH 324 Acting Studio: TH 103 B Acting Studio II 3.0 Poetic Realism 3.0 TH 103 L Crew 0 TH 310 Voice and Speech TH 109 B Speech for Actors II 2.0 for Actors VI 2.0 TH 124 Costumes and Prop Tech. 2.0 TH 317 Fundamentals of Directing 3.0 TH 213 Script Analysis 3.0 TH 315 B Movement for Actors VI 2.0 LA CR 102 First Year Writing II 3.0 HU XXX Liberal Arts 3.0 Spring Total 14.0 Electives 3.0 Spring Total 16.0 Freshman Year Total 30.0 Junior Year Total 30.0 Sophomore Fall Senior Year TH 223 Acting Studio: Technique I 4.0 Fall TH 103 L Crew 0 TH 326 Audition Techniques 2.0 TH 209 A Voice and Speech TH 423 Acting Studio: Verse Drama I 4.0 for Actors III 2.0 TH 415 A Movement for Actors VII 2.0 TH 215 A Movement for Actors III 2.0 TH 419 Business of Theater 1.0 TH 311 A Theater History I 3.0 HU XXX Liberal Arts 6.0 HU 103 A Intro. to Modernism I 3.0 Fall Total 15.0 HU XXX Liberal Arts 3.0 Spring Fall Total 17.0 TH XXX Studio Electives 8.0 Spring Electives 3.0 TH 224 Acting Studio: Technique II 4.0 HU XXX Liberal Arts 3.0 TH 103 L Crew 0 Spring Total 14.0 TH 209 B Voice and Speech Senior Year Total 29.0 for Actors IV 2.0 TH 215 B Movement for Actors IV 2.0 TH 311 B Theater History II 3.0 Liberal Arts Distribution Note all Liberal Arts courses are 3.0 credits. HU 103 B Intro. to Modernism II 3.0 LA CR 101/102 3 cr. 3 cr. HU XXX Liberal Arts 3.0 HU 103 A/B 3 cr. 3 cr. Spring Total 17.0 TH 213 3 cr. TH 311 A/B 3 cr. 3 cr. Sophomore Year Total 34.0 Literature 3 cr. Humanities 3 cr. Social Science 3 cr. 3 cr. Science/Math 3 cr. Lib. Arts Electives 3 cr. 3 cr.
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Applied Theater Arts Bachelor of Fine Arts 122 credits
Freshmen Year Credits Junior Credits Fall Fall *Dramatic Literature (select one of the following): TH 349 Production Practicum 1.0 TH 103 A Acting Studio I 3.0 HU 213 World Drama TH 123 Scene and Lighting Tech. 2.0 TH 317 Fundamentals of Directing 3.0 HU 311 Greek Drama TH 123 L Scene and Lighting TH 327 Advanced Stage HU 312 A Musical Theater History I Tech. Lab. 1.0 Management 3.0 TH 113 Encounters with Theater Arts 3.0 Electives 3.0 HU 312 B Musical Theater History II TH 105 A Stage Combat I 2.0 HU XXX Liberal Arts 6.0 HU 314 Literature and Film LA CR 101 First Year Writing I 3.0 Fall Total 16.0 HU 315 A Modern Drama Fall Total 14.0 Spring HU 315 B Contemporary Drama Spring TH 349 Production Practicum 1.0 HU 316 American Playwrights TH 103 B Acting Studio II 3.0 CM 290 Video Production Workshop 3.0 HU 322 Scriptwriting TH 124 Costumes and Prop Tech. 2.0 TH 417 Directing Studio 3.0 HU 392 American Musical Theater TH 124 L Costumes and Prop Electives 3.0 HU 394 Play, Performance & Literature Tech. Lab. 1.0 HU XXX Liberal Arts 3.0 HU 411 Shakespeare TH 213 Script Analysis 3.0 HU XXX Arts Criticism (or equivalent) 3.0 HU 413 Literature and Film: From Text to Screen TH 101 Neutral Mask 1.0 Spring Total 16.0 HU 423 Literature in Opera of 20th Century LA CR 102 First Year Writing II 3.0 Junior Year Total 32.0 Electives 3.0 HU 428 Portraits of the Artist HU 495 Dante in the Modern World Spring Total 16.0 Senior Year Freshman Year Total 30.0 Fall **Arts Theory/Criticism (select one of the following): TH 451 Senior Project 3.0 HU 212 Introduction to Mythology Sophomore TH 419 Business of Theater 1.0 Fall TH 499 Internship 6.0 HU 270 Introduction to Aesthetics TH 227 Fundamentals of HU XXX Dramatic Literature Elective 3.0 HU 320 A Western Literary Masterpieces I Stage Management I 3.0 HU XXX Liberal Arts 3.0 HU 320 B Western Literary Masterpieces II TH 103 L Crew 0 Fall Total 16.0 HU 323 Arts Criticism TH 311 A Theater History I 3.0 Spring HU 326 Contemporary Arts in America HU 322 Scriptwriting 3.0 TH 460 ATA Seminar 3.0 HU 349 American Film Genres HU 103 A Intro. to Modernism I 3.0 TH 452 Senior Project 3.0 HU 377 Critical Theory and the Arts HU XXX Liberal Arts 3.0 TH 326 Audition Techniques 2.0 HU 394 Play, Performance, and Literature Fall Total 15.0 Studio Electives 2.0 HU 428 Portraits of the Artist HU XXX Liberal Arts 3.0 Spring HU 440 Wagner and the Ring Cycle TH 103 L Crew 0 Spring Total 13.0 HU 449 Diaghliev and the Ballet Russes TH 228 Theater Management 3.0 Senior Year Total 29.0 HU 478 Aesthetics Seminar TH 412 Special Studies 3.0 TH 349 Production Practicum 1.0 HU 495 Dante in the Modern World TH 311 B Theater History II 3.0 Liberal Arts Distribution Note all Liberal Arts courses are 3.0 credits. HU 103 B Intro. to Modernism II 3.0 LA CR 101/102 3 cr. 3 cr. HU XXX Liberal Arts 3.0 HU 103 A/B 3 cr. 3 cr. Spring Total 16.0 TH 213 3 cr. TH 311 A/B 3 cr. 3 cr. Sophomore Year Total 31.0 Dramatic Literature* 3 cr. Art Criticism** 3 cr. Social Science 3 cr. 3 cr. Science/Math 3 cr. Lib. Arts Electives 3 cr. 3 cr.
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Musical Theater Bachelor of Fine Arts 126 credits
Freshmen Year Credits Sophomore Junior Credits Fall Fall Fall TH 103 A Acting Studio I 3.0 TH 223 Acting Studio: Technique I 4.0 TH 323 Acting Studio: Technique III 3.0 TH 141 A Voice for Musical Theater I 1.0 TH 103 L Crew 0 TH 103 L Crew 0 TH 141 L Voice for Musical Thtr. Lab 0 TH 242 A Voice Lesson for Musical Thtr. 1.0 TH 315 A Movement for Actors V 2.0 TH 122 A Music Skills for TH 209 A Voice and Speech TH 318 A Musical Theater Repertory 2.0 Musical Theater I 2.0 for Actors III 2.0 TH 341 A Voice for Musical Theater V 1.0 TH 122 L Music Skills Lab 0.0 TH X51 Ballet 0.5 TH 342 A Voice Lesson for Musical Thtr. 1.0 TH 142 A Voice Lesson for Musical Thtr. 1.0 TH X53 Jazz 0.5 TH X51 Ballet 0.5 TH 151 Beginner Ballet 0.5 TH X55 Tap 0.5 TH X53 Jazz 0.5 TH 153 Beginner Jazz 0.5 TH 222 A Music Skills III 2.0 TH 357 Partnering 0.5 TH 123 Scene and Lighting Tech. 2.0 HU 103 A Intro. to Modernism I 3.0 TH 312 A Musical Theater History I 3.0 LA CR 101 First Year Writing I 3.0 Fall Total 13.5 HU XXX Liberal Arts 3.0 TH 113 Encounters with Theater Arts 3.0 Spring Fall Total 16.5 Fall Total 16.0 TH 224 Acting Studio: Technique II 4.0 Spring Spring TH 103 L Crew 0 TH 318 B Musical Theater Repertory 2.0 TH 103 B Acting Studio II 3.0 TH 242 B Voice Lesson for Musical Thtr. 1.0 TH 341 B Voice for Musical Theater IV 1.0 TH 103 L Crew 0 TH 209 B Voice and Speech TH 342 B Voice Lesson for Musical Thtr. 1.0 TH 141 B Voice for Musical Theater II 1.0 for Actors IV 2.0 TH X51 Ballet 0.5 TH 141 L Voice for Musical Thtr. Lab 0 TH X52 Ballet 0.5 TH X53 Jazz 0.5 TH 122 B Music Skills II for TH X54 Jazz 0.5 TH 358 Partnering 0.5 Musical Theater I 2.0 TH X56 Tap 0.5 TH XXX Jr. Studio (by advisement) 3.0 TH 122 L Music Skills Lab 0.0 TH 222 B Music Skills for TH 312 B Musical Theater History II 3.0 TH 142 B Voice Lesson for Musical Thtr. 1.0 Musical Thtr. IV 2.0 HU XXX Liberal Arts 6.0 TH 152 Beginner Ballet 0.5 TH 241 Found. of Singing Acting 2.0 Spring Total 17.5 TH 154 Beginner Jazz 0.5 HU 103 B Intro. to Modernism II 3.0 Junior Year Total 34.0 TH 124 Costumes and Prop Tech. 2.0 Spring Total 15.5 LA CR 102 First Year Writing II 3.0 Sophomore Year Total 29.0 Senior Year TH 213 Script Analysis 3.0 Fall Spring Total 16.0 TH 441 A Voice for Musical Theater: Freshman Year Total 32.0 Cabaret Audition 1.0 TH 442 A Voice Lesson for Musical Thtr. 1.0 TH XXX Movement Elective 1.0 Liberal Arts Distribution Note all Liberal Arts courses are 3.0 credits. HU XXX Liberal Arts 6.0 LA CR 101/102 3 cr. 3 cr. Electives 6.0 HU 103 A/B 3 cr. 3 cr. Fall Total 15.0 TH 213 3 cr. TH 311 A/B 3 cr. 3 cr. Spring Literature 3 cr. TH 441 B Voice for Musical Theater: Humanities 3 cr. Cabaret Audition 1.0 Social Science 3 cr. 3 cr. TH 442 B Voice Lesson for Musical Thtr. 1.0 Science/Math 3 cr. Lib. Arts Electives 3 cr. 3 cr. TH XXX Movement Elective 1.0 TH 419 Business of Theater 1.0 HU XXX Liberal Arts 6.0 Electives 3.0 Spring Total 13.0 Senior Year Total 28.0
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Theater Design and Technology Bachelor of Fine Arts 123 credits
Freshmen Year Credits Junior Year Credits Fall Fall FP 101 Drawing and Sketching 1.5 TH 339 Theater Design III 3.0 FP 102 Sketching the Human Figure 1.5 TH 349 Production Practicum 1.0 FP 130 3-D Design 3.0 PF 218 Creative Sound 3.0 TH 123 Scene and Lighting Tech 2.0 TH 317 Fundamentals of Directing 3.0 TH 123 L Scene and Lighting Tech Lab 1.0 TH 311 A Theater History I 3.0 TH 113 Encounters with Theater Arts 3.0 HU XXX Liberal Arts 3.0 TH 100 A Acting for Non-Majors 1.0 Fall Total 16.0 LA CR 101 First Year Writing I 3.0 Spring HU 103A Introduction to Modernism I 3.0 TH 439 Theater Design 3.0 Fall Total 16.0 TH 439 Production Practicum 1.0 TH 329 Design Technology Seminar 3.0 Spring TH 237 Fundamentals of FP 103 Color Basics 1.5 Tech Direction 3.0 FP 104 Materials, Tools and Forms 1.5 TH 311 B Theater History II 3.0 TH 124 Costume and Prop Tech 2.0 HU XXX Liberal Arts 3.0 TH 124 L Costume and Prop Tech Lab 1.0 Spring Total 16.0 LA CR 102 First-Year Writing II 3.0 Junior Year Total 32.0 HU 130B Introduction to Modernism II 3.0 TH 213 Script Analysis 3.0 Senior Year Spring Total 15.0 Fall Freshman Year Total 31.0 TH 451 Senior Project 3.0 TH 449 Internship 6.0 Sophomore Year HU XXX Liberal Arts 6.0 Fall Fall Total 15.0 TH 139 Theater Design I 3.0 Spring HU 140 A Survey of Art History I 3.0 TH 452 Senior Project 3.0 TH 103 L Crew 0.0 TH 419 Business of Theater 1.0 HU XXX Arts Criticism Elective 3.0 TH 429 Design Technology Seminar 3.0 HU XXX Liberal Arts 3.0 TH XXX Theater Electives Fall Total 15.0 (by advisement) 5.0 Spring Electives 3.0 TH 239 Theater Design II 3.0 Spring Total 15.0 HU 140 B Survey of Art History II 3.0 Senior Year Total 30.0 TH 227 Fundamentals of Stage Management 3.0 TH 103 L Crew 0.0 Electives 6.0 Spring Total 15.0 Sophomore Year Total 30.0
138 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 Course Descriptions
Undergraduate and Graduate Course Catalog 2004 • 2005 AE 509 AE 533 Art Education Educational Media B: Art and Inclusionary Education Planning & Management 3 credits, 3 hours AE 200 3 credits, 3 hours This course is designed to provide the full scope Presentation Skills The design, planning, and management of of methodologies, techniques and innovative 1 credits, 2 hours educational media in the K-12 classroom strategies needed to teach special education This course addresses effective speech and and school. Topics include developing a students effectively. Using the arts as a means for presentation skills for the teacher, artist, and technology plan; software and hardware adapting to diverse learning methods, the K-12 administrator communicating with groups, acquisition and assessment; care, mainte- classroom will be regarded as a dynamic setting classes, or clients. nance, and security of classroom and lab for inclusionary learning. The impact of special Open to all students. computer technologies; networking concepts, needs art education will be further realized design, and protocols; Internet basics and through direct school and community engage- AE 201 issues; and managing technological and ment: programs and national as well as local Introduction to Visual Arts Education human resources. Guest speakers support the organizations will be made available to assist 2 credits, 3 hours study of these topics. Independent visitations in developing field placements. Arranged field A theoretical and practical introduction to to either K-12 educational settings, technology placement opportunities will include a broad the entire field of art education. A survey of fairs, conferences, or businesses. range of community resources. Open to Majors only. Open to all students. various aspects of teaching in a variety of situations and environments, through field AE 530 AE 547 observations and classroom lecture-discus- Interactive Media Program Design & Methods: sions, including public and private schools Elementary K-12, as well as specialized and alternative 3 credits, 3 hours settings in museum education, early childhood This course acquaints students with existing 3 credits, 3 hours education, special education (for students with technology and media available for instruction 3 hours field work (8 weeks) disabilities and gifted children), and adult to art and museum educators. Students learn to Through review of current literature, lectures, education. design and create interactive multimedia proj- discussion, field observation, and mini- Open to all students. ects using a variety of multimedia authoring teaching, students explore various educational tools. philosophies and develop and implement AE 499 Open to all students. effective classroom curricula-based on Internship prevailing theories of learning and child AE 531 development. 1.5-6 credits Multicultural Learning-Arts Open to concentration students only. Open to non-majors with permission of Department/ May be taken three times for credit. 3 credits, 3 hours Instructor. The artistic expressions of Africa, Asia, and Prerequisite: AE 201 AE 507 the Americas, the Near and Middle East and Educational Media A: related societies will be examined for their AE 548 Teaching & Learning aesthetic and contextual meanings. Cross-cul- Program Design & Methods: Secondary 3 credits, 3 hours tural contributions to world art history will be This lecture/lab course provides students with recognized through the study of characteristic 3 credits, 3 hours the knowledge, skills, and strategies to suc- styles and techniques, dynastic periods of art 3 hours field work (8 weeks) cessfully integrate educational media into the and artists, as well as the relationship of art to Continuation of AE 547, with emphasis on the teaching and learning of K-12 art. Areas of varied systems of belief. middle and secondary school. Open to non-majors with permission of Department/ Open to non-majors with permission of Department/ study will include theoretical and conceptual Instructor. Instructor. basis for educational technology, instruc- Prerequisite: AE 547 tional practices and strategies, approaches to AE 532 integrating technology into the curriculum, Design for Interdisciplinary Learning AE 549 training and development of technology skills, 3 credits, 3 hours Program Design & Methods: such as computer graphics, web page design, Aesthetics/ Art Criticism and electronic presentations; and issues and An introduction and curricular model for problems related to technology use in educa- integrated learning in which design and the 3 credits, 3 hours tion. Field trips to local K-12 technology arts visual arts, music, theater, and dance are the This course is designed to develop skills, programs. central means of integrating all disciplines to techniques, and strategies for integrating Open to non-majors with permission of Department/ provide a more holistic approach to learning. developmentally appropriate aesthetics and Instructor. An approach to arts-centered learning through art criticism activities in the K-12 class- a design-based problem-solving model is room. Using prevailing theories of learning, emphasized to address issues in all subjects teaching, and child development, students will and at all levels of education. design puzzle cases, activities, and curricula Open to all students. that promote the philosophical investigation and interpretation of art and aesthetic objects. Open to all students.
140 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 141 AE 550 AE 599 AE 632 Creative and Cognitive Development Professional Writing Intensive Applications of Interdisciplinary 3 credits, 3 hours 2 credits, 2 hours Learning This course is designed to develop skills in This course is required for students entering 3 credits, 3 hours recognizing the developmental stages of chil- all art education programs (pre-certification, Practical application of the knowledge gained dren, adolescents, and adults according to the MAT, MA, MA+EM) who have not passed the in Design for Interdisciplinary Learning theories of Jean Piaget, Lawrence Kohlberg, Art Education Department writing proficiency through a variety of curriculum frameworks. Viktor Lowenfeld, and Erick Erickson. In exam. It addresses the use of effective and Students use a variety of models and the- addition, the course will explore the learning cogent written communication for the teacher, matic approaches to develop integrated arts theories of Jerome Bruner, B.F. Skinner, artist, and administrator to classes, groups, or curriculum that relates the arts to other disci- Howard Gardner, Madeline Hunter, and clients. Students who take and successfully plines. In keeping with interdisciplinarity in Bernice McCarthy toward understanding indi- pass the Praxis I Reading and Writing test are a postmodern aesthetic, students use a variety vidual differences in creative and cognitive exempt from this course. of interactive media. Class sessions include development and learning styles. Open to pre-certification, MAT, MA, MA+EM stu- lectures, media presentations, discussions, Open to all students. dents only. interactive group activities, guest presenters, and workshops in the university and the com- AE 552 AE 602 munity. The Art of Teaching History of Ideas in Art and Museum Prerequisite: AE 532 3 credits, 3 hours Education Teacher preparation and knowledge of instruc- 3 credits, 3 hours AE 649 tional techniques will be addressed, including Seminar on major issues and trends in the Graduate Project/Thesis development of presentation and speaking history of art and museum education, with an 3-6 credits skills, professional image, teachers’ rights and emphasis on child-centered and content-cen- Culminating independent project supervised responsibilities and aspects of group process. tered theories and the theoretical antecedents by a faculty advisor. The graduate project or The course will explore cultural and family of Discipline Based Art Education, the Visual thesis may take either of two distinct forms: factors that influence learning expectations Culture movement, and standards-based a) an academic thesis presenting original conveyed by teachers and peer behavior, and education. research in a significant historical, theoretical, techniques of instruction and creativity. A Open to Majors only. or pedagogical question relating to visual retrospective analysis of each student’s indi- arts education, or b) a studio or curriculum vidual education experience and perceptions AE 606 project intended for use as a pedagogical tool. of teaching will be explored through interac- Research in Education: Methods and Students must be approved by the Chair of Art tive simulation of classroom situations and Trends Education to enroll for the Thesis Project. teaching styles. 3 credits, 3 hours May be taken for 6 credits in one semester, or for 3 Prerequisite: AE 547 A graduate education seminar on principal credits per semester for two semesters. approaches to research for art and museum Open to Majors only. AE 559 education. The course examines types of Prerequisites: AE 602, AE 606, AE 610; Saturday Practicum research, applications and recent studies May be taken twice for credit. 3 credits, 3 hours for their methodologies and findings, grant 3 hours field work (10 weeks) writing, and assessment techniques. AE 659 Students are involved in various aspects of Open to graduate students only. Student Teaching Practicum the Saturday Lab School. They observe class- 4.5-9 credits, 2 hours plus room instruction, plan and teach lessons, and AE 610 full-time field placement exhibit student work under the supervision of Graduate Studio Seminar An intensive experience built around a four- cooperating master teachers and through the 3 credits, 3 hours teen-week student teaching practicum, in instruction of a professor in the seminar por- A one-semester interdisciplinary seminar which the student devotes seven weeks to tion of the course. exclusively for art educators. Topics of broad teaching at the elementary school level and Prerequisite: AE 547 concern to studio artists will be addressed in seven weeks at the middle or secondary school response to students’ work, assigned readings, level under the guidance and supervision and occasional public lectures or other art of highly qualified master teachers and Art events in the University and the community. Education Department faculty. Educational Corequisite: Concurrent enrollment in studio course. issues and concerns are addressed in the Open to Majors only. seminar portion of the course. If students elect to take the two field placements over two semesters, the Practicum must be taken both semesters. Open to non-majors with permission of Department/ Instructor. Prerequisites: AE 533, AE 548, AE 559 May be taken twice for credit.
140 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 141 AT 305 Art Therapy Theories and Techniques of Art Communication Therapy With Adults AT 300 3 credits, 3 hours CM 101 Introduction to Art Therapy The practice of art therapy with adults, as Communication, Culture, Process 3 credits, 3 hours demonstrated through the use of case mate- 6 credits, 7.5 hours Introduces art therapy students to key concepts rial from a variety of clinical populations. An exploration of communication as a social and dimensions of the art therapy profes- Overviews of diagnostic indicators, as seen and cultural process, integrating theory and sion. Course content addresses the different in artwork, are presented. Issues of both long- analysis with practical production proj- orientations and approaches that comprise and short-term treatment are addressed, as ects. Communication studies, linguistics, this discipline, as well as the diverse popula- well as a rich variety of interventions at the art anthropology, sociology, and applied across tions that are served. Art Therapists who work therapist’s disposal. cultural settings. Student work includes Open to concentration students only. within a wide range of settings are invited to reading, writing reaction papers, and proj- Prerequisite: AT 304 present to the class to balance the theoretical ects combining observations and analysis of with the practical. AT 401 communication processes with digital video Open to non-majors with permission of Department/ Senior Practicum production. Basic instruction in the use of Instructor. digital video camera and audio equipment and Prerequisites: HU 181A, HU 181B 3 credits, 3 hours logging, importing, editing, and presenting A field placement provides an opportunity digital material. Projects employ video to AT 301 for the student to apply classroom knowledge document observations of nonverbal com- Social and Group Process to work within a specific clinical setting. munication, interviews and speech events, and 3 credits, 3 hours A research paper, based on the experience, performances. Studio time will be linked to Introduces students to a basic understanding of enables students to integrate theory with course projects. social groups, group behaviors, group therapy observation and practice. This practicum Open to Majors only. and group art therapy. The class helps students includes on-site individual supervision by an to better identify their own role as well as that art therapist, as well as a small group supervi- CM 120 of others within a group setting. Experiential sion on campus with the Art Therapy faculty. Sound Communication Open to concentration students only. art tasks are used to underscore course mate- 3 credits, 4.5 hours Prerequisites: AT 305, HU 483 rial and exemplify group dynamics. This introduction to the field of sound com- Prerequisite: AT 300 munication enables students to conceptualize the importance of sound in cultural life and AT 304 prepares them in practical approaches to field Theories and Techniques of recording and working with various types of Art Therapy With Children and sound. A survey of approaches to sound as a Adolescents social communication through readings and 3 credits, 3 hours a broad range of audio examples, including Introduces students to the use of art therapy documentary, journalistic, theatrical, and with children and adolescents, including the experimental approaches. Training in digital different arenas where art therapists work with and audio field and post-production equipment children, as well as the various approaches and complete practical field exercises and an that are utilized. Normal child development, intensive sound project. as evidenced in artwork, will serve as the Open to all students. foundation for understanding key concepts. Indicators of emotional, cognitive, and behav- ioral difficulties, as seen in art productions, are also presented. Prerequisites: HU 384, AT 300
142 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 143 CM 201 CM 251 CM 290 Media Forms and Contexts I Communication Theories and Culture Video Production Workshop CM 202 3 credits, 3 hours 3 credits, 6 hours Media Forms & Contexts II An intellectual history of influential 20th cen- Acquaints students with the fundamentals 4.5 credits, 7 hours each tury theories of communication, with a focus of visual storytelling by providing hands- A two-semester exploration of media forms on the relationships between media and cul- on experience translating the written word through the perspective of genre, structure, ture. This course reviews critical intellectual into images and sounds. Areas of study will and representation, combining analysis and developments in the field against the backdrop include framing images, lighting, using media production. Students are exposed to of public events, social movements, and the off-screen space and sound, editing, and post- mainstream and alternative media in weekly changing daily lives of people in diverse production sound. Students will integrate their screenings, focusing on issues of form (i.e., places. How communication systems shape own writing to produce some of these projects. time, space, point of view) and social context the course of public and private lives and how Open to all students. (i.e., cross-cultural representation, stereo- changes in communication reshaped the way typing, the portrayal of gender and sexuality, we theorize about the world and the field. CM 293 the representation of violence) in order to Students read primary material in its original History of Documentary observe how media forms create cultural form, view media examples, write short posi- 3 credits, 4.5 hours meanings. Students develop an analytical tion papers reflecting communication theory Introduces the historical and aesthetic sweep framework and practical language for talking and culture, and complete a term paper. of approaches to documentary film and video. about media and an understanding of how Open to all students. Through extensive screenings and readings, production practices and audience expecta- Social Science this survey opens the range of choices and tions combine to affect the structure of media creative possibilities for documentary while forms. An approach to the topics in media CM 260 understanding aesthetic conventions, tech- representation through creative work in docu- Media Industries nological limitations, and social history. In mentary, journalism, and advertising using 3 credits, 3 hours addition to attending screenings and discus- digital video, audio, still images, and the web. This course investigates the range of organiza- sion, students write two short papers and one Prerequisite: CM 290 tions and economic forces involved in media longer term paper. production. Diverse production models, from Open to all students. CM 211 mainstream and corporate, to public sector, Humanities Writing for Media to alternative, and comparisons with media 3 credits, 4 hours industries in other cultural settings. The CM 295 A studio writing class developing skills in course focuses on business and policy issues Narrative Video Production effective, clear, and persuasive writing in the and considers examples of media practice Workshop areas of media and communication. Students from broadcast and cable news, advertising, 3 credits, 6 hours work from a variety of source materials and Hollywood and independent cinema, public An opportunity to develop an understanding of write research papers, project proposals, media, and new media industries. The course and experience in producing narrative-based project treatments, and a newspaper feature. includes a final research project. video projects. Students begin by reading Emphasis is on writing structure and style, Open to all students. essays and articles, screening scenes from editing and revising, suitability to specific Social Science films and television shows, and reviewing audiences, and delivering material on time and technical language and concepts. They learn at prescribed lengths. CM 271 to translate script ideas into production Prerequisite: LACR 102 Advertising: Creative Concepts I proposals, making clear how story ideas, 3 credits, 6 hours characters, action, and point of view will be CM 250 Whether an advertisement appears in print, rendered in sound and image. Working both on History of Communication on television or radio, or on the Internet, it is their own projects and as team members they 3 credits, 3 hours built around an idea. Students learn to recog- plan production specifics and shoot/record Examines how major developments in com- nize and create strong advertising ideas that and edit short narrative pieces in their medium munication have influenced social and cultural are relevant to the product and the audience. and style of choice. Students present stages of history and how major historical and social Emphasis on print advertising. Students learn production work, from planning to script to changes have had an impact on communica- how to allow their creativity to be guided by rushes to stages of edited material. tion and society. Draws connections between strategy. Students are exposed to outstanding Prerequisite: CM 101, or CM 290 historically specific and contemporary modes creative work and readings in their texts and of communication in a variety of times and from studying professional work. They will cultures, and the present. then apply these principles as they create Open to all students. advertising of their own. Social Science Open to all students.
142 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 143 CM 340 CM 372 CM 381 E-Publishing Thesis Project Advertising: Creative Concepts II Digital Journalism I 3 credits, 3 hours 3 credits, 6 hours 3 credits, 6 hours This studio class allows students to complete Having learned how to create strong indi- The primary skills and practices involved in a project and publish it online. Students vidual concepts, students create broader and constructing news for the online environment. examine the sub-field of e-publishing that deeper concepts that can form the basis for a Begins with an exploration of the evolution their project fits within, researching relevant number of ads and learn how to execute an of journalism from print to online and digital models and examples, write a business plan idea in more than one medium. The course forms. By looking critically at a range of for their project, consider intellectual property begins by examining award-winning print journalistic examples, and reading about the questions raised by their project, complete and campaigns in order to recognize suitable ideas changing work of reporting, students grapple present their thesis project, and write a reflec- for multi-ad campaigns; to identify elements with the differences between traditional and tive paper about their project. Prerequisite: and themes and their grounding in research, new media forms of journalism and begin to Completion of all other e-publishing minor and to understand the consumer. The course learn the practice of reporting online. They requirements. then examines how interactive media are work through a set of exercises researching Open to E-Publishing minors. being used to build customer relationships story ideas, pitching them to the class, con- Open to non-minors with permission of and brand identities, and explores the stra- ducting interviews, and writing, designing and Department/Instructor. tegic functions of these new media. Students posting short pieces for the web, introducing develop storyboards for a product or service them to the possibilities and constraints of CM 350 that reinforces that product’s existing brand working in this medium. Gender Images in Media personality. Prerequisite: LACR 102 3 credits, 3 hours Prerequisite: CM 271 Explores representation of gender and CM 382 sexuality in the media over the past century CM 373 Digital Journalism II and how images of male and female both Introduction to Public Relations 3 credits, 6 hours follow and create social change. Liberal Arts 3 credits, 4.5 hours A more intensive course in digital journalism, Elective. The fundamentals of public relations, viewed building on CM 381: Digital Journalism I, in Prerequisites: HU 103B and LACR 102 as a marketing communications tool, with which students explore the present state and special attention to its role in the non-profit future possibilities for journalism in the online CM 360 sphere. Reviews the functions of a wide environment. Students work in teams and on Communication Production range of marketing communications tools and their own to complete a more complex set of Workshop explores how PR can be used in conjunction online journalism projects, researching story 3 credits, 3 hours with them to achieve an organization’s objec- ideas, pitching them to the class, conducting This production course offers students an tives, helping students to come to understand interviews, and writing and designing story opportunity to work on a publication project the role of public relations in the overall mar- sites for the web. in a specific communication medium or genre keting communications plan. Students learn Prerequisite: CM 381 otherwise unavailable. Students will work how to coordinate messages in order to allow collaboratively on projects in this medium, the company to speak with one voice and CM 383 and present their work to an audience of peers reinforce one overall corporate identity, with News and Culture in the Digital Age and/or professionals. Topics include: web special attention to social marketing and the 3 credits, 3 hours radio/streaming audio sites, producing televi- public. A series of projects culminates in stu- Surveys the impact of social issues on jour- sion commercials, producing advanced audio dents developing a public relations proposal nalism and the social impact of journalism projects, or developing online publications. for a non-profit organization. on society in the digital age. Through read- Open to all students. Prerequisite: LACR 102 ings about journalism and society, and case studies, both past and current, of how the CM 371 news industry operates, students learn about Advertising: Strategy Development how race, gender, ethics, technology and the 3 credits, 4.5 hours changing nature of the news business affect The business side of creative advertising. the work of journalists. These issues take on Examines the functions of the various depart- increased importance with the shift to digital ments within an advertising agency, focusing technologies for production and distribution. on strategic development, and introduces the Open to all students. three key steps in that development-market segmentation, brand positioning, and research. Students learn a variety of qualitative and quantitative research methods and analytical methods and apply what they have learned by developing and presenting an advertising strategy for an actual product. Open to all students.
144 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 145 CM 391 CM 461 Documentary Media Production I Communication - Senior Studio I Crafts 3 credits, 6 hours CM 462 The conceptual, aesthetic, and pragmatic Communication - Senior Studio II CR 111 dimensions of producing video documenta- 4.5 credits, 7 hours each Freshman Ceramics ries. Students are exposed to examples of a In this intensive, project-based, two-semester 1.5 credits, 3 hours variety of documentary approaches through sequence, students work on the development Through lecture and demonstrations, stu- screenings and readings, which illustrate the of their own presentation-quality work in their dents learn basic skills such as handbuilding, range of choices and creative possibilities concentration (documentary, advertising, or throwing, and press molding with an introduc- of communicating information and emotion digital journalism). They research and develop tion to loading and firing kilns and mixing through this form. They are also introduced their project proposals in the fall semester, clay and glazes. Problems are given with to advanced digital video technologies as collaborating with individuals and institutions an emphasis on developing each student’s they work through a series of structured in the region, and begin production work, potential for personal expression and artistic exercises, and later work in teams to develop resulting in a short piece in video, audio, print invention. Freshmen are encouraged to partici- documentary projects. Project work includes and digital form. (They continue this project pate in the departmental guest lecture series pre-production research, interviews, original work in the spring semester). This work is and field trips. shooting in small-crews, editing, and pre- supplemented by readings about historical, Open to all students. senting finished work. critical and practical issues and screenings of Prerequisite: CM 290 contemporary work. Students write reflective CR 121 pieces about their production experience in Freshman Fibers and Mixed Media CM 392 light of these historical and contemporary Documentary Media Production II 1.5 credits, 3 hours issues, and complete the year-long course with Provides foundation students with a hands-on 3 credits, 6 hours a portfolio/reel of their own creative work and studio experience grounded in fabric pro- Develops a deeper understanding of the prag- a resume of their work experience. cesses and materials as a means of personal Open to majors only. matic, conceptual, and aesthetic dimensions expression. The student receives an introduc- Prerequisites: CM 372, CM 382, or CM 392 of producing documentary video and audio. tion to stamp printing and direct painting on Contemporary issues and approaches in docu- fabric, collage, three- dimensional off-loom mentary media-making through screenings CM 499 Communication Internship structures, as well as tapestry weaving on and readings. Students achieve increased mas- frame loom. Guidance is offered in the form tery of advanced digital video technologies 1.5 credits, 90 hours/semester of demonstrations, slide presentations, field and work through a series of project stages for Professional internship with a media organiza- trips, informal discussion, and intensive group a medium-length documentary. Students are tion or producer. Students gain approval for critiques. responsible for completing their own projects internships from an advisor, meet periodically Open to all students. and presenting them to their colleagues, and for supervisory discussions, and complete a collaborating on other students’ projects. short, reflective essay at the end of the intern- CR 131 Prerequisite: CM 391 ship. Freshman Glass Open to majors only. 1.5 credits, 3 hours CM 435 May be taken twice for credit. Current Issues in Communication Explores glass as an expressive and creative medium. Students work with flat glass in 3 credits, 3 hours stained-glass techniques. Explores the changing landscape of ethical Open to all students. and policy issues in communication from a critical and intellectual perspective, with a CR 141 focus on emerging issues driven by the shift to Freshman Jewelry and digital media (image ethics and manipulation, Metalsmithing intellectual property, changing nature of distri- 1.5 credits, 3 hours bution, etc.). Building on previous coursework An introduction to metalwork through several and studio experiences, students read material beginning jewelry projects. Students will learn from current literature and write reflective basic fabrication techniques through simple and research-based papers on selected issues. hollow construction; movement is approached Guest speakers in the various industries and through aspects of linkage and chain making; independent sectors provide a real-world forming and fabrication will be covered as perspective on how these issues affect profes- well. sional practice. Open to all students. Prerequisite: LACR 102
144 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 145 CR 161 CR 211A/B CR 227 Freshman Furniture and Wood Introduction to Throwing Experimental Costume Design 1.5 credits, 3 hours 3 credits, 6 hours each 1.5 credits, 3 hours The introduction of wood as a material, basic Beginning studio work using the throwing An introductory mixed media Fibers studio joinery theory, and the ability to manipu- process and related glazing and firing tech- where students transform the body into late safely with both hand and power tools. niques. Problems are given with an emphasis a fantastical art form through hat, mask, Lecture on and demonstration of the proper- on developing each student’s potential for per- an unconventional garment construction. ties of wood, the proper use of the band saw sonal expression and artistic invention. Students are introduced to a wide range of and shaping tools, including rasps, chisels, CR 211A Prerequisite: FP 130 soft materials including fabrics, plastics, small hand planes, and gouges. CR 211B Prerequisite: CR 211A net, gauze, rugger yarns, paper, etc., and to Open to all students. simple printing/dying fabric embellishment CR 212A/B processes. CR 200A/B Introduction to Handbuilding Prerequisite: FP 130 Projects I 3 credits, 6 hours May be taken twice for credit. 3 credits, 6 hours each Beginning studio work with clay using the Students make art dealing with crafts issues handbuilding processes of slab, coil pinch, and CR 231A/B and concepts. Individual project consultations pressing form molds, plus related glazing and Introduction to Glass Blowing are supplemented by lectures, visiting artists, firing techniques. Problems given emphasize 3 credits, 6 hours and group critiques. As this course is content- developing each student’s potential for per- Through demonstrations, assignments, and based, students will use any/all crafts studios sonal expression and artistic invention. tutoring by the instructor, students are guided during in-class work time and open studio CR 212A Prerequisite: FP 130 towards mastery in off-hand blowing. Blowing hours. (Students have access to crafts studios CR 212B Prerequisite: CR 212A of well-balanced functional and non-functional where they have completed or are currently forms is emphasized. Demonstrations and taking a media-specific course.) Non-crafts CR 221A tutoring guide students in exploring the use of majors may also work in their accustomed Introduction to Fibers Mixed Media color in glass, two-and three-dimensional sur- media. 3 credits, 6 hours face treatment, the relationship between volume CR 200A Prerequisite: FP 130 An introduction to both traditional and and skin of forms, blowing into molds, and CR 200B Prerequisite: CR 200A experimental uses of materials and structural working in a variety of scales. The aesthetics of Corequisite: Enrollment in a Crafts media-specific processes in the fabric media. Assignments contemporary and historical glass are investi- studio course. focus on the exploration of two- and three- gated as they relate to the students’ work. dimensional forms in preparation for versatile Prerequisite: FP 130 CR 203 approaches to the fibers media. A range of off- 3D Computer Modeling loom mixed media techniques is covered. CR 232 1.5 credits, 3 hours Prerequisite: FP 130 Stained Glass An introduction to the use of 3D modeling May be taken twice for credit. 3 credits, 6 hours software for visualization, design, production, Students work with transparent and opaque and presentation of Craft objects. Through CR 221B glass sheet to produce both two- and three- tutorial exercises and individual projects Introduction to Color and the Loom dimensional artwork. Techniques include students will become fluent in the use of this 3 credits, 6 hours glass cutting and grinding, use of caming and important tool. One piece of software (such Students explore the potential of two- and copper foil, soldering, enameling, sandblasting as formoZ, Rhino, etc.) that is both CAD- three-dimensional forms in preparation for and carving, and kiln-firing. Typical projects accurate and affordable by individual artists versitial approaches to the fibers media. include stained glass windows or panels, con- will be covered. As students gain proficiency Loom, woven structures, tapestry, and woven tainers, and shallow bowls. they will apply the techniques to problems color are covered. Prerequisite: FP 130 addressed in their major studio classes. Prerequisite: FP 130 May be taken twice for credit. Students taking the course for a second time May be taken twice for credit. will explore the capabilities of the software CR 241A/B in more depth and will focus on intelligent CR 222 Introduction to Jewelry sequencing of operations and using the tools Introduction to Constructed Surfaces 3 credits, 6 hours each in context. 3 credits, 6 hours An exploration of notions of jewelry and body Prerequisite: EM 201 or enrollment as a Crafts Through a series of developmental assign- adornment as a means of personal expression. Major. ments, students are provided with a solid Projects range from precious jewelry making May be taken twice for credit. technical and conceptual base in the fabric to adornment that extends into performance. media. Non-loom constructions, color, and Basic goldsmithing skills are taught as multifiber dye techniques are covered. essential, while three-dimensional sketching Prerequisite: FP 130 and experimentation in mixed media are May be taken twice for credit. encouraged. Successful integration of design, material, and process is the goal. Projects pro- vide students with broad exposure to the many possibilities inherent in jewelry and ornament as related to the human form. Prerequisite: FP 130
146 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 147 CR 242 CR 249 CR 255 Introduction to Metalsmithing Enameling Large Scale Handbuilding 3 credits, 6 hours 3 credits, 6 hours 1.5 credits, 3 hours Metal is an extremely versatile material; Enameling is the art of firing colored glass The fundamentals of large scale handbuilding though hard and durable it is quite malleable onto metal. The transparent, opaque, and in clay in two specific areas: a) building a and easily worked. This course covers direct opalescent enamel colors are layered to three-dimensional form, using proper clay working of metal. Sheet, wire, bar, and rod produce richness, detail, depth, and bril- bodies, building interior support systems, are given form by hammering, seaming, and liance in this durable and painterly medium. building and drying methods for large work, bending, etc. The majority of work is done in Traditional techniques such as cloisonne, and moving, loading and firing techniques; bronze, brass and copper, though steel, stain- grisaille, Limoges, basse taille, plique-à-jour, b) covering large areas with smaller parts and less steel, aluminum, and precious metals may and champlève, as well as contemporary and exploring fitting and interlocking systems of be used as well. Emphasis is on basic hand experimental processes are explored. Once wall relief or free-standing form. Problems and machine processes conveyed through they have gained a facility with the medium, are given with an emphasis on developing organized, comprehensive, and technical students produce jewelry or small jewel-like potential for personal expression and artistic information. Contemporary issues addressed paintings. invention. include the object as sculpture, process as a Prerequisite: FP 130 Prerequisite: FP 130 source material, the importance of surface and May be taken twice for credit. May be taken twice for credit. detail, and functional objects made by artists. Prerequisite: FP 130 CR 251 CR 256 May be taken twice for credit. Introduction to Molding & Casting Ceramics 3 credits, 6 hours 1.5 credits, 3 hours CR 243 A course in modelmaking, moldmaking, and Through lecture and demonstration, students Jewelry Rendering and Design casting techniques, using plaster and synthetic learn basic skills such as handbuilding, 3 credits, 6 hours compounds. Emphasis is given to developing throwing, and press molding with an intro- Students will explore two-dimensional pencil proficiency in slip casting for use in the artist’s duction to loading and firing kilns. Mixing and gouache techniques effective in creating studio and in industry for serial production. clay, slips, and glazes will also be covered. the illusion of finished pieces of jewelry. Prerequisite: FP 130 Graduate students may register for this course Emphasis on the skill development necessary May be taken twice for credit. under CR 656. to communicate and evaluate ideas prior to Prerequisite: FP 130 making. Presentation and development of a CR 253 May be taken twice for credit. portfolio are an integral part of the course. Ceramic Technology Prerequisite: FP 130 1.5 credits, 3 hours CR 261A/B May be taken twice for credit. A lecture and laboratory course designed to Introduction to Woodworking initiate investigation of basic clay and glaze 3 credits, 6 hours each CR 245 materials. The primary intent is for the student Introduction to basic woodworking skills and Art for the Body to gain an intuitive understanding of ceramic processes, including sharpening and setting up 3 credits, 6 hours materials, their practical and aesthetic proper- hand tools and machinery, theory of solid wood This introductory mixed-media course focuses ties, and to develop a series of personal glazes joinery, and construction. In addition to building on the body as the site-specific locus for a ranging from bright gloss to matte. The nature technical skills, emphasis is on contemporary variety of art forms. Looking at a range of of clays and the relationship among clay and historical furniture design issues. cultural and historical examples, students gain bodies, slips, sigallatas and glazes is explored. Prerequisite: FP 130 an appreciation for the personal and social Prerequisite: FP 130 influences that underlie our conception of May be taken four times for credit. CR 277 the human body and how we construct for it. Fabric Resist & Embellishment Studio work in an array of media, with specific 3 credits, 6 hours emphasis on the use of metal, paper, fabric, and Extends students’ basic color and drawing leather. Technical information includes flat pat- vocabulary into the realm of ancient tech- tern making, piecing and sewing; forming and niques and tools of Indonesia, Japan, and fabrication; mixed media construction; systems Africa. Fabric dyeing and resist methods, of attachment, linkage, and closure. Emphasis including drawing and stamping with waxes, on the students’ ability to generate unique solu- stitching and binding with threads, and more. tions to the physical challenges imposed by the Students acquire a broader sense of “mark- human body on the content of attire. making,” an understanding of the special color Prerequisite: FP 130 properties of dyes, and an ability to use non- May be taken twice for credit. Western traditional craft methods to create contemporary art fabric. Prerequisite: FP 121 May be taken twice for credit.
146 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 147 CR 278 CR 282 CR 287 Fabric Printing Metal Furniture Low-Tech Furniture 1.5 credits, 3 hours 3 credits, 6 hours 3 credits, 3 hours Focuses on the fundamental principles of Questions our cultural assumptions about Using materials gathered from nature, translating drawings and photographs into furniture. Are common furniture forms students make chairs, tables and other func- designs and images for screen-printed fabric, dictated by functional requirements or arbi- tional objects with a minimum of technical using a fine art approach. Exploration of trary choices that have become traditional? and mechanical procedures. Inspired by the myriad possibilities in creating fabric using Metal (steel, aluminum, bronze) is used for design inherent in natural materials, branches silkscreen and fabric pigments. its strength and versatility; other materials and twigs, found objects, and imaginative Prerequisite: FP 121 are combined with metal according to stu- thinking, the class conceives and executes a May be taken twice for credit. dent ideas and interests. Techniques include series of projects, mostly with simple hand bending/forming of rod, tube and plate, tools. The woodworking techniques dem- CR 280 oxyacetylene welding, brazing, mechanical onstrated are simple and straightforward; Introduction to Metal Casting fasteners/tap and die, riveting, and light black- even the most 10-thumbed, tool-inept, and 3 credits, 6 hours smithing. Typical student projects include machine-wary students are welcome in this Wax working for jewelry and sculpture, rubber small tables, lamps, chairs, outdoor/public class. molding processes, and lost wax/centrifugal furnishings, and experimental forms. Prerequisite: FP 130 casting of bronze and (optional) sterling silver Prerequisite: FP 130 May be taken twice for credit. and karat golds. Extensive technical informa- May be taken twice for credit. tion for students who are design-oriented. CR 300A/B Assignments allow projects in all formats CR 283 Projects II (design, one-of-a-kind jewelry, fine art, etc.) Small Scale Steelworking 3 credits, 6 hours each and students are encouraged to use techniques 3 credits, 6 hours Art-making dealing with crafts issues and con- innovatively and expressively. Students taking This course covers light blacksmithing, thin- cepts. A continuation of Projects I, work done the course a second time choose one aspect sheet welding, and other techniques suitable in this class becomes increasingly student- of the course (wax carving, wax modeling, for working steel at tabletop size. Aluminum determined as the dialogue becomes more wax impressions, vulcanized rubber molding, and other metals may also be used where subjective. As this course is content-based, etc.) and produce a small body of work appropriate. The focus is on the possibilities students will use any/all crafts studios during investigating the aspect in depth. Procedures of metal for the contemporary craftsperson. in-class work time and open studio hours. of jobbing out work to professional contract Contemporary issues include the functional (Students have access to crafts studios where casters; more experienced students send some object, the decorative impulse, process as a they have completed or are currently taking of their work out to be molded or cast. source of inspiration, and the importance of a media-specific course.) Non-crafts majors Prerequisite: FP 130 surface detail. taking this course may also work in their May be taken twice for credit. Prerequisite: FP 130 accustomed media. May be taken twice for credit. CR 300A Prerequisite: CR 200 B CR 281 CR 300B Prerequisite: CR 300 A Introduction to Electroforming CR 286 Corequisite: Enrollment in CR 322A/B, CR 329, 3 credits, 6 hours Wood Carving CR 331, CR 332, CR 370A/B, CR 371A/B, Electroforming is electroplating metal onto 1.5 credits, 3 hours CR 380A/B, CR 381A/B, CR 385A/B, or CR 386 a non-metallic surface or object. Metal may An introductory course focused on the devel- be built up on non-porous materials such as opment of skills and a survey of historical and CR 322A/B wax, plastic, glass, stone, and lacquered found contemporary precedents. The class will cover Advanced Fibers Mixed Media and natural objects. Wax may be removed tools: selection, use, and sharpening; lamina- 3 credits, 6 hours each from electroformed objects to leave a strong, tion and joinery utilized for carving; finishing Through a series of developmental assign- lightweight, hollow, self-supporting metal techniques; materials, choice of woods; letter ments with a conceptual emphasis, and by shell. Students will work in electroformed carving, design and content. Students will pro- using acquired knowledge from previous copper; assignments are structured to allow vide their own carving tools. semesters, students are encouraged to explore students to work in accustomed formats and/or Prerequisite: FP 130 forms that reveal the inherent physical quali- combine electroforming with other materials May be taken twice for credit. ties and potential image-making possibilities or processes. of fabric. Loom-woven and mixed-media Prerequisite: FP 130 fabric techniques are used as appropriate, May be taken twice for credit. depending on the student’s interest in the development of a diverse range of two- dimensional constructions, sculptural forms, costume, etc. Prerequisites: CR 221B or CR 222(822) May be taken twice for credit.
148 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 149 CR 329 CR 371A/B CR 386 Advanced Textile Design Advanced Ceramics Advanced Wood 1.5 credits, 3 hours 3 credits, 6 hours each 3 credits, 6 hours This course uses the computer in the study of Concentration on resolving conceptual and Covers tools, joinery, methods, and mate- woven textile design. An introduction to fabric formal issues as they relate to individual rials. Content progresses with increasing structures from simple plain and rib weaves, exploration. Problems encourage uniqueness complexity, involving machining, hand tools, through twills, satins, waffle weaves, double- and challenge abilities. Typical issues include finishing, and surface treatments. Senior cloth, composite structures, and color effects. usage and symbolic function, production, Crafts majors taking this course may choose to Students learn the language of cloth through and site-oriented applications, and medium spend all or part of their time producing thesis the incremental development of structures, to large-scale use of materials. All problems work to supplement the thesis component of first making notation of those structures by stress practical as well as aesthetic resource- Crafts Projects III. hand on point paper, and then using various fulness. Senior Crafts majors taking this Prerequisite: CR 261A or CR 261B computer software programs to develop a course may choose to spend all or part of their May be taken four times for credit. wide range of fabric structures. At least one time producing thesis work to supplement the structure will be realized through weaving on thesis component of Crafts Projects III. CR 400A/B a 32 harness hand-weaving computer loom. Prerequisites: Take two courses from: CR 211A, Projects III Prerequisite: CR 221B CR 211B, CR 212A, CR 212B 3 credits, 6 hours each May be taken twice for credit. May be taken twice for credit. Student will select a topic and produce a body of work for the crafts senior thesis exhibition. CR 331 CR 380A/B Part of this course is Senior Seminar, a forum Advanced Glass Blowing Advanced Jewelry/Metals for the discussion of ideas and issues through 3 credits, 6 hours 3 credits, 6 hours each student participation, guest lecturers, and pro- Glass is considered as an expressive medium, Built upon a basic grounding in jewelry fessional offerings. The modern craft aesthetic and development toward a personal style is concepts and techniques. Lectures, technical will be examined in terms of late 19th and encouraged. Students work with hot glass in demonstrations, and conceptual projects vary 20th century ideas and issues. Emphasis on the advanced offhand work, blowing into molds, from year to year so that students retaking the interdependency of all the arts with an eye to casting, and enameling, as well as advanced course will not find it redundant. The goals the unique contribution of crafts ideology and stained glass work incorporating blown and of the course are to increase awareness and practice. Topical discussions will encourage cast pieces on two- and three- dimensional understanding of jewelry as a component of students to find contemporary relevancy and stained glass problems. our culture, aid the student in the development validity in an analysis of historical precedents. Prerequisite: CR 231B of a personal aesthetic, and develop thinking Other topics include: making an artist’s May be taken four times for credit. and problem-solving abilities. More experi- presentation, resume preparation, writing an enced students are encouraged to focus on one artist’s statement, recordkeeping and taxes, CR 370A/B specialized area of the jewelry field. Senior grant writing, and career opportunities. Advanced Throwing Crafts majors taking this course may choose to Particular attention to the style and survival 3 credits, 6 hours each spend all or part of their time producing thesis techniques of contemporaries working in craft Concentration on resolving conceptual and work to supplement the thesis component of media. formal issues as they relate to individual Crafts Projects III. Prerequisite: CR 300B exploration on the wheel. Problems encourage Prerequisite: CR 241B or CR 242 Corequisite: Enrollment in CR 322A/B, CR 329, uniqueness and challenge abilities. Typical May be taken twice for credit. CR 331, CR 332, CR 370A/B, CR 371A/B, issues include usage and symbolic function, CR 380A/B, CR 381A/B, CR 385A/B, or serial production, the table, and site-oriented CR 381A/B CR 386A/B applications, and medium to large-scale use Advanced Metals of materials. All problems stress practical as 3 credits, 6 hours each IN 449 well as aesthetic resourcefulness with clay Built upon basic grounding in metalsmithing Fine Arts/Crafts Internship on the wheel. Senior craft majors taking this skills. Technical demonstrations and concep- 3 credits, 90 hours/semester course may choose to spend all or part of their tual projects vary from year to year so that Opportunities to apprentice to practicing art- time producing thesis work to supplement the students retaking the course will not find ists, gain gallery experience, and work with thesis component of Crafts Projects III. it redundant. The goals of the course are to nonprofit organizations which lead to practical Prerequisite: CR 211B increase awareness of metal’s possibilities, experience and knowledge about the field. May be taken three times for credit. increase metalworking skill, aid in the devel- Open to majors only. opment of a personal aesthetic, and develop thinking and problem-solving abilities. Senior Crafts majors taking this course may choose to spend all or part of their time producing thesis work to supplement the thesis component of Crafts Projects III. Prerequisite: CR 241B or CR 242 May be taken twice for credit.
148 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 149 MFA in Ceramics DA 109 Dance Improvisation I CR 610 1 credit, 1.5 hours Major Studio I/Ceramics DA 100 This course comprises breathing and centering warm-ups, isolation exercises, and tech- 6 credits, 10 hours Rhythm for Dancers nical improvisation on movement qualities, Evaluation of the student’s artistic involve- 1 credit, 1 hours including swinging, gliding, falling, rising, ment, projecting and testing options for the Provides an understanding and experience slow motion. Students learn to develop direction of the student’s graduate work. of rhythm that enables students to hear, feel, Open to CAD graduate students only. count, and notate rhythmic structures and choreographic ideas through group improvisa- May be taken twice for credit. enhance sensibility and creativity. tional structures. A continuation of the creative Open to Dance Majors only. work of DA 107. Open to Dance Majors only. CR 611 Major Studio II/Ceramics DA 101A/B Ballet I DA 111 6 credits, 10 hours Spanish Dance Further exploration of options, with increased 2 credits, 6 hours each 1 credit, 1.5 hours awareness of theoretical issues and personal Fundamentals of ballet technique including This beginning level course will provide an vision. Greater focus on the student’s work, barre and center floor work. The course introduction to the elements of Spanish dance. with a view to completing the repertoire of serves to introduce and develop basic ballet Students will learn how to use castanets, plus skills and expression in the medium needed to technique and vocabulary. Body placement the arm and footwork, turns, and rhythmic undertake a thesis project. and alignment is stressed through an under- Open to CAD graduate students only. standing and application of these basics. hand-clapping characteristics of flamenco. May be taken twice for credit. Continuous advancement and development is Through classroom exercises and videotapes, provided from beginning to advanced levels students will explore several types of Spanish CR 656 throughout this four-semester sequence (Ballet folk dance, classical dance, and contemporary Ceramics I-IV). choreographic styles, learn a number of short dances, including at least one verse of the 1.5 credits, 3 hours Open to Dance Majors only. popular “Sevillanas.” Through lecture and demonstration, students Open to all students. learn basic skills such as handbuilding, DA 103A/B Modern Dance I, II throwing, and press molding with an introduc- DA 113A/B tion to loading and firing kilns. Mixing clay, 2 credits, 4.5 hours each Jazz Dance I, II slips, and glazes will also be covered. Basic technique of modern dance for the 1 credit, 3 hours each Meets with CR 256. Graduate students are development of skills, intellectual under- A presentation of styles designed to broaden required to meet with the instructor prior to standing, kinetic perception, and maximum knowledge and technique of concert and the- the start of class to determine and outline the versatility. Includes barre work, center floor, ater jazz dance. Classes employ floor stretches nature of the requirements to be met, and the isolation, falls and recovery, contractions and and center barre warm-up procedures. quality of the work expected of them. release. Part of two-year sequence (Modern Open to CAD graduate students only. Dance I-IV). Required of all Dance majors. Movement patterns emphasize simultaneous May be taken twice for credit. Open to Dance Majors only. coordination of multiple rhythm patterns in different parts of the body. Combinations CR 710 DA 107 advance from simple to complex throughout Major Studio III/Ceramics Eurhythmics this four-semester sequence (Jazz Dance I-IV). Open to Dance Majors only. 6 credits, 10 hours 1 credit, 1.5 hours Planning and initiation of a sustained body of A beginning course in dance theory and DA 116A/B mature work to be presented in a thesis exhibi- composition that explores the development of Fundamentals of Dance I, II tion following the thesis exhibition semester. rhythm perception through movement impro- Open to CAD graduate students only. visation. Students receive weekly movement 1 credit, 1.5 hours each May be taken twice for credit. assignments directed toward specific rhythm Basic aesthetic considerations of the dance and dance problems. art form. The first semester examines the Open to Dance Majors only. nature and forms of dance, dance in relation to other arts, and its language and literature. The second semester allows dance students the opportunity to work with their peers in the Freshman Project. Open to Dance Majors only.
DA 117 Survey of Music 3 credits, 3 hours A survey of the history of music from ancient to modern including jazz. Open to all students. Humanities/Discipline History
150 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 151 DA 119 DA 203A/B DA 301A/B Yoga Modern Dance III, IV Ballet V, VI 1 credit, 1.5 hours 2 credits, 4.5 hours each 1-4 credits, 1.5-7.5 hours each The study of a system of exercises to achieve Continuation of DA 103A & B. Continuation of DA 201A & B. physical and spiritual well-being. Open to Dance majors only. Prerequisites: DA 201A/B Open to all students. Prerequisites DA 103A/B Repeatable three times for credit. DA 303A/B DA 205A/B Modern Dance V, VI DA 120 Notation I, II 1-4 credits, 1.5-7.5 hours each Mat Class 2 credits, 3 hours each Continuation of DA 203A & B. 1 credit, 1.5 hours An introduction to the Laban system of Prerequisites DA 203A/B The Pilates Mat is a part of the Pilates method recording dance movement. The course deals of exercise. Pilates Mat helps build strength with the study of basic notation symbols for DA 305A/B while maintaining flexibility. The Pilates reading and writing movements involving Modern Repertory I, II exercise has been used for over 70 years by steps, arm and leg gestures, turns, and 1 credit, 3 hours each dancers, musicians, and athletes to help them rhythmic and spatial patterns. Notation II A study of the contemporary and/or classical enhance their performance. comprises intermediate study in reading and repertory by resident or guest choreographers Open to all students. writing dance phrases including torso, parts of or notators, as well as the viewing, discussion, Repeatable three times for credit. the limbs, and head. and analysis of great works on video and film. Open to majors only. Open to Modern Dance Majors only. DA 123A/B Tap Dance I, II DA 211A/B DA 306A/B 1 credit, 1.5 hours each Dance History I, II Jazz Repertory I, II Basic vocabulary of tap, and development of 3 credits, 3 hours each 1 credit, 3 hours each rhythmically accurate footwork and accompa- The study of the interaction between dance A study of concert and theater jazz dance rep- nying body movements. and the society in which it develops, empha- ertory by resident or guest choreographers or Open to Freshman Dance Majors only. sizing the changing role and nature of dance. notators, as well as viewing, discussion, and Course deals with dance from the Renaissance analysis of great works in video and film. DA 124 through Diaghilev’s Ballet Russe. Dance Open to Jazz Dance Majors only. African Dance History II surveys dance from pre-World War 1 credit, 1.5 hours II to the present. DA 307A/B The study of the contribution of black dance to Open to all students. Ballet Repertory I, II the development of American dance through Humanities/Discipline History 1 credit, 3 hours each the mastery of the technique. The study and performance of dances of the Open to all students. DA 213A/B Renaissance and Baroque periods, followed Repeatable three times for credit. Jazz Dance III, IV by major classical and modern ballets. 1 credit, 3 hours each Open to Ballet Dance Majors only. DA 130 Continuation of DA 113A & B. Dance Therapy Open to majors only. DA 308A/B 1 credit, 1.5 hours Dance Pedagogy I, II An examination of the use of dance move- DA 216 2 credits, 3 hours each ments as therapeutic tools in working with the Music for Dancers An introduction to current philosophies and physically and mentally handicapped. 1 credit, 1.5 hours practices of teaching dance, and a historical Open to majors only, sophomore status or higher. An exploration of various kinds of musical survey of the role of dance in education. The materials and literature, from Gregorian second semester deals with identification DA 190 chant to New Music, relating the selection of and exploration of basic concepts of teaching Language of Music music to the creation of dance composition. dance, and application of these principles to 1 credit, 1.5 hours Improvisation utilizing different sounds and the concrete development of lesson plans. The study of rhythm, melody, and harmony, instruments. Open to majors only. tempo, dynamics, and musical forms. Open to majors only. Open to Freshman Dance Majors only. DA 309A/B DA 217 Partnering I, II DA 201A/B Dance Composition I 1 credit, 1.5 hours each Ballet III, IV 1 credit, 1.5 hours The basic technique of adagio (pas de deux). 2 credits, 4.5 hours each The course integrates the improvisational Students perform major classical works. Continuation of DA 101A & B. skills acquired earlier in Eurythmics, Open to Ballet Dance Majors only. Prerequisites: DA 101A/B Improvisation, and Music for Dancers. Designed to provide the beginning choreogra- pher with the tools needed to structure a dance composition in solo and duet forms. Prerequisite: DA 216
150 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 151 DA 311A/B DA 321A/B DA 327A/B Jazz Dance V, VI Pointe I, II Men’s Class I, II 1-4 credits 1.5-7.5 hours each 1 credit, 1.5 hours each 1 credit, 1.5 hours each Continued development of technique and Basic technique of dancing ballet on pointe. The technical movements of dance frequently various styles as introduced in DA 113A & B. Women’s dance variations from the classical performed by the male dancer. The course progresses from basic to complex repertoire. Open to majors only. rhythm and isolation exercises and movement Open to majors only. combinations stressing subtlety of dynamics, DA 331 as well as preparation of repertory. DA 322A/B Concepts of Fitness & Health Prerequisites: DA 213A/B Improvisation II, III 2 credits, 3 hours 1 credit, 1.5 hours each A survey of the health/fitness industry, which DA 313 Individual improvisations are performed on covers the following areas: personal training, Elements of Performing themes with objects in restricted or altered aerobics and dance, wellness, and fitness man- 2 credits, 3 hours spaces and times. Various structures are used agement. The course prepares students to assume Analyzes the qualities of dance technique that for group improvisation. Free improvisation positions in this growing and thriving field. serve the ultimate goal of performance as an with live music is stressed. Required of stu- Open to majors only. artist. Students work with the elements of the dents majoring in Modern Dance. art of dance performance and discover how Open to Modern Dance Majors only. DA 345A/B inner focus, motivation, dynamics, muscle Prerequisite: DA 109 Voice I, II intensity, rhythmic timing, breathing and 1 credit, 1.5 hours each movement texture are the essentials. DA 323A/B Vocal training for the non-Voice major. Open to majors only. Tap III, IV Designed to develop the vocal instrument to 1 credit, 1.5 hours each meet both the musical and non-musical vocal DA 317A/B The study and practice of the tap style of requirements of the theater. Dance Composition II, III dance from simple rhythmic footwork to Open to majors only. 2 credits, 3 hours each more complex multirhythms and repertory. Continuation of DA 217. Problem solving and Required of students majoring in Jazz/Theater DA 401A/B analysis of materials through individual proj- Dance. Ballet VII, VIII ects. Special emphasis on group choreography. Prerequisites: DA 123A/B 1-4 credits, 1.5-7.5 hours each Prerequisite: DA 217 Continuation of DA 301A & B. DA 324 Prerequisites: DA 301A/B DA 319 Character Dance Theater Functions 1 credit, 1.5 hours DA 403A/B 1 credits, 1.5 hours Deals with the study of the relationship Modern Dance VII, VIII A basic production course dealing with con- between ethnic styles and classical ballet, and 1-4 credits, 1.5-7.5 hours each cepts of lighting and set design for dance. the proper technique for performing national Continuation of DA 303A & B. Students are required to gain practical expe- dances stylized for the classical ballet reper- Prerequisites: DA 303A/B rience by working in the theater on dance tory. Required of students majoring in Ballet. concerts during the year. May be taken as an elective by other Dance DA 408A/B Open to majors only. majors with permission of the instructor. Dance Symposium I, II Open to majors only. 3 credits, 3 hours each DA 320 Designed specifically for dance education Intermediate Pilates Mat DA 325A/B majors who will be completing their stu- 1 credits, 1.5 hours Ballet for Non-Majors V dent teaching requirement in the following A continuation of DA 120 Pilates Mat Class. 1 credit, 1.5 hours each semester. The course includes curriculum and The Pilates Method is a series of exercises Continuation of DA 201 A & B. For students instruction materials, professional preparation, intended as a complete approach to developing majoring in Modern or Jazz/Theater Dance. and evaluation criteria. Discussion centers body awareness and easing physicality. It is Prerequisites: DA 201A/B around the application of dance principles an exercise-based system that aims to develop to the learning situation. The role of dance the body’s center in order to create a stable DA 326A/B teacher is examined. core for all types of movement. Intermediate Modern Dance for Non-Majors V, VI Prerequisites DA 308A/B Pilates Mat continues to build strength and 1 credit, 1.5 hours each flexibility through the practice and study of Continuation of DA 203A & B. For students DA 409A/B the practical and conceptual work of founder majoring in Ballet or Jazz/Theater Dance. Partnering Joseph Pilates. Exercises are taught in greater Prerequisites: DA 203A/B 1 credit, 1.5 hours each depth with a more advanced exploration of the Open to majors only. Pilates conditioning system. Prerequisite: DA 120
152 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 153 DA 410 DA 425A/B DA 772 Student Teaching Ballet for Non-Majors VII, VIII Dance Ensemble 7 credits, 14 hours 1 credit, 1.5 hours each 1 credit, 3 hours Students teach under supervised direction for Continuation of DA 325A & B. For students Open to majors only. one semester in a public or private school. If majoring in Modern or Jazz/Theater Dance. Repeatable for credit. placement for student teaching is not within a Prerequisites: DA 325A/B school system, arrangements are made for the DA 773 student to do this supervised teaching through DA 426A/B Modern Ensemble local dance studios. Student teaching must be Modern Dance for 1-3 credits taken concurrently with DA 408A or B. Non-Majors VII, VIII Open to majors only. Open to Dance Education Majors only. 1 credit, 1.5 hours each Repeatable for credit. Continuation of DA 326A & B. For students DA 411A/B majoring in Ballet or Jazz/Theater Dance. DA 774 Jazz Dance VII, VIII Prerequisites: DA 326A/B Jazz Ensemble 1-4 credits, 1.5-7.5 hours each 1 credit, 3 hours Continuation of DA 311A & B. DA 430 Open to majors only. Prerequisites: DA 311A/B Survey of the Business of Dance Repeatable for credit. 2 credits, 2 hours DA 417 Emphasizes the development of tools and DA 775 Dance Composition IV skills necessary for realizing individual Senior Ensemble 2 credits, 3 hours professional goals, vehicles and processes 1-3 credits Continuation of DA 317. Senior elective for change in the various fields of dance Open to majors only. course to assist students in preparation of their within our society. This course develops Repeatable for credit. senior concerts. an awareness of managing life and work Prerequisite: DA 317 as a professional in dance. Topics include DA 776 basic business principles as well as career Tap Ensemble DA 419A/B self-management and an overview of career 1 credit, 3 hours Dance Production I, II opportunities. Guest speakers will include Open to majors only. 2 credits, 3 hours each faculty and staff from within the University as Repeatable for credit. Designed to assist senior students in meeting well as experts from the field. their graduation performance requirement. Prerequisites: DA 201B, DA 203B, or DA 213B DA 777 Each student participates in the rehearsal, per- Student Composition Ensemble formance, and technical aspects of the senior DA 445A/B 1 credit, 3 hours graduation concerts. Students are expected to Voice III, IV Open to majors only. take major responsibilities for the production 1 credit, 1.5 hours each Repeatable for credit. of these programs. Continuation of DA 345A & B. Open to Senior Dance majors only. Prerequisites: DA 345A/B Prerequisites: DA 301B, DA 303B, or DA 311B DA 499 DA 421A/B Dance Internship Pointe III, IV 3-12 credits, 90-360 hours/semester 1 credit, 1.5 hours each Internships are a valuable part of a student’s Continuation of 341A/B. academic experience. By reinforcing and Open to majors only. expanding classroom theory and practice, internships enable students to test career DA 422 choices and gain a greater understanding of Styles of Jazz the workplace through this initial entry into 1 credit, 1.5 hours the professional world. The internship assists An exploration of Jazz styles of historic and students in testing and expanding their profes- contemporary Jazz dance artists from Hip/Hop sional skills and knowledge, enabling them to to Fosse. make informed career decisions. Open to majors only. Open to majors only. Repeatable for credit. DA 424 Contact Improvisation DA 771 1 credit, 1.5 hours Ballet Ensemble Students learn to develop choreographic ideas 1 credit, 3 hours through partnered improvisational structures. Open to majors only. Exploration of interactive movement qualities Repeatable for credit. include, gravity, leverage, and momentum. Prerequisite: DA 109
152 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 153 Dances Courses for DA 213X Advanced/Beginner Jazz Dance Electronic Media Dance and Non-Dance 1 credit, 1.5 hours Majors Open to all students. EM 110 Computer Concepts DA 101X DA 223X Advanced/Beginner Tap 3 credits, 3 hours Beginning Ballet A conceptual and hands-on course that intro- 1 credit, 1.5 hours duces the student to the foundations of digital 1 credit, 1.5 hours Open to majors only. A fundamental ballet technique course for processes in the arts. Experience with word non-dance majors. DA 301X processing, basic spreadsheet usage, database Open to all students. Intermediate Ballet search techniques, digital photography, scan- ning, image processing, composing, and basic DA 103X 1 credit, 1.5 hours page layout techniques. Includes an introduc- Open to majors only. Beginning Modern Dance tion to online services, Dialog and the World 1 credit, 1.5 hours Wide Web, along with a basic understanding A fundamental modern dance technique of HTML. Software usage includes Microsoft course for non-dance majors. Word, Excel, Quark-Express, Adobe Open to all students. PhotoShop, and Illustrator. Students are given assignments in each of the software environ- DA 104X ments as well as supplemental readings. No Beginning Brazilian Dance prior computer experience is required. 1 credit, 1.5 hours Open to all students. Open to all students. EM 201 DA 111X Electronic Media/Production I Beginning Spanish Dance 1.5 credits, 3 hours 1 credit, 1.5 hours Addresses the development of foundation Open to all students. computer skills in image scanning technology, desktop publishing, digital photographic DA 113X technologies, and basic output procedures. Beginning Jazz Dance Technical expertise and efficient working 1 credit, 1.5 hours methodologies are applied to problems that A fundamental jazz dance technique course are brought into the class from other design for the non-dance major. courses as well as from both individual and Open to all students. group-assigned projects. All software is standard to current graphic design industry DA 123X practices. Graduate students may register for Beginning Tap Dance this course under EM 601. 1 credit, 1.5 hours Open to Graphic Design Majors only. A fundamental tap technique course for non- dance majors. EM 202 Open to all students. Electronic Media/Production II 1.5 credits, 3 hours DA 201X An extension of EM 201. Addresses the devel- Advanced/Beginner Ballet opment of advanced computer skills in image 1 credit, 1.5 hours scanning, technology, desktop publishing, Open to all students. pre-press production, color, output technology, Prerequisite: DA 101X and digital photographic technologies. Special attention is given to comparative study of DA 203X output technologies and the translation of Advanced/Beginner Modern the on-screen image to offset lithography. 1 credit, 1.5 hours Technical expertise and efficient working Open to all students. methodologies are applied to problems that Prerequisite: DA 103X are brought into the class from other design courses as well as from both individual and DA 204X group-assigned projects. All software is Advanced/Beginner Brazilian standard to current graphic design industry 1 credit, 1.5 hours practices. Open to all students. Prerequisite: EM 201 Prerequisite: DA 104X
154 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 155 EM 203 EM 601 Digital Interactive Techniques Electronic Media/Production I Fine Arts 1.5 credits, 3 hours 1.5 credits, 3 hours Addresses the development of computer skills Addresses the development of foundation FA 205 in digital time-based software and cyber- computer skills in image scanning technology, Concepts/Works on Paper space software. Special attention is given to desktop publishing, digital photographic 3 credits, 6 hours interactivity and theories of informational technologies, and basic output procedures. Offers an opportunity for idea development, architecture. Technical expertise and efficient Technical expertise and efficient working visual perception, and the organization working methodologies are applied to prob- methodologies are applied to problems of experience into compositions. Primary lems in both individual and group projects. All brought into the class from other design emphasis is on developing visual expression, software is standard to current graphic design courses as well as from both individual and skill in using various materials, and growth industry practices. group-assigned projects. All software is of critical evaluative abilities through group Prerequisite: EM 202 standard to current graphic design industry discussions and critiques. Contour drawing, practices. Meets with EM 201. Graduate stu- EM 204 collage, Xerox transfer, book arts, and other dents are required to meet with the instructor experimental drawing and printing techniques Advanced Digital Interactive prior to the start of class to determine and out- Techniques are explored. Students are encouraged to com- line the nature of the requirements to be met, bine media. 1.5 credits, 3 hours and the quality of the work expected of them. Open to majors only. Prerequisite: EM 203 Open to all CAD graduate students. May be taken twice for credit. FA 222 EM 210 Drawing: Form and Space Digital Multimedia EM 610 Digital Multimedia 3 credits, 6 hours 3 credits, 3 hours An introduction to the issues of drawing, The elements of digital multimedia production 3 credits, 3 hours including perception, analysis, invention, and techniques address the creation of Internet Introduces the elements of digital multimedia experimentation. A variety of thematic ideas, websites and interactive programs. Hands-on production techniques to create internet structural possibilities, and imaginative inter- production experience as well as perspective websites and interactive programs, hands-on pretations are explored. Students are exposed on developments in this rapidly growing field production experience as well as perspective to a wide spectrum of precedents in the history through the readings and lectures. The first on developments in this rapidly growing field of drawing and are encouraged to enlarge their half of the semester is dedicated to learning through the readings and lectures. The first working definitions of how form and space the basics of Macromedia Director and sound half of the semester is dedicated to learning can by effectively expressed. manipulation software utilized to create inter- the basics of Macromedia Director and sound Open to majors only. active projects that combine images, sound, manipulation software utilized to create inter- May be taken twice for credit. and animation. The balance of the semester active projects that combine images, sound, is dedicated to the creation of a website using and animation. The balance of the semester FA 223 Macromedia Dreamweaver. Emphasis is on is dedicated to the creation of a website using Introduction to Figure Modeling clear communication and the creation of intui- Macromedia Dreamweaver. Emphasis is on 3 credits, 6 hours tive interactive interfaces. Graduate students clear communication and the creation of intui- Modeling from life for the beginner, stressing may register for this course under EM 610. tive interactive interfaces. Meets with direct observation, eye-hand coordination, Open to all students. EM 210. Graduate students are required to and depth discrimination. Both perceptual meet with the instructor prior to the start of and conceptual skills are developed and fun- EM 221 class to determine and outline the nature of the Virtual Sculpture & Crafts damental studio practices are taught, such as requirements to be met, and the quality of the armature construction, clay utilization, and 3 credits, 3 hours work expected of them. modeling techniques. Works are fired in clay Open to all CAD graduate students. Students will create physical models made or cast in plaster. of Styrofoam, wax, or clay, and create virtual Open to all students. versions of the same models. Working back and forth between the real and the virtual, students will gain an understanding of the dif- ferences and similarities of the ideas generated by each working style. Computer-generated images will be combined with photographs of physical maquettes and real environments. Final products will be digital files and 2D prints or slides suitable for commission pro- posals, presentations, and artist’s portfolios. Open to all students.
154 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 155 FA 234 FA 424 MFA in Ceramics, Drawing Studies Drawing References 1.5 credits, 3 hours 3 credits, 6 hours Painting, or Sculpture A studio course advancing the objectives of Advanced drawing projects focusing on the FA 222 Drawing: Form/Space. Emphasis will relationship between a given work and its FA 610 be on two essential concerns: process and references and resources. Emphasis is on Studio Topics: purpose. Students will be expected to carry understanding the nature of references or 2-3 credits out sustained involvement in specific projects resource material and the manner in which This course brings together students from focused on method and content. Studio prac- references or resources influence the outcome each of the major disciplines to explore studio tices will include both open-ended invention of the work. This studio/critique course aims issues common to all visual arts. and closed-system approaches. This kind of at enhancing students’ ability to connect their Open to CAD graduate students only. sustained focus on a variety of techniques and personal and subjective interests to the larger May be taken twice for credit. themes will culminate in a final term project. context of nature, history, and culture. Open to majors only. Prerequisite: PT 334 FA 611 Graduate Drawing FA 235 FA 460 3 credits, 3 hours Media/Techniques Senior Fine Arts Seminar Advanced studio develops and expands the 1.5 credits, 3 hours 1.5 credits, 3 hours student’s visual language and skills while A studio course of instruction and demonstra- The artist’s role in historic and contemporary challenging their conceptual approach to tion in the variety of traditional technical contexts. Issues surrounding the various pur- drawing by examining and applying the use approaches to the handling of paint media, poses of art and how culture deals with artists of materials and methods having historic and including the preparations of grounds and sup- are explored through discussion with visiting cultural origins. ports. Media options could include oil, acrylic, artists, alumni, and faculty. Students work Open to CAD graduate students only. encaustic, casein, gouache, gold-leafing, toward the acquisition of a professional profile May be taken twice for credit. fresco, and egg tempera. This course is unique in resume, artist statement, and slide prepa- in its focus solely on physical processes, not ration. Discussion of gallery practices and FA 612 concept-, or image-development. portfolio presentations cultivate an awareness Professional Practices Prerequisites: FP 111, FP 121 of professionalism and career opportunities 3 credits, 3 hours in the fields of painting, printmaking, and This course is designed to familiarize students FA 330 sculpture. with methods, practices, and professional Drawing Site-Specific Projects Prerequisites: PT 302B, PR 307, or SC 401 standards in preparation for the Thesis 3 credits, 3 hours Open to majors only. Exhibition and eventual entry into the visual Focus on the production of drawings and arts professions. models of site-specific projects. Issues related IN 449 Open to CAD graduate students only. to public art, environmental art, public and Fine Arts/Crafts Internship May be taken twice for credit. private realms, materiality, site selection and 3 credits, 90 hours/semester site specificity are explored. Opportunities to apprentice to practicing art- Prerequisite: FA 222 ists, gain gallery experience, and work with nonprofit organizations which lead to practical FA 333A experience and knowledge about the field. Attitudes & Strategies Open to majors only. 3 credits, 6 hours A studio-criticism course that presents issues that cross over the unique domains of the sculptor, the printmaker, and the painter. Fine Arts students from all three majors work on projects designed to increase their awareness of the attitudes and strategies embodied in art- works. Concepts such as idealism, naturalism, and expressionism are explored in light of their implication for form-making methods and principles. Lectures, studio projects, and group critiques create a forum for advanced study of the purposes and contexts of the Fine Arts. Prerequisites: SC 201, PT 202, PR 201, or PR 204
156 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 157 FA 691 FA 693 FA 793 Independent Studio I Independent Studio II Thesis Preparation I 3 credits, 10 hours 2-3 credits 3 credits, 5 hours Intended to assist students in establishing inde- Open to majors only. Following the successful completion of pendent production in their major discipline May be taken twice for credit. Summer II and the MFA Candidacy Review, while acquiring the ability to integrate studio the student is declared a candidate by the production with the demands of off-campus FA 694 graduate faculty and may begin indepen- life. At the conclusion of Summer I and sub- Independent Studio II dently producing a body of work intended for sequently, Winter Critique I, the student and 3 credits, 3 hours eventual presentation in a thesis exhibition fol- faculty mentor agree on a plan of work to be Open to majors only. lowing the successful completion of Summer pursued during the off-campus semester, which May be taken twice for credit. III. In consultation with the studio mentor, will be a continuation of work begun in the the student submits Thesis Preparation Plan previous semester. The students are required FA 695, FA 696 I, identifying and describing a direction of to propose a direction for their investigations Independent Writing Project I, II investigation to be undertaken during the fall and have access to off-campus studio space in 1.5 credits, 3 hours each semester. The student is expected to identify which to carry out the proposal. Enrollment The Independent Writing Project is a coreq- specific issues to be addressed: intended focus in the Independent Studio requires a commit- uisite of the Independent Studio I and II, and of the work, considerations of technique, ment of 150 hours, equivalent to 10 hours of is intended to inform the student’s ongoing materials, scale, location, etc. The student studio activity per week during the 15-week Independent Studio investigations undertaken must propose a personal timetable for accom- off-campus semester. The studio mentor during the fall and spring off-campus semes- plishing the thesis and identify the sources that meets with the student five times during the ters. The student proposes an area of research will be used in preparation for the exhibition. semester at three-week intervals, reviewing the intended as a continued examination of topics Enrollment in Thesis Preparation I and II student’s progress for a 1/2 hour session. The introduced during the previous summer requires a commitment of 150 hours, equiva- first meeting may take place at the mentor’s seminars, Structure and Metaphor or Art and lent to 10 hours of studio activity per week studio. The last meeting is the final critique of Society. The student is encouraged to explore during the 15-week off-campus semester. the semester, which takes place at the Winter through writing the range of issues emanating Open to majors only. Critique held at the University. from seminar reading and discussion and the Prerequisite: FA 692 Open to majors only. relationship of these external influences to the May be taken twice for credit. May be taken twice for credit. development of themes and directions being explored in the studio work. FA 794 FA 692 Open to majors only. Thesis Preparation II Independent Studio II May be taken twice for credit. 3 credits, 5 hours 3 credits, 10 hours In consultation with the studio mentor, thesis Intended to assist students in establishing FA 781, FA 782 candidates propose further development of independent production in their major disci- Thesis Writing Project I, II directions begun in studio work the previous pline while acquiring the ability to integrate 1.5 credits, 3 hours each semester by submitting Thesis Preparation studio production with the demands of off- The Thesis Writing Project is a corequisite of Plan II for the spring semester to the mentor. campus life. At the conclusion of Summer Thesis Preparation I and II, and takes place Open to majors only. I and subsequently, Winter Critique I, the during the fall and spring off-campus semes- Prerequisite: FA 793 student and faculty mentor agree on a plan ters. Research for the Thesis Writing Project is May be taken twice for credit. of work to be pursued during the off-campus intended to inform the student’s second-year semester, which will be a continuation of work independent studio activity which focuses on FA 795 begun in the previous semester. The students identifying and developing potential directions MFA Thesis Exhibition are required to propose a direction for their for the thesis exhibition and written thesis. 2-6 credits investigations and have access to off-campus The student is expected to consider issues The MFA degree certifies that the artist has studio space in which to carry out the pro- raised during the previous summer’s seminar attained a high level of competence and posal. Enrollment in the Independent Studio that are particularly relevant to the more independent judgment in the discipline and requires a commitment of 150 hours, equiva- focused direction of their studio work. The is qualified to stand with his/her mentors lent to 10 hours of studio activity per week student independently formulates a proposal as a master artist. The thesis exhibition and during the 15-week off-campus semester. and bibliography for a formal paper to be accompanying written statement are intended The studio mentor meets with the student based upon the more developed direction of to serve as a demonstration of this mastery. five times during the semester at three-week their work. The range of issues considered for During the final semester, criticism-based intervals, reviewing the student’s progress for further investigation may include aesthetic, research is undertaken as a continuation of the a 1/2 hour session. The first meeting may take conceptual, technical, or visual culture issues summer seminar in Criticism and is intended place at the mentor’s studio. The last meeting as well as the relationship of the major work to assist the MFA candidate in completing the is the final critique of the semester, which to other disciplines. written component of the thesis requirements. takes place at the Winter Critique held at the Open to majors only. Open to majors only. University. Prerequisite: FA 695 Prerequisite: FA 794 Open to majors only. May be taken twice for credit. May be taken twice for credit.
156 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 157 FP 103 FP 110 Foundation Color Basics Drawing 1.5 credits, 3 hours 3 credits, 6 hours FP 101 This course provides individuals who are Drawing is approached as a process by Drawing and Sketching not majoring in the visual arts with the basic which the student examines and investigates 1.5 credits, 3 hours skills required to work with some of the fun- the visual world. Line, mark, and shape are This course provides individuals who are damental properties of color and use them for among the drawing elements emphasized in not majoring in the visual arts with the representational purposes. No prior experi- the first semester. With these tools, students basic skills required to represent the form of ence with manual media or portfolio of work examine the form and structure of various simple objects and the presence of space on is required. The course introduces the basic subjects while they improve their manual a two-dimensional surface. No prior drawing color vocabulary and begins training the eye skills, strengthen their vision, and begin to experience or portfolio of work is required to perceive and apply the distinctions of hue, define their drawing vocabulary. Graphite and to enroll in this course. The class includes value, tone, and temperature. Methods of color charcoal pencils and a range of appropriate instruction in the basics of linear perspective classification set the stage for a sequence of papers are the most frequently used materials. using both optical and diagrammatic methods. projects designed to help students develop the Historical precedents are discussed, master In-class projects focus on fundamental prin- ability to begin working with color formally works analyzed, and relevant practical infor- ciples while homework assignments support and descriptively. Homework assignments mation—including the elements of spacial the students as they develop the ability to apply principles learned in class. representation—is assimilated into the flow of Not open to students in the College of Art and sketch and draw, think and plan, using manual class assignments. Focus is on the challenges Design. drawing tools and materials. and rewards of developing perceptual skills. Not open to students in the College of Art and Prerequisite: Enrollment in Foundation, or FP 101, FP 104 Design. FP 102. Materials, Tools and Form FP 102 1.5 credits, 3 hours FP 111 Sketching the Human Figure This course instructs students in those basic Drawing 1.5 credits, 3 hours manual skills that help them build three- 3 credits, 6 hours This course provides individuals who are not dimensional objects and spatial works. No Building on the sensibilities, skills, and majoring in the visual arts with an introduction prior experience with manual media or a port- information of FP 110, students refine their to some of the materials, methods, and pro- folio of work is required. Paper and wood are perceptual abilities, utilize new media such cesses useful when drawing the human figure. the primary materials that are used to execute as charcoal and inks and develop additional No prior experience with manual media or freestanding objects of various sizes and all drawing strategies. Students undertake the portfolio of work is required. The course intro- assignments include instruction on how to best analysis of complex natural objects, sculpt duces a basic series of drawing exercises using use and extend the physical properties of these volume with line and tone, encounter the the figure as subject. Analytical and respon- materials. Students are challenged to fabricate challenge of drawing the human figure, and sive approaches are compared and a range works with multiple parts as well as works meet other situations that demand the assimi- of materials including pencil, charcoal, and that include some formal and mechanical lation of new information and the application collage are used. The figure and the figurative complexity. Assignments that focus on the of advanced skills. Controlling proportion, volume in its immediate spatial environment design of spaces and the modeling of environ- building volume, engaging the illusion of are studied and the ability to capture the ges- ments are included. Instruction is conducted space, while at the same time developing the ture, appropriate scale, proportion, and mass in the Foundation studio and wood shop, and desired quality of light and illumination are of the figure are stressed. Homework assign- all students are given an orientation to the safe the descriptive goals of the semester. Faculty ments apply principles learned in class. use of that facility and all of its power tools. bring skills, projects, and information devel- Not open to students in the College of Art and Not open to students in the College of Art and oped in the two- and three-dimensional classes Design. Design. into the service of drawing. Prerequisite: FP 110
158 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 159 FP 120 FP 130 FP 140 Two-Dimensional Design Three-Dimensional Design Time and Motion 3 credits, 6 hours 3 credits, 6 hours 3 credits, 6 hours A focused introduction to the two-dimensional The course introduces students to concepts An introduction to the fundamental principles plane and its elements. The first semester of mass, volume and space, the properties of time-based art. Serial and sequential prin- defines the terminology and sharpens the of materials, and the unique visual qualities ciples are developed through the evolution ability to discern and use the visual elements of three-dimensional form. The introduc- of related sequential images into narrative of point, line shape, and pattern. These fun- tion of three-dimensional ideas and related works using manual and digital assemblage, damental elements are studied as independent terminology is combined with the instruction montage and collage. Students explore two- units and brought together, supporting and in the use of materials such as paper, wood, dimensional and three-dimensional shapes and animating one another, in a variety of formats. plaster and clay and the operation of hand, forms utilizing digital video capture of kinetic Skills in the use of black and white media power, and digital tools. Students develop the works, objects, and performance. Students such as inks, plaka and acrylic pigments and practical experiences needed to make objects, work with digital video recording, editing, equipment including technical pens, brushes which counteract and respond to forces and and sound applications while investigating the and drafting tools are developed in the first answer visual requirements. As the semester dynamics of time. semester. It is however, the visual forces progresses challenges of assembly, scale Prerequisites: FP 110, FP 120, FP 130 discovered during efforts to combine these and visual complexity increase. Inventive elements and materials that define the more processes, form generation, and construction, complex subject of the class. are undertaken as properties of materials join Prerequisite: Enrollment in Foundation, or FP 103. with visual goals to develop new forms. Most importantly students understand that they have FP 121 access to a new language as they learn to see, Two-Dimensional Design think, and plan three dimensionally. 3 credits, 6 hours Prerequisite: Enrollment in Foundation, or FP 104. This course builds on the projects and skills established in FP 120. The majority of FP 121 FP 131 is devoted to the introduction and extended Three-Dimensional Design study of color. With color comes additional 3 credits, 6 hours visual enrichment, light and luminosity, a spe- Building on the skills, language, and sensibili- cialized language and the necessity to mature ties of FP 130, the second semester undertakes manual skills and control new media and more complex projects. Some projects often concepts. The major works of the semester are involve the combining of several materials based in the use of acrylic paints and require and require the assembly of multiple parts. skills of mixing and application. Other color The semester builds in complexity, exploring mediums such as collage, pastels, water colors the challenges of scale and engaging time and and oil sticks are also explored. Color theo- movement as part of their conception. The ries are discussed, projects requiring tinting, introduction of environmental works, setting shading and toning clarify these basic con- in place new principles of three dimensional cepts and master works of color are studied. organization, researching the order in nature Ideas developed in the class are shared with and taking up the challenge of representation the other Foundation courses and skills from in three dimensions are some of the arenas 3D and Drawing are imported to support cur- in which students work. Faculty relate works rent 2D projects. As the semester progresses, and share principles with either the two representational and non-representational form dimensional, drawing, or time motion classes is developed as students work to integrate past and attempt to harvest skills and sensibilities experience, refine their skills of observation, developed in those classes into the service of expand the study of visual forces and explore projects in Three-Dimensional Design. more complex principles of organization. Prerequisite: FP 130 Prerequisite: FP 120
158 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 159 GD 213A/B GD 310B Graphic Design Design Systems Photographics II 3 credits, 6 hours each 3 credits, 6 hours GD 105 An intensive laboratory where the formal An upper-level studio in photography. Freshman Graphic Design Projects aspects of composition, organic and geometric Students undertake self-initiated assign- 1.5 credits, 3 hours form, color, symbolic drawing, craftsman- ments to explore various applications of An elective course introducing the Foundation ship, and the processes of conceptualizing the constructed photograph. The designer’s student to the profession of graphic design are investigated. All of the assignments are perspective and working process are used and its working processes. The classwork founded on directed goals and playful inves- to focus the communication aspects of the begins with directed formal studies and leads tigation to train the student in the areas of imagery. Past topics have included medium- to an introductory communication project. selection, set theory, and visual logic. and large-format cameras, advanced studio Open to all students. Emphasis on the craftsmanship and working lighting, and advanced printing and darkroom GD 213B Prerequisite: GD 213A methods of the students as well as the breadth techniques. Extensive studio and darkroom and depth of the student’s individual investi- work is required. GD 306A/B Prerequisite: PF 211A gative process. Studio lecture/demonstrations Typography Emphasis focusing upon professional case studies and 3 credits, 6 hours each GD 311A/B field trips supplement the course assignments. Communications Studio This course offers the student the opportunity This course investigates and defines the to measure his or her suitability to the Graphic principles of typography in a communica- 3 credits, 6 hours each Design major. tion context. Directed research based upon Developing an understanding of visual rela- Open to all students. typographic norms addresses the issues of tionships and how to use them to create visual informational hierarchies achievable through impact and clarity while solving communi- GD 210 visual form and structure as well as the edito- cations problems. Invention, intuition, and Letterform Design rial and expressive potentials of typography. discovery are combined with logical thought 3 credits, 6 hours Coursework is completed both using tradi- and thorough preliminary research. Special The analysis and development of letterforms. tional and computer technologies. Students attention is given to refining the student’s The norms of weight, proportion, character must have working knowledge of Adobe perceptual abilities, hand skills, and the width, and alphabetic relationships are InDesign and basic Macintosh operation or integration of various media. Coursework is developed perceptually, by hand. This course be concurrently enrolled in EM 202. Working completed using both traditional and computer stresses the inherent optical relationships that knowledge of Adobe Illustrator is preferred. technologies. Students must have working Prerequisite: EM 201 exist in the construction of typefaces derived knowledge of Adobe Illustrator, basic image scanning, and basic Macintosh operation or be from the Latin alphabet. GD 310A Open to all students. concurrently enrolled in EM 201. Photographics I Prerequisite: EM 203 GD 211A/B 3 credits, 6 hours Descriptive Drawing Develops a designer’s methodology and view- GD 313 Color and Image Concepts 3 credits, 6 hours each point to achieve both structure and meaning A freehand drawing course that teaches the in photography, and as a way to extend the 3 credits, 6 hours student to consciously observe, analyze, range of how objects and nature can be seen Addresses color concepts developed understand, and represent the underlying and translated using photographic processes. deductively from nature and inductively by structure and form of man-made and natural The course explores darkroom techniques, programming relationships based on the objects. Logical representation and problem- controlled lighting, and studio setups. Students primary attributes of color: temperature, inten- solving is emphasized. A visual vocabulary use both traditional photography and digital sity, and value. An application, in which color of line, shape, value, texture, and their spatial software to create hybrid, photographic is the central feature within a communications organization is developed so that drawing can images. Extensive studio and darkroom work context, evolves from a thorough research be used as a method of research and invention. is required. process. Diverse media are used. Applications GD 211A Prerequisite: FP 111 Prerequisite: PF 211A may use two- and three-dimensional formats. GD 211B Prerequisite: GD 211A Open to majors only.
GD 212 Typography Fundamentals 3 credits, 6 hours The course addresses the basic formal lan- guage of typography and the application of typographic principles to frame basic commu- nication messages. Typographic investigations are achieved by both manual and digital means. Prerequisite: GD 210
160 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 161 GD 316A GD 411B GD 426 Drawing Applications I Design Studio: Senior Project Advanced Typography 3 credits, 3 hours 3 credits, 6 hours 3 credits, 6 hours This elective course stresses the development A self-generated degree project involving This elective course addresses typography as of perception, color sensitivity, and hand skills research, proposals, complete design for- a primary vehicle to communicate information within the context of drawing. The selection mulation, and final presentation. Topics are and as a support to images. Assignments range and development of formal issues is connected reviewed by a panel of faculty in Graphic from informational design to expressive, con- to communication concepts. Using drawing as Design; and the students are reviewed by an tent-based problems, to intuitive investigations the primary medium, the student develops pic- outside critic midway through the preliminary and formal experiments. Although traditional torial images that represent and communicate stages of development. This course uses both methods of conceptualizing are used within a ideas, feelings, and information. traditional and computer technologies within thorough visual process, extensive computer Open to majors only. a thorough research process. Students should work is involved. Students should have exper- have expertise in Adobe InDesign, Adobe tise in Adobe InDesign, Adobe Illustrator or GD 322 Illustrator or Aldus Freehand, and Adobe Aldus Freehand, and Adobe Photoshop. Three-Dimensional Graphic Design Photoshop. Open to non-majors with permission of Department/ 3 credits, 6 hours Prerequisites: GD 411A, GD 412A Instructor. Explores the design of messages in spatial environments ranging from packaging to GD 412A IN 440 exhibitions. Investigations of the relationship Problem Solving Design Internship between the communication of messages 3 credits, 6 hours 3 credits, 90 hours/semester within the context of scale, surface texture, Develops approaches to solving communi- Open to Graphic Design, Illustration and Industrial light modulation, and their application cations problems of diverse character and Design majors only. to three-dimensional form combine both increasingly practical application. It assumes experimental and practical criteria. Although a high level of formal competence and places traditional methods of conceptualizing are special emphasis on working within technical used within a thorough visual process, exten- and time constraints by developing clear and sive computer work is involved. Students concise thought patterns. This course uses should have expertise in Adobe InDesign, both traditional and computer technologies Adobe Illustrator or Aldus Freehand, and within a thorough research process. Students Abode Photoshop. should have expertise in Adobe InDesign, Open to majors only. Adobe Illustrator or Aldus Freehand, Adobe Photoshop, and Macromedia Director. GD 326 Prerequisite: GD 311B Single Image 3 credits, 6 hours GD 412B The design of a complete publicity unit as Problem Solving exemplified in a poster. 3 credits, 6 hours Open to non-majors with permission of Department/ A continuation of Problem Solving GD 412A. Instructor. This course develops approaches to solving communications problems of broad scope and GD 411A increasingly practical application. Students Design Studio work within technical and time constraints 3 credits, 6 hours while developing clear and concise thought A wide-ranging exploration of the connec- patterns. The course assumes a high level tions between image and text, and symbolic of formal competence and places special and narrative imagery. These studies are emphasis on the development of unified visual supported by inquiries into semiotics, and conceptual relationships across various information theory, and research method- formats and scale. Both traditional and com- ology. This course uses both traditional and puter technologies are used within a thorough computer technologies within a thorough research process. Students should have exper- research process. Preliminary research and tise in Adobe InDesign, Adobe Illustrator or definition of a self-generated degree project Aldus Freehand, and Adobe Photoshop. is undertaken by Graphic Design majors in Prerequisite: GD 412A this course. Students should have expertise in Adobe InDesign, Adobe Illustrator or Aldus Freehand, and Adobe Photoshop. Prerequisite: GD 311B
160 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 161 Graduate Seminars LACR 102 Liberal Arts First-Year Writing II GR 610 3 credits, 3 hours Studio and Text HU 008A/B (Formerly HU 110B.) Continuation of LACR 101. During this term an inquiry-based 3 credits, 3 hours English as a Second Language I, II research paper is the focus. A similar cur- Focuses on the creation and development of 3 credits, 3 hours each riculum is examined in the context of history, text in the context of the visual arts—from Prepares students for whom English is a literature, theory, philosophy, and art from a text that generates the visual to text that is an second language to produce the kinds of chosen period are examined with appropriate essential part of the work. A concept-gener- writing expected of them on the college level, and to improve their reading and critical historical texts. ating course, this combines the making of art Prerequisite: LACR 101 or HU 109B and a writing workshop. Students may choose thinking skills. This is a two-semester require- to work in any of various visual arts areas, ment. HU 103A/B including book arts, picture books, painting, HU 008 A provides a review of English Introduction to Modernism I, II printmaking, sculpture, photography, and grammar, sentence structure, and paragraph 3 credits, 3 hours each multimedia. development. It focuses primarily on the Open to majors only. development of fluency in writing and A course with an explicitly multi-arts view- May be taken twice for credit. reading. The second semester focuses on the point that explores the historical and cultural different kinds of prose techniques and on inheritance of the West over the last two cen- GR 691 responding in writing to readings and to the turies. This course concentrates on the period University Seminar: Structure and work of other students. A workshop format 1776-1914 and examines the complex move- Metaphor engages students in collaborative learning ments known as romanticism and realism. Required of all undergraduates. 3 credits, 3 hours activities. Credits for HU 008 A or B do not An interdisciplinary seminar in which stu- count toward graduation. On rare occasions, HU 130A/B dents from the several graduate programs students may be exempted from HU 008 B by French I examine theoretical issues of structure and the instructor. HU 008 A and B are graded on 3 credits, 3 hours each metaphor in relation to art and design. Topics a pass/fail basis. A student who successfully Students study the basic elements of French include cognition and perception, meaning completes the sequence enters LACR 102. grammar through conversation and drills and representation, and systems of organiza- derived from readings of easy modern prose tion and expression. (May be taken to satisfy HU 009 First-Year Writing and from a cultural reader. Aesthetics and Art Criticism corequisites for Humanities the MAT program.) HU 109B First-Year Writing Open to majors only. HU 132A/B 3 credits, 3 hours each Italian I GR 692 This course is designed to help students University Seminar: Art and Society improve reading, writing, and study skills. 3 credits, 3 hours each This course covers conversation about 3 credits, 3 hours The emphasis is on the technical aspects of everyday Italian life and culture and basic An interdisciplinary seminar in which stu- writing, specifically grammar, punctuation, spelling, and paragraph construction, along grammar through reading of Italian prose. dents from all graduate programs examine Humanities theoretical issues relating to the place of art with reading comprehension, vocabulary, and design in society. Topics include the sentence structure, logical relationships, HU 140A social role of the artist/designer, public policy and usage. Students may work on particular Art History Survey I and the arts, issues of post-modernism, and problem areas in the Learning Resource 3 credits, 3 hours aesthetic and ethical implications of emerging Center. This course does not count for credit A survey of Western visual arts (including arts communication technologies. (May be toward graduation. HU 009 is graded on a architecture) from the earliest extant examples taken to satisfy Sociology/Anthropology pass/fail basis. Students who pass HU 009 (cave paintings) to the Renaissance. The focus corequisite for the MAT program.) enter HU 109B. Enrollment in HU 009 is Open to majors only. based on performance on a placement test. will be on ancient Greece and Rome and medieval Europe. The arts will be presented in GR 791 LACR 101 cultural and historical context. Prerequisite: LACR 102 University Seminar: Criticism First-Year Writing I Discipline History/Humanities 3 credits, 3 hours 3 credits, 3 hours An interdisciplinary seminar in which (Formerly HU 110A.) First part of a year-long advanced graduate students from various writing, reading, and research course that disciplines in the visual arts further examine teaches the fundamental skills of the respon- the nature of image-making with particular sible student-scholar. Students will practice attention to the theories and applications of the kinds of academic writing, textual anal- criticism. ysis, and library and Internet research required Open to majors only. of university students and curious learners of any age. The first term explores writing from literature, philosophy, and art.
162 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 163 HU 140B HU 201 HU 216 Art History Survey II Lyric Poetry The Short Story 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours A continuation, from the Renaissance onward A survey of lyric poetry, with particular A study of the short story from Poe to the to the present day, of the survey of Western emphasis on a single period or a group of present. Samplings from the British, the visual arts begun in HU 140 A. Major styles poets, e.g., Walt Whitman, Emily Dickinson, American, and the European, with particular and periods: baroque, romanticism, realism, Wallace Stevens, Allen Ginsberg, Sylvia Plath, attention to the major authors who reinvented modernism. The arts are presented in cultural and the English Romantics. the genre. At the end of the semester, students and historical context. Prerequisite: LACR 102 will look at developments in contemporary Prerequisite: LACR 102 Literature fiction, the antistory, the new wave, the sur- Discipline History/Humanities real, the minimal, the funny, the mythic. HU 210A Prerequisite: LACR 102 HU 162 19th Century American Writers Literature Individual & Society 3 credits, 3 hours 3 credits, 3 hours An examination of the major ideas and HU 217 Examines the concepts of “individual” and trends in 19th-century American literature, African American Literature society and how they are related under modern including works by Poe, Hawthorne, Melville, 3 credits, 3 hours social conditions. It treats society and social Dickinson, and James. Literature by African-Americans includes institutions as fundamental realities and Prerequisite: LACR 102 some of the best American writing in our considers the ways in which social forces Literature time. Langston Hughes, Richard Wright, affect individual personality and identity. It Ralph Ellison, James Baldwin, Toni Morrison, provides an introduction to the perspective of HU 210B Imamu Baraka, and Gwendolyn Brooks, to sociology as distinct from that psychology. 20th Century American Writers name but a few, have created a distinguished Topics include socialization, social solidarity, 3 credits, 3 hours body of work. The course will focus on the morality, authority, deviance, individualism, This course focuses on 20th-century American larger question of the role of the African- and freedom. writers and includes works by Wharton, American writer in American society and Prerequisite: LACR 102 Lewis, Hemingway, Fitzgerald, and Steinbeck. perhaps will introduce students to other, Social Science Prerequisite: LACR 102 less-well-known African-American writers Literature (e.g., Frank Yerby, Chester Himes) who have HU 181A made significant contributions to “popular” Child & Adolescent Psychology HU 211 American literature. 3 credits, 3 hours Women Writers Prerequisite: LACR 102 This course is developmentally oriented and 3 credits, 3 hours Literature focuses on Erikson’s psychosocial stages of An examination of literature written by life from birth to adolescence. Major topics women for its uniqueness and, equally impor- HU 218 include pregnancy, the birth process, and the tant, for its significance in the mainstream of Superheroes physical, intellectual, emotional, and social literature. The course begins with such writers 3 credits, 3 hours development of the child. Family life and as Jane Austen, Emily Bronte, and Virginia This course examines the most important parent-child relationships are also examined, Woolf, and moves to contemporary writers. heroes of popular culture in the Middle with particular attention given to the impact One paper, one in-class exam, and one take- Ages—Beowulf, Roland, Siegfried, and King of our social institutions upon parents and home exam are required. Arthur. What do these heroes and the epics in children. Prerequisite: LACR 102 which they appear reveal about their culture? Prerequisite: LACR 102 Literature How do they compare to modern popular Social Science superheroes? HU 212 Prerequisite: LACR 102 HU 181B Introduction to Mythology Literature Adult Psychology 3 credits, 3 hours 3 credits, 3 hours This course begins by defining mythmaking (a This course is developmentally oriented and creative process essential to all societies, past focuses upon Erikson’s psychosocial crises and present) and by analyzing the different from adolescence to death. Major topics approaches to myth. It moves on to examine include career choice, human sexuality, love, creation myths from around the world and, marriage, values, mental health and mental ill- finally, a selection of myths from different ness, aging, and death. cultures. Prerequisite: LACR 102 Prerequisite: LACR 102 Social Science Literature
162 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 163 HU 240 HU 248B HU 255 Ancient Art Issues in National Cinema History of Photography 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours An investigation of the art and architecture Films from modern European and emerging Objectives: to provide an introduction to the of the ancient world, concentrating on the national cultures that demonstrate both significant photographers and their work classical art of Greece and Rome, but also their interaction with postmodern politics, in the history of the medium, to describe considering the arts of Mesopotamia and theory and culture, and the development of technical developments and their impact, to Egypt. an alternative discourse to Hollywood com- discuss the major visual and aesthetic trends Prerequisite: LACR 102 mercial filmmaking. Films are selected from in the development of photography and their Art History/Humanities the following: 1920s Soviet cinema; Italian relationship to art in general, and to describe Neo-Realism; anthropological documenta- the larger social context in which photography HU 241 ries; French New Wave; postwar/holocaustal has developed. Medieval Art cinema in Europe; other national cinemas Prerequisite: LACR 102 3 credits, 3 hours (Spain, Hungary, Japan, etc.); colonialist Art History/Humanities/Discipline History The sculpture, architecture, painting, and dec- struggles in films from India, Egypt, orative arts of Europe from the early Christian Argentina, Chile, Brazil, Senegal, Cuba; and HU 259 period in the third century A.D. to the proto- new women filmmakers. Understanding Music Renaissance in Italy in the 14th century, Prerequisite: LACR 102 3 credits, 3 hours observing the emergence and flowering of a Humanities What makes a phenomenon musical? What northern European mystical Christian vision are people doing when they make or listen to separate from the monumental classical vision HU 251 music? Can musical understanding be fully of Greece and Rome. History of Industrial Design grasped through listening? These and similar Prerequisite: LACR 102 3 credits, 3 hours questions represent an effort to find something Art History/Humanities A survey of industrial design in the West, that lies at the core of our humanity, and that paying particular attention to developments in may be in danger of being lost. We start from HU 242 the 20th century. the simple assumption that, in order to find Art in Renaissance Europe Prerequisite: LACR 102 something, we must try to grasp what is essen- 3 credits, 3 hours Art History/Humanities tial about it. Ranging between the hows and The painting, sculpture, architecture, and whys of music, the course explores the origins decorative arts of the 14th and 15th centu- HU 253 of human music-making, the psychology of ries in the major artistic centers of Northern History of Crafts aural awareness, the strategies of organized Europe and in Italy. The course will compare 3 credits, 3 hours musical expression, and the construction of and contrast the works of painters such as Jan A survey of the principal movements and musical meaning in relation to culture. Van Eyck and Majaccio; and sculptors such tendencies in Western crafts since the middle Prerequisite: LACR 102 as Claus Sluto and Donatello, who enriched of the 19th century. Main topics include the Humanities both the habitations and churches of their arts and crafts movement, art nouveau, the secular and religious patrons and the proud Bauhaus, the interrelationships among fine HU 260A and expanding mercantile cities in which they arts, crafts, and design, and postmodernism. Human Origins I lived. Prerequisite: LACR 102 3 credits, 3 hours Prerequisite: LACR 102 Art History/Humanities An anthropological perspective on evolution, Art History/Humanities biology, ecology, and behavior of nonhuman HU 254 primates from prosimians to great apes. HU 248A History of Communication Design Students are introduced to the principles of Film History 3 credits, 3 hours evolution and adaptive trends. The course 3 credits, 3 hours A survey of two-dimensional design in the focuses on the successful terrestrial species A survey of the history of film. Films to be West, with particular attention to develop- of Old World monkeys and on the apes—the shown will be selected from the following ments in the 20th century. gibbon, orangutan, gorilla, and chimpanzee. categories: early film forms (Lumiere, Prerequisite: LACR 102 Comparisons are made among nonhuman Griffith, and De Mille); Dada and Surrealist Art History/Humanities/Discipline History primates and our own species regarding diet, influences (Leger, Bunuel, Marx Brothers, locomotion, tool use and manufacture, modes and Resnais); the impact of Constructivism of communication, social behavior and social and the Machine Aesthetic (Eisenstein, Vertov, systems, motherhood and child care, aggres- and Chaplin): German Expressionists’ influ- sion, cultural behavior and recent trends in ence on Hollywood (Ford, Welles, Wyler, and nonhuman primate behavior studies. Films are Hitchcock); modern European and American an important part of the course. films (Bergman, Godard, Kubrick, and Prerequisite: LACR 102 Altman); and avant-garde art influences on Social Science new American cinema (Deren and Brakhage). Prerequisite: LACR 102 Humanities
164 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 165 HU 260B HU 264 HU 270 Human Origins II Modern American History Introduction to Aesthetics 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours An introduction to human biological and A study of contemporary developments, An introduction to the philosophy of art. After cultural evolution, a survey of the major values, and issues as a product of 20th century a brief examination of analytic philosophical evolutionary stages in hominid evolution, an phenomena. The course provides an under- methods and the history of aesthetics, we introduction to Paleolithic technologies, and a standing of the dramatic changes that have consider some of the fundamental problems in comparison of contemporary Stone Age soci- occurred in American society over the last 50 aesthetics, such as the intention of the artist, eties with Paleolithic populations. years. the physical object/aesthetic object distinction, Prerequisite: LACR 102 Prerequisite: LACR 102 and the nature and comparison of different Social Science Social Science kinds of media. The relationship between lan- guage and art will be central to the course. HU 261 HU 265 Prerequisite: LACR 102 Observing Humans Introduction to Folklore Humanities 3 credits, 3 hours 3 credits, 3 hours Presents several different social science Introduces folklore genres and the history HU 272 frameworks and seeks to uncover what can of folklore study. Sacred objects, fairy tales, Money Matters be learned about human behavior by people songs, parodies, and legends will be analyzed 3 credits, 3 hours watching. Students will choose places for and presented in class. Explores issues in economics and business brief weekly observation and use their own art Prerequisite: LACR 102 by working out from the roles and interests skills to document what they see. Social Science of individual agents and groups. We will look Prerequisite: LACR 102 HU 266B at economic dynamics in artistic and cultural Social Science History of Medieval Europe work in the present, and at different historical 3 credits, 3 hours moments, to explore further the nature of these HU 262B The history of medieval Europe from the relationships and their meanings. Students are History of Japan Germanic settlements to the establishment of exposed to economic and business discourse, 3 credits, 3 hours Christianity and the feudal social expansion provided with a broad and intensive under- The history of Japan; the time span is from of the late Middle Ages are important topics standing of economic and business language the earliest days to the present, but special for the course. A wide range of readings and and logic, given experience in the application emphasis is placed on the modern period and the use of examples of medieval art promote a of these concepts to the issues in their field relations with the United States and other broad interpretation of this period. of interest, and provided a foundation for Western powers. Intellectual and cultural Prerequisite: LACR 102 thinking through the economic and ethical developments will take precedence over Social Science dimensions of their work. political and economic history. Prerequisite: LACR 102 Prerequisite: LACR 102 HU 267 Social Science Social Science Introduction to Cultural Anthropology HU 274 HU 263 3 credits, 3 hours Introduction to Philosophy The Culture of the Italian The nature and variation in human cultures 3 credits, 3 hours Renaissance and various explanations of these differences A course specifically tailored to students with 3 credits, 3 hours (i.e., symbolic, functional, and historical). no experience in reading philosophy. Several A comprehensive study of the political and This survey of culture in Western and non- basic issues in philosophy are considered, social conditions in Italy from the end of the Western societies considers a number of including freedom, God, morality, death, 14th until the middle of the 16th centuries that special topics such as language and society; mind, appearance, and reality. In addition to led to the artistic and philosophical flowering cultural identity and the arts; gender; marriage brief readings of primary sources, we read dis- known as the Renaissance. Not only will the and family; and social ranking power rela- cussions of these issues plus innovative fiction contributions of the larger states of Milan, tions. The impact of globalization, tourism, illustrating salient points. Venice, and Florence be explored, but also and cultural change are also considered. Prerequisite: LACR 102 the princely courts of Mantua, Ferrara, and Prerequisite: LACR 102 Humanities Urbino. Reading Machiavelli’s The Prince and Social Science portions of Castiglione’s The Courtier is an HU 276 essential part of the course. HU 268 The Age of Apartheid Prerequisite: LACR 102 Introduction to the Bible 3 credits, 3 hours Social Science 3 credits, 3 hours By focusing on the apartheid era of South The main themes of the Bible are explored Africa, this interdisciplinary course will from a modern, critical, nondenominational explore critical issues of the 20th century, such point of view. No knowledge of the Bible as racism, economic exploitation, urbaniza- is assumed. Using historical and literary tion, and political protest. We will use South analysis, continuities as well as differences African theater, literature, and music to under- between the Hebrew and Christian testaments stand the culture that gave birth to them, and are examined. read original sources written by leaders such Prerequisite: LACR 102 as Ghandi, De Klerk and Mandela. Social Science Prerequisite: LACR 102 Humanities
164 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 165 HU 281 HU 285A HU 289 Dynamic Anatomy Life Sciences Contemporary Issues in Life Sciences 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours This structure of the body as it relates to form Life forms in the context of current adap- Each semester this course explores one area (size, shape, and proportion) and support tations and evolutionary history. Special of current research in the life sciences by (posture, position, and movement). In-depth emphasis is placed on an exploration of focusing on three significant issues in the cur- exploration of the location, orientation, and evolutionary relationships, ecological spe- rent scientific literature. Students participate actions of the major muscle groups, joints, and cialization, and the dynamic relationships of in a series of semi-independent inquiry activi- bones, and how they differ by gender through organisms in an integrated ecosystem. ties. For each research issue, student teams the life cycle. Prerequisite: LACR 102 complete a challenge that demonstrates their Prerequisite: LACR 102 Science/Math ability to understand, collect, interpret and Science/Math apply appropriate information in order to pro- HU 285B pose solutions and to convince classmates of HU 282A Physical Sciences the success of their approaches. Fundamentals of College 3 credits, 3 hours Prerequisite: LACR 102 Mathematics An investigation of astronomy, geology, and Science/Math 3 credits, 3 hours other physical sciences, including the origin of An introduction to the fundamental math- the universe and solar system and the nature HU 292 ematical principles and operations used in of physical science, matter, and energy. This Introduction to World Religion undergraduate courses in the physical and course provides a background for under- 3 credits, 3 hours social sciences. Topics include sets, logic, standing the problems of the impact of science An exploration of world religious traditions probability, statistics, number theory, algebra on human values. originating in Africa, the Americas, China, and geometry. Prerequisite: LACR 102 India, Japan, and the Middle East. Religions are Prerequisite: LACR 102 Science/Math studied in their historical and cultural context, Science/Math including their development in various times HU 286 and places, and their beliefs regarding the HU 282B Pseudoscience in Contemporary cosmos, society, the self, and good and evil. Calculus Society Prerequisite: LACR 102 3 credits, 3 hours 3 credits, 3 hours Social Science An introduction to calculus with the emphasis The methods of and issues of contemporary on the applications of differential and integral science. Explores how scientific information HU 294 calculus to the physical and social sciences. is used in society through an examination of Opera and Politics Prerequisites: LACR 102, HU 282A, equivalent scientific, near-scientific and pseudoscien- 3 credits, 3 hours college level mathematics, or precollege advanced tific claims, including strange creatures like Throughout the history of its civilization, algebra and geometry. Bigfoot and the Loch Ness monster, miracle whether at courts or in public theaters, opera Science/Math cures for diseases and paranormal phenomena. has exhibited a magnetic pull on artists and The question of how funding might affect sci- audiences attracted to the exploration of polit- HU 283 entific research is also examined. ical themes. This course examines operatic Probability Prerequisite: LACR 102 instantiations of the conflict between social 3 credits, 3 hours Science/Math conformity and personal freedom, the hedo- This class introduces some of the most funda- nistic abuse of power, the glorification of past mental ideas in classical probability. Polling HU 288 achievements in order to deflect attention from techniques, casino gambling, weather fore- Introduction to Brain, Mind, and present impotence, the retreat from political casting, and lotteries are a few areas in which Behavior disillusionment and idealized interior worlds. the principles of probability directly influence 3 credits, 3 hours General commentary on musical, formal, and our lives. Modern Science depends upon An introduction to the organization of the dramatic elements characteristic of historical probability to build mathematical descrip- brain and nervous system and to their inter- periods alternates with closer analysis of spe- tions of the real world. This course explores actions with other bodily systems, which cific works. the concepts of probability in an intuitive produce observable behavior. Topics include Prerequisite: LACR 102 and accessible way, understandable to begin- brain structure and function, neurological Humanities ners. Topics include sample spaces, counting, changes over the lifecycle, and the effects of conditional probability, and the concept of malfunctions. Students will learn about spe- HU 310 independence, game theory, random variables cific brain structures and how they contribute The Stories of Chekhov and the law of large numbers. to or produce specific behavioral character- 3 credits, 3 hours Prerequisite: LACR 102 istics. We will explore learning, memory, the The readings will include most of Chekhov’s Science/Math senses, and sex-differences in the brain, as best stories, excerpts from his letters, some well as other current topics. critical interpretations, and supplementary Prerequisite: LACR 102 material on family life. Consideration of the Science/Math literary merits of his stories and exploration of what goes on between the people in them. Prerequisite: HU 110B Literature
166 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 167 HU 311 HU 315B HU 319 Greek Drama Contemporary Drama Self and Nature: the Dynamics of 3 credits, 3 hours 3 credits, 3 hours Romantic Landscape Plays by Aeschylus, Sophocles, Euripides, and A study of the experimental developments 3 credits, 3 hours Aristophanes are examined to understand their in today’s theater, both on Broadway and This course features literature and painting of own integrity as works of art and to develop off, from Waiting for Godot to the present the Romantic era in England and Germany, an appreciation of the extraordinary accom- moment. Students will read some of the most with excursions to France and America and plishment of Greek drama. famous playwrights of our times: Genet, into the medium of music. We will observe Prerequisite: LACR 102 Beckett, Ionesco, Albee, Pinter, and Shepard, how landscape description in Romanticism Literature as well as some not so well-known. Theater developed a new vocabulary for experience trips are part of the experience of this course. of the self and the self’s relation to nature and HU 313 Prerequisite: LACR 102 community. Poetry Writing Workshop Literature Prerequisite: LACR 102 3 credits, 3 hours Literature/Humanities Students’ poems are discussed, criticized, HU 316 revised, and improved. Principles governing American Playwrights HU 320A the decision to change a poem in various 3 credits, 3 hours Western Literary Masterpieces I ways, the study of poems by American and A study of the American theater in the past 50 Ancient to Medieval English poets, the reading of some criticism, years, looking at the works of such authors as 3 credits, 3 hours and concentration on the basic principles of O’Neill, Miller, Williams, Albee, and Shepard. Works from antiquity through the Middle craft are all included. Theories involve sound, Theater trips as well as showings of filmed Ages that form the foundation of Western content, meaning, and purpose of student plays. literature. Focuses on the creation of character, poems and of poetry in general. The poet’s Prerequisite: LACR 102 the structure and form of the works and the sense of an audience also figures in the Literature perspectives and values they reveal. Examines discussion. the questions asked by different cultures and Prerequisite: LACR 102 HU 317A how human potential, fate, and reality are Humanities/Literature Romanticism defined. 3 credits, 3 hours Prerequisite: LACR 102 HU 314 A study of the Romantic movement in Literature Literature & Film England, including the major poets (Blake, 3 credits, 3 hours Wordsworth, Coleridge, Byron, Shelley, and HU 320B This course explores different subjects Keats), several novelists (including Bronte’s Western Literary Masterpieces II through the art of literature and film. Among Wuthering Heights and Mary Shelley’s Renaissance to Neoclassical the topics treated have been images of Frankenstein), samplings from the letters and 3 credits, 3 hours Vietnam, the thriller, and science fiction. essays. Some of the predominant Romantic Works from the Renaissance through the Prerequisite: LACR 102 themes - the artist as outcast, revolution, Neoclassical period that form the foundation Literature man’s relation to nature - will be addressed. of Western Literature. Focuses on the creation Prerequisite: LACR 102 of character, on structure and form, but also HU 315A Literature on tone (humor, parody, satire and irony) and Modern Drama the perspectives and the values that the works 3 credits, 3 hours HU 318 reveal. A study of the modern theater from the end Literature of the Roman Empire Prerequisite: LACR 102 of the 19th century to the present. Students 3 credits, 3 hours Literature will read some of the world’s most famous After a glance at Greek influences, the course playwrights: Ibsen, Strindberg, Chekhov, will focus on the literature of classical Rome. HU 322 Shaw, Pirandello, Lorca, Brecht, and Beckett. Readings from epic, drama, and lyric, with Scriptwriting Theater trips are part of the experience of this an emphasis on the interaction between those 3 credits, 3 hours course. classical forms and the culture that produced This workshop course introduces students to Prerequisite: LACR 102 them. the discipline of writing for theater. Focusing Literature Prerequisite: LACR 102 on the elements necessary for the creation of Literature producible scripts, the student develops prac- tical skills leading to the creation of a short work for stage by the end of the semester. Prerequisite: LACR 102 Humanities/Literature
166 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 167 HU 323 HU 345 HU 355 Arts Criticism Modern Architecture Dada and Surrealism 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours A writing course designed to promote under- The course investigates modern architecture, The history of the post-World War I antira- standing and interpretation of the arts across its theoretical premises, and the social context tional movements, Dada and Surrealism. Since a multi-disciplinary spectrum and to provide that generated it. Students will also inquire these were literary and political as well as students with the basic tools of critical anal- into modern architecture’s legacy: postmodern artistic movements, attention is given to texts ysis. Group discussion and selected readings. architecture. by such authors as Artaud, Breton, Freud, Prerequisite: LACR 102 Prerequisite: LACR 102 Jarry, Rimbaud, and Tzara, as well as to works Humanities Art History/Humanities of art. Prerequisite: LACR 102 HU 325 HU 347 Art History/Humanities Fiction Writing Arts of Africa 3 credits, 3 hours 3 credits, 3 hours HU 357 This course focuses on writing short fiction. Artistic, religious, sociological, and geo- Modern Art Students will study the elements of creative graphic aspects of societies in sub-Saharan 3 credits, 3 hours writing, experiment with several forms, and Africa are studied in order to establish conti- At the beginning of the 20th century, artists develop a clear voice. The goal is to produce a nuity as well as distinction between their art responded to new technological forces and portfolio of finished pieces. forms. Black American folk art, an extension the pressures of mass culture in styles such Prerequisite: LACR 102 and transformation of African art, is analyzed. as cubism, constructivism, and surrealism— Humanities/Literature Prerequisite: LACR 102 styles that are still being explored by our Art History/Humanities contemporaries. The course surveys the period HU 342 1880-1980, emphasizing the continuity of the Arts of China HU 348 modern artist’s situation and role. 3 credits, 3 hours American Art to 1945 Prerequisite: LACR 102 Painting, sculpture, architecture, and deco- 3 credits, 3 hours Art History/Humanities rative arts from the Neolithic period (16th A survey of American art, architecture, and century B.C.) to the Ching dynasty (18th design, emphasizing the 19th and 20th cen- HU 359 century A.D.) Special emphasis is placed upon turies. The material covered is divided into a Politics and the Media Shang bronze ware, H’an and T’ang sculpture, series of sections or themes and is considered 3 credits, 3 hours and Sung and Ching pottery. The various in relation to tradition. Each section or theme This course analyzes how political and social art styles are related to their historical, reli- is studied through the work of the major artists forces interact with the American community gious and social background, with particular who best represent it. and how that interaction affects government emphasis on the impact of Confucianism, Prerequisite: HU 110B structure and policy. Factors such as popula- Taoism, and Buddhism on Chinese art and Art History/Humanities tion profiles, suburbanites, elite groups, public architecture. From time to time, Eastern and opinion, party organization, elections, and Western cultures will be compared to under- HU 349 reform movements are studied. stand better the similarities and differences American Film Genres Prerequisite: LACR 102 between the two. 3 credits, 3 hours Social Science Prerequisite: LACR 102 A course, the content of which will vary each Art History/Humanities time it is offered, that will consider various HU 361 film genres and styles in American cinema, Islam: Religion & Culture HU 344 such as comedy, film noir, the Western, the 3 credits, 3 hours Avant-Garde Cinema and Video musical, and the American independent film. Islamic culture as it is refracted in various 3 credits, 3 hours Prerequisite: HU 110B religious and literary texts by Muslims from An examination of the arts of experimental Humanities Arabia, Iran (Persia), India as well as North film and video. The exploration of mental America. The course will begin with discus- states, visual metaphors, process, and non- HU 354 sion of the centrality of prophecy and scripture traditional forms and structures are central to Women Artists in Islam, followed by a perusal of Islamic the- the course. In addition, the focus is on the co- 3 credits, 3 hours ology and mysticism, and end with a sampling existence of avante-garde film and video with A chronological survey of professional female of primarily literary prose and poetry pieces their commercial counterparts. Also examines painters and sculptors active in Western that provide insights into the multifarious film and video language in relation to other art Europe and the United States, from the 16th facets of Islamic civilization. languages. century to the present. The role played by Prerequisite: LACR 102 Prerequisite: LACR 102 women artists in earlier ages, other nations, Social Science Humanities and different media will also be examined. Three written assignments. Art History/Humanities
168 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 169 HU 362A HU 365A HU 369 American Civilization History and Culture of Latin America Cultural Ecology 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours An in-depth study of the origins of American The history and culture of Latin America, A review of the various cultural adaptations society with an emphasis on the particular including indigenous as well as European found in different environments such as des- political, social, and cultural patterns that cultural sources. National distinctions and the erts, grasslands, circumpolar regions, tropical shaped the course of American development. origins of modern society in the area will be and temperate forests, islands, and high- The first semester surveys the process of developed. altitude and urban areas. These adaptations settlement, colonial societies, independence, Prerequisite: LACR 102 include hunting and gathering, fishing, and the growth of the egalitarian spirit, and the Social Science agriculture (shifting, irrigated, and industrial). Civil War. The attitude toward the environment, popula- Prerequisite: LACR 102 HU 366 tion growth, and the use of labor, technology, Social Science The City energy and other resources will be considered. 3 credits, 3 hours Prerequisite: LACR 102 HU 362B A study of the city in history, the forces that Social Science American Civilization shaped its development, and the impact the 3 credits, 3 hours city has had on history. The American city HU 370 This course studies the American society from the 17th century to the present will be Greek Philosophy in the modern period. From the perspective used as the model for this study. 3 credits, 3 hours of today, the course examines the legacy of Prerequisite: LACR 102 We examine fragments from pre-Socratic Reconstruction, the Industrial Revolution, the Social Science philosophers, following which we consider Reform Movements, the World Wars, and the the writings of Plato, including three or four Cold War. The factors in the past that have HU 367 dialogues and The Republic. Finally, we shaped contemporary society are stressed. Eastern Religions read selections from Aristotle’s writings on Prerequisite: LACR 102 3 credits, 3 hours physics, the soul, and aesthetics. Social Science This course explores the following religions: Humanities Hinduism, Buddhism, Confucianism, Taoism, HU 363 and Shinto. Each is studied in its historical and HU 371 Modern Culture cultural context, including its development The American Suburbs 3 credits, 3 hours into various forms over the years and in dif- 3 credits, 3 hours An exploration of various aspects of the con- ferent places, and its beliefs regarding views The modern suburb has had a tremendous dition of culture in modern society. Topics of the cosmos, society, the self, and good and impact upon the history, culture, politics, and include the nature and rise of mass or popular evil. Some names and dates must be memo- art of American society. An investigation of culture and its relationship to high culture, rized. In addition to a text, students will read the historical development of the American advertising and the cultural critique of capi- from the literature of each religion. suburb as well as its modern form. Looking talism, modernism and the avant-garde in the Prerequisite: LACR 102 at the suburb as a cultural phenomenon, we arts, the intellectual’s role in society, and the Social Science will explore both the stereotype of the suburbs relationship between culture and politics. As as well as its more complex reality. We will this is a course in sociology, the connections HU 368 also examine works of fiction, photography, between culture and society are emphasized in Sociology of Politics painting, filmmaking, architecture, and design every instance. 3 credits, 3 hours that have emerged out of this strange and Prerequisite: LACR 102 The interaction of political, social, economic, familiar landscape. Social Science technological, and cultural forces in American Prerequisite: LACR 102 society with their resultant impact on the Social Science HU 364 political system. A brief introduction to Sociology of Art political science is incorporated early in the HU 372 3 credits, 3 hours semester. Factors such as population profiles, Continental Philosophy and An examination of the relationships that exist “suburbanites,” elite groups, party organiza- Existentialism between art and society. The course will focus tion, elections, and reform movements will be 3 credits, 3 hours on the social influences that shape the creation considered. Continental philosophy examined as a Western and reception of artistic works. Topics include Prerequisite: LACR 102 alternative to the analytic method. Following the social role of the artist; art as a socially Social Science some historical background, the concentration organized form of work; the social institutions is on the works of Jean-Paul Sartre; readings of artistic production, transmission, and audi- from both his philosophic works and his lit- ence reception; and the understanding of art in erary works. terms of its social content. Prerequisite: LACR 102 Prerequisite: LACR 102 Humanities Social Science
168 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 169 HU 374 HU 381 HU 384 Personality & Creativity Urban Wildlife Abnormal Psychology 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours Through readings of works of major theorists As we humans modify natural habitats and Human development and abnormal psy- on the nature of personality and on creativity, expand our population, we increasingly chology: ego defenses, emotional disorders, the course poses two major questions: “What encounter wild animals in “our” environments. therapeutic theories, and treatment techniques. do major theorists have to say about the In some cases, we have created “green” spaces Clinical diagnosis and classification of mental human personality?” and “What do major that actively attract other species; in still other disorders. theorists have to say about what it means to cases we integrate perfectly designed animal Prerequisites: HU 181A or HU 181B be a creative person?” There are a number of habitats into our buildings, monuments, and Social Science ways of answering these questions and it is not other urban structures. This course examines the purpose of the course to choose the “best” the ways in which humans and other animals HU 385 answer, but rather, to put the student in a better interact in shared and contiguous environ- Concepts of Modern Physics position to make his or her own decisions. ments based on semi-independent field studies 3 credits, 3 hours Prerequisite: LACR 102 carried out by students on selected species. A survey of important concepts in 20th Social Science After an introduction to common species century physics, including chaos theory, cos- and a short period of directed study, teams of mology, quantum mechanics, and relativity. HU 378 students will plan, carry out, and analyze one Without using mathematics, we will examine Psychology of Touch short term (four-week) study of one species of the tumultuous changes that have taken place 3 credits, 3 hours their choice that inhabits urban Philadelphia. in the scientific view of space, time, and As Bertrand Russell put it “Not only our Prerequisite: LACR 102 physical reality. geometry and our physics, but our whole Science/Math Prerequisite: LACR 102 conception of what exists outside us, is based Science/Math upon the sense of touch.” If they are not HU 382 touched during the early stages of develop- Social Psychology HU 386 ment, small animals (and humans) experience 3 credits, 3 hours Human Genetics a number of physical and behavioral prob- A survey of major social problems today 3 credits, 3 hours lems. Lack of tactile stimulation directly and an analysis of society’s resistance to Explores the fundamentals of genetics through affects development of certain brain regions implementing the necessary painful solutions. the study of our own species, Homo Sapiens. with the consequences ranging from distorted Students will study the current status of major Introduces the students to the study of body image to inadequate social behavior social institutions and their increasing failure inheritance and how molecular, physiological, and death. In this course students will learn to meet and satisfy human needs. Some of environmental, and behavioral mechanisms about the role the sense of touch plays in early the other areas that will be studied are mental affect the measurable characteristics of physical development and in the development health and mental illness, human values, love humans around the world. Topics include of perceptual and cognitive skills. The last part and marriage, dreams, and preventive pro- genetic diseases and unusual physical charac- of the course will be devoted to the aesthetic grams. teristics, among others. Using local resources, dimension of touch and the significance of Prerequisites: LACR 102; HU 181A or students engage in problem-solving activities early tactile stimulation for the visual and HU 181B in comparative biology. performing arts. Social Science Prerequisite: LACR 102 Prerequisite: LACR 102 Science/Math Social Science HU 383 Personality & Adjustment HU 388 3 credits, 3 hours Perception The study of personality, the patterns of 3 credits, 3 hours behavior, and predispositions that determine The structure and function of the senses of how a person will perceive, think, feel, and vision, audition, olfaction, gustation, touch, act. The inner life of men and women, the temperature, kinesthesis, time, and the brain quality of their character, their adjustment to and nervous system are considered as they their social milieu, and their potentialities for relate to perception. self-fulfillment are all explored. Special atten- Prerequisite: LACR 102 tion is given to adjustment problems of artists Science/Math in work and in love. Prerequisite: LACR 102 Social Science
170 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 171 HU 389 HU 411 HU 414A Evolution in Modern Perspective Shakespeare Big Fat Famous Novel 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours Evolution is the unifying theoretical foun- The dramatic works of the supreme writer We will read three of the world’s best and most dation of all the life sciences. This course of the English Renaissance: Shakespeare. A important novels: Tolstoy’s War and Peace, explores the mechanisms that produce selection of his comedies, histories, tragedies, Melville’s Moby Dick, and Joyce’s Ulysses. evolution, and their meaning for our current and romances are read. Focuses on the plays Each provides great pleasure to the serious knowledge in biology, conservation, medicine, not only as literary accomplishments but also reader and much material for intense discus- agriculture, and related sciences. Students will as theatrical performances existing in three- sion. Each novel will have the equivalent of its also consider the effect(s) that society’s aware- dimensional space. Concerned with both the own little course, about one month long. ness of evolution has had on social institutions parameters of the original Renaissance stage Prerequisite: LACR 102 such as law, literature, politics, and education. and with modern translations and transforma- Literature Prerequisite: LACR 102 tions of the plays. Science/Math Prerequisite: LACR 102 HU 414B Literature 19th Century Novel HU 390 3 credits, 3 hours Mass Media and The Arts HU 412 We will study some of the most admired, 3 credits, 3 hours Detective Film and Fiction best-loved books of the world, written in the The purpose of this course is to develop an 3 credits, 3 hours heyday of the novel, the 19th century: Crime understanding of mass media and popular This course will examine the genre known as and Punishment, by Dostoevsky, Madame culture, primarily in the United States since hard-boiled detective fiction as it developed Bovary by Flaubert, Wuthering Heights, by the 1890s. Various forms of mass media will in literature and then was extended by feature Bronte, Great Expectations, by Dickens, be defined and the shared techniques by which films. Among the authors to be considered are Portrait of a Lady, by James. This is a course these forms seek to communicate will be Dashiell Hammett, Raymond Chandler, and for people who love to read. analyzed. Finally, the values, both aesthetic Ross MacDonald; among the films are The Prerequisite: LACR 102 and social, embodied in both these media and Maltese Falcon, The Big Sleep, and The Long Literature popular culture will be examined in relation to Goodbye. social and economic change. Prerequisite: LACR 102 HU 415A Prerequisite: LACR 102 Literature Modern Poetry Social Science 3 credits, 3 hours HU 413 The reading and interpretation of major HU 395 Literature and Film: poets—Eliot, Stevens, Williams, Whitman, Style in Art From Text to Screen Bishop, for example, and some important 3 credits, 3 hours 3 credits, 3 hours contemporary poets such as Kinnell, Levertov, Prerequisite: LACR 102 Explores the conceptual and the technical leap and Wright. Foreign poets in translation Social Science between the written text and its transformation are also part of the course: Milosz, Pavese, to a cinematic text on the screen. The students Hikmet, Akhmatova, to name four. Prose HU 410 will examine what happens to plot, charac- by most of the poets concerning poetry is The Uncanny terization, and bound and free description included as an important part of understanding 3 credits, 3 hours when a narrative text is converted to an audio- and interpreting the readings. Several of This course is dedicated to an exploration of visual presentation. In certain examples, the the poets have written important criticism. the phenomenon of the uncanny as it has been transformation of narrative structure will be Analysis of each poet’s style and why the represented in literature, the graphic arts, and traced from the novel to the screenplay to the poet has developed it form part of the course. film. Material is principally drawn from three finished film. Students will gain insights into Aesthetic theory and the function of poetry as eras: the Middle Ages and Renaissance, the the relationships between written and filmed a social force will also be considered. 19th century, and the 20th century. Artists dialogue, between written description and Prerequisite: LACR 102 range from Holbein and Bosch to Kafka and cinematic mise-en-scene, between the novel’s Literature Hitchcock. omniscient narrator and the film’s voice-over. Prerequisite: LACR 102 Prerequisite: LACR 102 HU 415B Literature/Humanities Literature Contemporary Poetry 3 credits, 3 hours Beginning with the Beats, the major schools of contemporary poetic practice such as the deep image, language/action, confessional poetry, new formalism, and projectivism are addressed. The effects of feminism, sexual ori- entation and racial identity on contemporary poetry are also examined. Prerequisite: LACR 102 Literature
170 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 171 HU 416A HU 425 HU 449 Contemporary Novel Advanced Fiction Writing Workshop Diaghilev and the Ballet Russe 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours This is a course for people who like to read. A follow-up to the Fiction Writing Workshop The role of the impresario Serge Diaghilev We will study 10 (count ‘em: 10!) novels by (HU 325). Students will produce, critique, and his Ballets Russes in shaping the course some of the most interesting authors of the read, and revise short stories in a more of music and dance ca. 1909-1929. Special past two decades—including works from inviting and reading-intensive environment. emphasis will be placed on the relationships North and South America and Eastern and Goals are to hone critical skills, develop and between various artists, dancers, choreogra- Western Europe. Some will be weird, some refine students’ individual voices, and provide phers, and writers including Michel Fokine, beautiful, some sexy, some funny. a portfolio of finished pieces. Alexandre Benois, Pablo Picasso, Jean Prerequisite: LACR 102 Prerequisite: Permission of the Instructor. Cocteau, Vaslav Nijinsky, Tamara Karsavina, Literature Humanities/Literature George Balanchine, Leon Bakst, Leonide Massine, and others. Works to be studied HU 420 HU 442 include Igor Stravinsky’s Firebird, Petrushka, Major Writers Abstract Expressionism Rite of Spring, Les Noces, and Chloe; Erik 3 credits, 3 hours 3 credits, 3 hours Satie’s Parade; Manuel de Falla’s The Three- Focuses on the life and work of a single Abstract Expressionism was the most impor- Cornered Hat; Darius Milhaud’s Le Train important writer. Among the authors who tant movement in post-WW II American art. bleu; Francis Poulenc’s Les Biches; Serge have received this intense examination have This course will survey its origins, accom- Prokofiev’s Chout The Buffoon; and Constant been James Joyce, Samuel Beckett, and Emily plishments, and decline. Lambert’s Romeo and Juliet. Excerpts from Dickinson. Prerequisite: LACR 102 other Diaghilev ballets will be introduced. The Prerequisite: LACR 102 Art History/Humanities course focuses on activities in Paris. Literature Prerequisite: LACR 102 HU 448A Humanities HU 422 American Art Since 1945 American Politics and Culture: 3 credits, 3 hours HU 450 1945-1975 In 1945, World War II ended and the focus Arts of India 3 credits, 3 hours of modern art shifted from Paris to New 3 credits, 3 hours The interaction of politics and culture from York City. The course begins with Abstract Painting, sculpture, and architecture from the 1940 to 1975. Course material will include Expressionism; studies other major American Indus Valley civilization of the second millen- fiction and poetry, history and journalism, and styles, such as pop art and minimalism; and nium B.C. through the different periods of the film. concludes with post-modernist development Buddhist, Hindu, and Islamic dominance to Prerequisite: LACR 102 such as performance and decoration by artists. the Raiput painting of the 18th century A.D. Literature/Social Science Prerequisite: LACR 102 Different art styles are related to their his- Art History/Humanities torical, religious, and social background. HU 424 Prerequisite: LACR 102 Latin American Literature HU 448B Art History/Humanities 3 credits, 3 hours European Art Since 1945 Latin American literature has had tremendous 3 credits, 3 hours HU 451 influence not only upon post-war European Art since World War II has been dominated Art of Islam and American literature but upon other arts as by the New York market and by the issue of 3 credits, 3 hours well. In this course we will study the major abstraction; in Europe, however, artists con- The course covers architecture, architectural exponents of Latin American literature. While tinued to use the human figure as a vehicle decoration, calligraphy, book illustration, the course is not a survey, it will attempt to for social and ethical concerns, and in the textile and ceramic art of the Middle Eastern trace the origins of both style and imagery last 10 years, their engagement has become a countries from the beginning of the Islamic by looking at the earliest exponents of Latin model for younger artists in both Europe and era (7th century A.D.-18th century A.D.). It American literature. It will also attempt to America. The course will look at crafts and studies the impact of Islamic religion on the show how Latin Americans began both to book arts as well as at fine arts; it will also character of Islamic art and architecture. It define themselves and to understand their make use of plays and films. also studies the various regional styles within landscape through literature. The focus, how- Prerequisite: LACR 102 this unified visual mode of expression. From ever, will be on the writers of the so-called Art History/Humanities time to time Islamic and Christian cultures boom, who managed to assimilate the tradition will be compared so as to understand better and be completely new and original. the similarities and differences between the Prerequisite: LACR 102 two. Literature Prerequisite: LACR 102 Art History/Humanities
172 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 173 HU 453 HU 463 HU 467 Arts of Japan Middle Eastern Art and Culture Comparative Religions: 3 credits, 3 hours 3 credits, 3 hours Religions In America Painting, sculpture, architecture, and minor An introduction to the art and culture of the 3 credits, 3 hours arts of Japan from the Neolithic period to the Middle East through the perspective of anthro- A historical study of beliefs and practices of 18th century A.D. The emergence and the pology and art history. This course examines various religious groups that have shaped development of a unique national style from design, symbol, and techniques of Middle American culture, including Mormons, an art world dominated by Chinese influence. Eastern art, particularly painting, architec- Jehovah’s Witnesses, Christian Scientists, The development of painting from the medi- ture, ceramics, glassware, textiles, and metal Scientologists and others. We will discuss eval Yamoto-e narrative scrolls through the work. These arts are examined in their social, traditional main-line groups as well as newer 15th century. The evolution of various archi- cultural, and historical context, which will movements, and we will pay special attention tectural styles from the great Buddhist temples include: the role of the artist and craftsman in to ethnic and racial minorities, as well as to of the 7th century to the majestic castles of the Middle Eastern society, the influence of women in American religion. the 17th century. In sculpture and pottery, the Islam on ritual and symbol, the influence of Prerequisite: LACR 102 technical improvements and the change of environment on materials and architecture, Social Science aesthetic values from the Jomon and Yayoi urban-rural traditions, trade patterns and phases to the porcelains of the 17th century market organization, diffusion of design and HU 478 are analyzed. A brief history and social back- materials. Aesthetics Seminar ground of Japan accompanies the study of the Prerequisite: HU 110B 3 credits, 3 hours various art styles. Special attention is given to Social Science Advanced philosophic problems related to the influence of Zen Buddhism on Japanese works of art and discourse about works of art. culture. HU 464 We will review the analytic method of philo- Prerequisite: LACR 102 Holocaust sophic inquiry and discuss the philosophy of Art History/Humanities 3 credits, 3 hours Wittgenstein and other 20th century philoso- The Holocaust is a watershed event in modern phers interested in the philosophy of language. HU 456 history. This traumatic episode left indelible We will examine Language of Art by Nelson Major Artists marks on Western society, probably for gen- Goodman. 3 credits, 3 hours erations to come. It was caused by factors that Prerequisite: LACR 102 The course concentrates on a single artist or still exist in the world. This course examines Humanities a group of related artists. Among the artists the history that led to the Holocaust, and will who have come under this intense investiga- attempt to understand what happened and HU 483 tion have been Donatello, Michelangelo, what meaning it has for us today. Theories of Personality Rembrandt, and Picasso. The course has been Prerequisite: LACR 102 3 credits, 3 hours designed to give students an in-depth knowl- Social Science Introduces the study of personality and how edge of one artist’s life and art or the artists of patterns of behavior, interaction, percep- a single school. HU 466 tion and response are understood by a broad Prerequisite: LACR 102 Comparative Religions: variety of theorists. Questions of nature vs. Art History/Humanities Religions of Asia nurture, whether the past impacts the present, Repeatable for credit. 3 credits, 3 hours and what defines mental health are discussed. A study of the world’s major religions through Psychodynamic, cognitive, humanistic, and HU 462 their historical development, beliefs, sacred behavioral approaches are compared and American Social Values literature, and the works of contemporary contrasted. 3 credits, 3 hours writers. The first semester is concerned Prerequisites: HU 181A or HU 181B; and one addi- The cultural values of any society provide with Eastern religions such as Hinduism, tional course from: HU 181A/B, HU 374, HU 378, the fundamental principles around which it Buddhism, and Taoism; the second semester HU 382, HU 383, HU 384, HU 484 or MM 360 is organized and patterned; at the same time deals with Judaism, Christianity, and Islam. Social Science they justify the society by investing it with Prerequisite: LACR 102 meaning and purpose toward which its mem- Social Science bers orient their actions. This course attempts to understand the nature and meaning of American society at the highest level of gen- erality through an examination of some of its central value orientations. These include indi- vidualism, equality, achievement, activism, practicality, progress, materialism, freedom, democracy, and secular rationalism. The origin and meaning of some of these orientations are developed as well as their consequences both for the quality of American society as a whole and for the character of individuals trying to live their lives in it today. Prerequisite: LACR 102 Social Science
172 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 173 HU 484 HU 495 HU 648 Educational Psychology Dante in the Modern World American Art Since 1945 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours An introduction to educational psychology for Dante’s Divine Comedy has been highly In 1945, World War II ended and the focus potential educators. The basic principles of influential on art, music, and drama from its of modern art shifted from Paris to New learning theory and education are presented own time to the present. The shaping power York City. The course begins with Abstract and critically examined. Using a psychosocial of the poet’s journey, his search for answers Expressionism; studies other major American orientation, the developmental stages of the to ultimate questions, his quest for order and styles, such as pop art and minimalism; and human life cycle are explored, as well as the its reflection in his art continue to inspire concludes with post-modernist development needs of a variety of special populations, e.g., reactions from fellow artists. The course will such as performance and decoration by artists. those with learning disabilities or physical consider a number of works reflecting this Meets with HU 448A. Graduate students are disabilities. Considerable attention is given influence in several media: drama (Beckett, required to meet with the instructor prior to to increasing awareness and understanding of Sartre, Brecht), poetry (Baudelaire), music the start of class to determine and outline the communication, group dynamics, and organi- (Liszt, Puccini, Zandonai), and the visual arts. nature of the requirements to be met, and the zational behavior. We will concentrate on the Inferno, but will quality of the work expected of them. Prerequisite: LACR 102 consider also the Paradiso and Purgatorio. Open to all graduate students. Social Science Prerequisite: LACR 102 Literature HU 485 Brain and Behavior HU 497 3 credits, 3 hours Women and Sex Roles An introduction to the organization of the 3 credits, 3 hours brain and nervous system and to their interac- An introduction to the history of women and tions with other body systems, which produce to theories of gender. An interdisciplinary observable behavior. Topics include brain course combining history, literature, and the structure and function, neurological changes visual arts. Slide lectures on images of women over the life cycle, and the effects of mal- in art, myth, and religions, from ancient times functions. Students will learn about specific to modern. Economic and historical factors brain structures and how they contribute to or affecting how women have lived. Definitions produce specific behavioral characteristics. of masculinity and femininity. The nature-nur- We will explore the neurochemistry of drug ture debate over hormonal differences. addiction, degenerative diseases, and psycho- Prerequisite: LACR 102 active drugs, as well as other current topics of Social Science interest. Prerequisite: LACR 102 HU 498 Science/Math Art, Media and Society 3 credits, 3 hours HU 492 A seminar exploring the identity crisis of the Vienna and Berlin: 1890-1925 modern artist in the period since the industrial 3 credits, 3 hours revolution and the rise of the middle class. At the beginning of the 20th century, Vienna Conflicts or collaborations between the fine and Berlin were important centers during one arts and commercialism, including mass of the richest periods in cultural and artistic media and new technology, from Romanticism history of the Western world. Much of the and the arts and crafts movement to Pop Art science and art of this century was given its and the Web. Issues of authorship, production, focus and thrust by the men of genius working quality, and permanence. Who determines in these two cities. In this course, students taste, and why? Does high art have a future? study the works of Einstein, Freud, Mahler, Prerequisite: LACR 102 Schoenberg, Wittgenstein, Kafka, and the Humanities German Expressionists. This is an inter-disci- plinary course involving the visual, musical, and literary arts, as well as philosophy. Prerequisite: LACR 102 Humanities
174 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 175 ID 220A/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 to acquire An elective course intended as a multi- Freshman I.D. essential two-dimensional representational disciplinary forum for the investigation, 1.5 credits, 3 hours skills to support the process of design, appreciation, and design of architectural This course introduces first-year students to including production and presentation. It is space, structures, and systems. Using in-class the issues surrounding the profession and taught in a collaborative manner, the instruc- exercises as a laboratory for creative and highlights its importance in informing culture tors conducting projects individually or as collaborative exchange, students will learn and shaping the way we live. Students will be a team in order to provide instructor and alternative design processes, design vocabu- exposed to the fundamental skills required to experiences over a wide range of subjects, lary, user-centered experience and design. support the process of concept ideation, design including the tools, processes and languages This course will develop concepts and analyt- development, and presentation of products of conceptual drawing, rendering and detailing ical studies of objects/spaces through various and furniture. These fundamentals will be using both the computer and traditional media 2D and 3D drawing/modeling techniques introduced through in-class exercises, lectures as means to assist design and control produc- and will culminate in an actual built/altered by visiting professionals, and direct involve- tion. Principles of technical specification and environment. Open to all students. ment in relevant activities within the Industrial machine control are introduced as are concepts such as rapid photocopying, computer-inte- Design Department itself. ID 320A/B Open to all students. grated manufacturing, parts reduction through integration and other techniques for efficient Studio 4: Techniques ID 200A/B production. Students learn to apply these tech- 3 credits, 6 hours each Studio 1: Projects Studio niques to design problems addressed in Assists the student in developing graphic com- 3 credits, 6 hours each ID 200: Projects Studio. munication skills using computational media Prerequisites: FP 111, FP 121, FP 131 A conceptual and practical understanding of and applying these skills to both two- and design and three-dimensional problem-solving three-dimensional images and presenta- ID 290 tions. The student is taught to conceptualize, process. This studio is taught in a collabora- Design Issues Seminar tive manner, with two instructors conducting develop, detail, present, and communicate projects individually or as a team in order to 3 credits, 3 hours each design ideas through graphic design, computer provide focused instruction and integrated This course is designed to assist the student to imaging, three-dimensional computer mod- experiences covering a wide range of subjects develop an understanding of the major issues eling, basic animation, and interactive design including the tools, processes, and languages for design in modern society. Discussions presentation. The first semester focuses on of design and modelmaking. Emphasis is on range from issues such as the ecological integrating graphic software and the develop- the development of three-dimensional mod- responsibility of designers to the contributions ment of printed presentations. The second elmaking skills, problem solving and creative of individual designers and design organiza- semester focuses on the development of inter- thinking and their application to problems of tions throughout the history of the discipline. active digital presentations. Prerequisites: ID 200B, ID 220B, ID 290 design. Assignments include research and demonstra- Prerequisites: FP 111, FP 121, FP 131 tion projects that explore ideas and illuminate ethical, practical, and moral issues with which ID 326 ID 214 designers should be concerned. Students pre- Human Factors Seminar Materials & Processes Seminar pare information and present their views on 3 credits, 3 hours 3 credits, 3 hours issues through written, oral, and visual means. The object of this research-intensive course Prerequisites: FP 111, FP 121, FP 131 A writing-intensive course introducing the is to develop an ability to apply technology
student to the nature of materials used in effectively to meet human needs through the ID 300A/B study of human engineering principles for the industrial products and the various processes Studio 3: Projects Studio by which they are formed. Films, lectures, design of products and equipment. Human and field trips familiarize students with 3 credits, 6 hours each anatomy, anthropometrics and motion, and wood, metal, and plastic materials as well as Following a year of basic design process, strength of body components are considered processes such as injection molding, laser methods, and vocabulary introduction, the as are sensory systems, human perception, and cutting, and stereolithography. Emphasis is Junior Studio sequence focuses on solving sensitivities. Lectures are complemented by placed on the study of material characteristics more advanced design process and project laboratory experiments designed to teach stu- and the appropriate use of forming methods. opportunities through applied integration dents methods of testing and evaluating their Introduction to technical information, with Human Factors, Design Semantics own product design concepts in human terms. specification writing, and professional com- and Design Communication skills. The first Concepts of scientific writing and reporting munications. semester offers more advanced design projects are demonstrated through the documentation Prerequisites: FP 111, FP 121, FP 131 exploring user-centered design and creative of coursework. exploration of industrial materials usage. The Prerequisites: ID 300A, ID 214, ID 320A, ID 327 second semester continues with a focus on collaboration with various community groups and/or industry-sponsored projects. Prerequisites: ID 200B, ID 220B, ID 290
174 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 175 ID 327 ID 420A/B ID 490B Design Semantics Seminar Studio 6: Professional Design Practice Seminar 3 credits, 3 hours Communication 3 credits, 3 hours This seminar addresses design as a languaging 3 credits, 6 hours Exposes the student to industrial design pro- process of social interaction. Semantic Refines the students’ written, verbal, and fessional practice through discussion, lectures, principles and design vocabulary are intro- visual presentation skills and assists them in and research. The following subjects are duced through lectures, weekly readings, developing communication materials for their addressed: 1. Running a practice 2. Legalities discussions, and exercises. Students work on senior theses and industry-sponsored projects. and contracts 3. Publications/exhibitions individual as well as team-based projects to Intensive group critique of individual pre- 4. Client interaction 5. Job search, recruiters increase their competence in translating these sentations prepared outside of class. Students and directories 6. Networking (etiquette and ideas, concepts, and principles into design develop self-promotion, presentation, and strategy) 7. Work structure (internship, free- practices, applying replicable design methods correspondence materials utilizing service lance, in-house etc.). Visitors and field trips towards proposing particular products whose bureaus and contemporary technologies such represent a broad spectrum of the design com- meanings matter and whose use is dominated as digital files, fax and the World Wide Web to munity including design shop owners, design by facets of human understanding. prepare and transmit this information. curators from galleries or museums, industrial Prerequisites: ID 200B, ID 220B, ID 290 Prerequisites: ID 300B, ID 320B, ID 326, ID 327 design entrepreneurs, and copyright lawyers. Prerequisites: ID 300B, ID 320B, ID 326, ID 327 ID 400A/B ID 425 Studio 5: Projects Studio Advanced CAD (ALIAS) IN 440 3 credits, 6 hours each 1.5 credits, 3 hours Design Internship These studio courses focus on decisive and Students work on UNIX-based SGI Indigo 3 credits, 90 hours/semester responsible positions in formulating new computers running Alias Studio software to Open to Graphic Design, Illustration and Industrial design directions. Building upon past learning, learn basics of high-end modeling, rendering, Design majors only. projects will sharpen fundamental skills of and animation through extensive in-class sketching (2D & 3D), design drawing, com- and homework exercises. Modeling covers puter modeling, prototyping and conceptual the generation and modification of surfaces. diagramming. Students are encouraged Rendering work involves the generation and through critical discourse and research on control of lights, cameras and surface-attribute historical and contemporary material of cul- specification. Animation includes turntable tural shifts to formulate their own ideology. and flythrough techniques with an introduc- Project proposals will forward questions such tion to keyframe procedures. Final projects as social context, ergonomics, and ecological conclude with the creation of printed and vid- consequences. Students are expected to eotaped portfolio materials. identify local stakeholders (industry, users, Open to majors only. designers, etc.) and ask them to be topic advi- sors as appropriate. First semester projects ID 490A are dedicated to three fast-paced, highly theo- Design Theory Seminar retical, predefined topics. The next semester is 3 credits, 3 hours devoted to further development of one of these In this industrial design seminar, students will projects. This final semester-long project will investigate design philosophies, issues, and work toward project closure and pragmatic pedagogy, from a historic as well as contem- articulation, ready to be shown both inside and porary international design context. Students outside an academic context. will study various definitions of design, Prerequisites: ID 300B, ID 320B, ID 326, ID 327 will explore design theories and issues, and consider theoretical relationships with other applied arts. Prerequisites: ID 300B, ID 320B, ID 326, ID 327
176 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 177 Master of ID 612 ID 620 Architectonics Advanced Design Methods Industrial Design 3 credits, 6 hours 3 credits, 3 hours An elective course intended as a multi- As a complement to the studio course (ID ID 600 disciplinary forum for the investigation, 601), this course helps to develop method- Design Seminar: Concepts and appreciation, and design of architectural ologies for critical social cultural analysis, Contexts space, structures, and systems. Using in-class strategies for design research, and the means 3 credits, 6 hours exercises as a laboratory for creative and col- of documenting that research and analysis. A seminar devoted to examining the shift in laborative exchange, students will learn and Students develop a common design process cultural, technological, material, and profes- apply alternative design processes, design that provides the foundation for all subse- sional landscapes that a graduate design vocabulary, user-centered experience and quent MID work. The emphasis is on clear candidate must navigate. Through readings, design. This course will develop concepts and convincing communication, a skill that is presentations, and discussions, students and analytical studies of objects/spaces increasingly critical to designers as they work explore how these evolved contexts are through various 2D and 3D drawing/modeling more and more with those outside their own changing the nature of design practice and techniques and will culminate in an actual disciplines. Content for the coursework comes thinking. Special emphasis is placed on devel- built/altered environment. Meets with directly from the studio projects themselves. oping key concepts and ideas that inform the ID 312. Graduate students are required to Open to majors only. work that the students undertake throughout meet with the instructor prior to the start of their program. The seminar works in parallel class to determine and outline the nature of the ID 622 with the studio course; topics and themes cov- requirements to be met, and the quality of the Product Evaluation ered in the seminar are germane to the studio work expected of them. 3 credits, 3 hours projects. Open to all CAD graduate students only. A studio/practicum in which students are Open to majors only. introduced to new manufacturing processes ID 614 and materials including: rapid prototyping, ID 601 Materials and Processes Seminar stereolithography, 4D CNC, low-cost tolling Advanced Design Studio 3 credits, 3 hours options, “smart” innovative materials, process 6 credits, 6 hours A writing-intensive course introducing the representation and management systems. The major multidisciplinary studio where student to the nature of materials used in Students design experimental projects design ideology, process, development, and industrial products and the various processes informed by these new industrial processes production are emphasized through the inte- by which they are formed. Films, lectures, and materials. gration of critical issues that inform product and field trips familiarize students with Open to majors only. design. Issues discussed and studied are: wood, metal, and plastic materials as well as human experience and lifestyles; cultural processes such as injection molding, laser ID 625 and political issues; ergonomics; poetics; cutting, and stereolithography. Emphasis Advanced Computing Application semantics; interactivity; imagery and form. is placed on the study of material charac- 3 credits, 3 hours The design process will consider above teristics and the appropriate use of forming A laboratory/practicum in the use of advanced issues in the formulation of a design pro- methods. Introduction to technical informa- computing capabilities with emphasis on 3D gram; conceptual abstract studies; physical tion, specification writing, and professional computer modeling, rendering, animation, and material investigations; simulated and communications. Meets with ID 214. and human figure modeling to evaluate and physical representation; and the application of Graduate students are required to meet present design solutions with attention to col- manufacturing processes. with the instructor prior to the start of class laborative design support systems. Open to majors only. to determine and outline the nature of the Open to majors only. requirements to be met, and the quality of the ID 602 work expected of them. ID 627 Advanced Design Studio Open to all CAD graduate students only. Human Factors Research 6 credits, 6 hours 3 credits, 3 hours The major multidisciplinary studio where A seminar course that addresses human design ideology, process, development, and behavior through the interaction with manu- production are emphasized through the inte- factured objects, environments and systems, gration of critical issues that inform product and the ergonomic, functional, informational, design. Issues discussed and studied are: aesthetic, and safety requirements encountered human experience and lifestyles; cultural in the design of these products for human use. and political issues; ergonomics; poetics; Open to majors only. semantics; interactivity; imagery and form. The design process will consider above issues in the formulation of a design pro- gram; conceptual abstract studies; physical and material investigations; simulated and physical representation; and the application of manufacturing processes. Open to majors only.
176 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 177 ID 700 ID 741 ID Seminar: Masters Thesis Project Illustration Professional Development 6 credits, 3 hours 3 credits, 3 hours A tutorial providing the opportunity for IL 100 A professional seminar/workshop that individual candidates to shape and present Foundation Illustration addresses the individual career interests of the outcome of their programs of study in 1.5 credits, 3 hours each degree candidate especially as they a manner that directly reflects their career Within the context of illustration assignments, relates to the student’s thesis project. The objectives. Projects may be carried out inde- students are introduced to a variety of media, product of this course is the formulation of pendently, under industry sponsorship, or as methods, styles, and techniques used to create a career plan and objectives tailored to each part of a research project, based on a plan both black-and-white and color illustrations. candidate, and the development of a portfolio, produced and approved in the Masters Thesis The course will include conceptual, percep- resume, and other documentation targeted Research course. tual, and technical problems. The development Open to majors only. toward the practical application of the candi- of narrative skills, logical steps to problem date’s knowledge and skill. solving, research, and creative thinking will Open to majors only. ID 749 Master’s Thesis Documentation also be covered. Prerequisites: ID 710 Open to all students. 6 credits, 3 hours ID 710 A tutorial providing the opportunity for indi- IL 200A/B Advanced Project Tutorial I vidual candidates to develop and present their Pictorial Foundation 6 credits, 6 hours theses in a manner that directly reflects their 3 credits, 6 hours each The primary practicum in which design career objectives. The thesis project and docu- Introduction to drawing and painting skills concepts are explored and skills, techniques, ment must exhibit an in-depth exploration of as they relate to illustration. Objective visual tools, and products are developed, dem- an approved topic, which addresses an area perception, clarity in drawing, and technical onstrated, and tested. Individual weekly of importance to the Industrial Design field facility are stressed. Students are exposed to meetings with faculty and with outside advi- and contributes to the body of knowledge visual communications, strategies and design sors, as dictated by project objectives and pertaining to that area. It may be carried out concepts through exposure to art history and sponsorship. A faculty-monitored educational under industry sponsorship, as a part of a the field of contemporary illustration. practicum in a professional or industrial set- research project, or be independently based. Prerequisite: FP 111 ting may be arranged to fulfill preplanned Open to majors only. project and career objectives. IL 202A/B Open to majors only. Figure Anatomy Prerequisite: ID 601 3 credits, 6 hours each ID 711 Focus on the investigation and application of Advanced Project Tutorial II line, plane, mass, light and shade, shadow, perspective, anatomy, and proportion as they 6 credits, 6 hours relate to figure drawing. Weekly sessions The primary practicum in which design include a lecture, demonstrations from the concepts are explored and skills, techniques, skeleton, and drawing from life. tools, and products are developed, dem- Prerequisite: FP 111 onstrated, and tested. Individual weekly meetings with faculty and with outside advi- IL 204 sors, as dictated by project objectives and Typography sponsorship. A faculty-monitored educational 3 credits, 6 hours practicum in a professional or industrial set- Beginning studies in the form, use, nomen- ting may be arranged to fulfill preplanned clature, and history of typography. Individual project and career objectives. letters, word formations, text arrangements, Open to majors only. and the application of type to simple com- Prerequisites: ID 602 munication exercises. Use of Macintosh ID 740 computer for generating type and industry- Masters Thesis Research accepted software will be used. Prerequisite: FP 121 3 credits, 3 hours A seminar focused on the understanding and application of methodologies, techniques, and technologies appropriate to the research and development objectives of individual candidates. Initiation of the student’s com- prehensive plan for undertaking the Master Thesis Project. Open to majors only.
178 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 179 IL 205 IL 302 IL 402 Drawing for Animators Figurative Communication Communication Workshop 3 credits, 6 hours 3 credits, 6 hours 1.5 credits, 3 hours Focuses on introducing and developing the Emphasis on working from life. The course Structured as a design studio, the workshop skills and disciplines needed for good figura- focuses on the use of the figure and or still life brings Graphic Design and Illustration majors tive animation drawing. The primary issues objects to communicate concepts in the figura- and their respective faculty together to pro- of anatomical figure drawing with a strong tive context. Drawing and painting media are duce posters for the School of Theater Arts emphasis on the structure and solidity of the explored. productions. Students are challenged with real figure, good proportions and specific move- Prerequisite: IL 202B life, professional design studio experiences: ment and gesture as they relate to the model. working with a client on a deadline from Topics also covered: two-dimensional versus IL 303 concept and design through publication in the three-dimensional ways of translating form; Figure Utilization University’s Borowsky Center for Publication how perspective and viewpoint are used with 3 credits, 6 hours Arts. Junior and Senior Graphic Design and the figure and their effect on scale; exagger- Studies of the figure in narrative contexts Illustration majors only, approved by faculty ated foreshortening techniques; diagrammatic will be explored, as will work from single advisors. and expressive live quality; facial expressions; and grouped models, nude and costumed. Prerequisite: IL 200B or GD 213B hand and foot studies; capturing movement Concentration will be on developing composi- through gesture; and introduction to animal tions and concepts from different and often IL 403A/B drawing for animation. combined resources. Drawing and painting Senior Portfolio Prerequisite: FP 111 techniques will be utilized. 3 credits, 6 hours each Prerequisite: IL 302 Development of a portfolio based on the IL 300A/B student’s personal interests and abilities, and Illustration Methods IL 304 target markets. Students focus on a freelance or 3 credits, 6 hours each Sequential Format studio orientation and develop, over the year, a The development of narrative imagery, picto- 3 credits, 6 hours working portfolio for presentation at the end of rial illusion, and space, and their combined Course focuses on sequential formats. the spring term. In addition, the course offers potential for communication. Procedures focus Potential areas of inquiry: brochures, instruction in marketing and promotion, busi- on developing visual awareness, personal direct-mail pieces, simple animations, slide ness practices and procedures, resume writing, imagery, and conceptual directions. Direct presentations, multipage spreads, and identity taxes, and small business requirements as they drawing situations and photographic reference programs. relate to artists. The course culminates in The (existing or student-produced) will also serve Prerequisite: IL 301 University of the Arts’ Portfolio Day at the as source material for pictorial development. Society of Illustrators in New York at the end of Various media and technical procedures will IL 310 the semester. be explored. Assignments and lectures will Children’s Book Illustration Open to majors only. focus on the requirements of applied illustra- 3 credits, 6 hours IL 403A Prerequisite: IL 300B tion. The design and illustration of children’s IL 403B Prerequisite: IL 403A IL 300A Prerequisite: IL 200B books. Emphasis on the stages of development IL 300B Prerequisite: IL 300A of a book from manuscript through dummy design to finished art. Professional practice, IL 301 and working with editors and art directors will Design Methods be discussed. Students will become familiar 3 credits, 6 hours with the work of past and present book Within the context of design/illustration proj- illustration and design. Juniors and Seniors ects, a basic understanding of how artwork preferred. is reproduced in commercial print media. Prerequisite: FP 111 Emphasis is on the relationship between electronic media and production techniques. IL 400A/B Specific programs utilized include: Adobe Illustration InDesign, Adobe Illustrator and Adobe 3 credits, 6 hours each PhotoShop. Assignments revolve around specific areas of Prerequisite: IL 204 illustration—advertising, book, documentary, editorial, and institutional. Emphasis is on solutions, both practical and relevant, to pro- fessional needs and demands. A senior thesis project (competing for Ely award) will be incorporated into the spring semester. Open to majors only. IL 400A Prerequisite: IL 300B IL 400B Prerequisite: IL 400A
178 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 179 IL 404 Internships field during the semester, and by satisfying Illustration Workshop: Personal the requirements of the sponsor, such as Viewpoint CM 499 attendance, punctuality, responsibility, profes- 3 credits, 6 hours Communication Internship sionalism, tasks completed. Students may be A special elective course for qualified assigned to recording studios, radio stations, 1.5 credits, 90 hours/semester Junior and Senior Illustration majors. The arts organizations, or with music publishers, Professional internship with a media organiza- Department invites three of America’s most entertainment attorneys, music therapists, or tion or producer. Students gain approval for accomplished illustrators to share their talent, record producers. internships from an advisor, meet periodically insights, and expertise by finding and empha- Open to majors only. for supervisory discussions, and complete a sizing the personal conceptual viewpoint of May be taken three times for credit. short, reflective essay at the end of the intern- each student. The goal is to meld that identity ship. with each student’s developing technique to TH 449 Open to majors only. Internship create the greater vision of the artist through May be taken twice for credit. illustration as a self-expressive art form. Each 3-15 credits, hours by assignment of the three faculty presents their work and DA 499 Hands-on involvement with a professional answers questions in an open forum and then Dance Internship company. Placements may consist of adminis- teaches an intensive four-week long segment trative or production support work, positions 3-12 credits, 90-360 hours/semester of the course. The artists give lectures, tech- in assistance to directors, producers, stage Internships are a valuable part of a student’s nical demonstrations, and studio assignments, managers, designers or dramaturgs, literary academic experience. By reinforcing and and students work through a demanding management, casting, understudying or per- expanding classroom theory and practice, process to produce finished illustrations. This formance, and may be outside the Philadelphia internships enable students to test career flexible curriculum also allows for timely area. choices and gain a greater understanding of illustration issues to be covered as they Open to majors only. the workplace through this initial entry into develop in the field. Prerequisite: U4 Status. Open to Junior and Senior Majors only, by portfolio the professional world. The internship assists review. students in testing and expanding their profes- Prerequisite: IL 300A sional skills and knowledge, enabling them to PF 499 make informed career decisions. Internship IN 440 Open to majors only. Repeatable for credit. 3 credits, 90 hours/semester Design Internship Internship program in which the student, 3 credits, 90 hours/semester IN 440 working closely with the Media Arts Open to Graphic Design, Illustration and Industrial Design Internship Department internship advisor, is placed Design majors only. in one of several professional situations. 3 credits, 90 hours/semester Open to Graphic Design, Illustration and Industrial Placements include assisting in professional Design majors only. studios, practice in biomedical photography laboratories, and working for commercial and IN 449 non-profit galleries, among others. Placements Fine Arts/Crafts Internship in film and animation are sponsored by local independent production houses and televi- 3 credits, 90 hours/semester sion stations, design firms, and free-lance Opportunities to apprentice to practicing art- artists; students of film may assist in location ists, gain gallery experience, and work with shooting, set production, editing, casting, nonprofit organizations which lead to practical scripting, and a myriad of other practical experience and knowledge about the field. Open to majors only. tasks. Open to majors only. Prerequisites: PF 211B, or PF 212B, or PF 210B MM 499 May be taken three times for credit. Multimedia Internship 3 credits, 90 hours/semester WM 499 Students are placed with regional compa- Internship nies to expose them to a professional work 3 credits, 90 hours/semester environment in the fields of multimedia, web Seniors are placed with regional companies to design and information management. Open to majors only. expose them to a professional work environ- Prerequisite: U3 Status. ment in the field of media. Placements vary May be taken three times for credit. and can include local network-affiliated televi- sion stations, public broadcasting stations, MU 499 film production companies or multimedia Music Internship manufacturers. A paper or journal chronicling the experience is required upon completion of 1-3 credits, 30-60 hours/semester the internship. An opportunity to participate in a workplace Open to majors only. environment during the academic year. Repeatable for credit. Students earn internship credit by com- pleting a minimum number of hours in the
180 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 181 MM 150 MM 221, MM 222 Multimedia Collaboration and Spontaneity Interactive Studio I, II 3 credits, 3 hours 3 credits, 6 hours each MM 110, MM 111 Through a series of exercises, class discus- Concepts and practical applications of inter- Visual Concepts I, II sions and readings students explore what it activity. The first semester focuses on creating 3 credits, 6 hours each means to work as part of a team. Students interactive media in low bandwidth environ- The fall semester covers fundamental visual learn to develop environments in which the ments. Developed for HTML environments concepts including point, line, shape, com- creative process is encouraged to unfold. The and their extensions for the World Wide Web. position, texture, color and image. Although basic assumptions that affect the formation Interactive modes explored include, but are non-digital techniques are occasionally used, of collaborative groups, such as personal not limited to: reading, play, and conversation. the mastery of digital tools is a primary responsibility, authority relations, leadership Comprised both of lecture and practical exer- aspect. Exercises require students to develop issues, individual differences, competition, cises. Individual creativity is stressed as well a vocabulary for discussing their work while the development of norms, and the generation as the understanding and use of interactive at the same time learning a basic set of soft- and uses of power, are experienced, expli- devices in the communication of ideas. Both ware tools. The spring semester introduces cated, and examined. Students work within collaborative and individual exercises will the visual concepts of typography, series, this collaborative environment to explore the be assigned. The second semester focuses on sequence and narrative. connections between spontaneous verbal and high-bandwidth applications. Open to all students. nonverbal communication. Open to non-majors with permission of Department/ Open to all students. Instructor. MM 121 Prerequisite: MM 121 Introduction to Interface Design MM 210 Visual Concepts Studio MM 223 3 credits, 3 hours Interactive Narrative The software interface represents the focal 3 credits, 6 hours point of user interaction with the various Visual problem solving in a digital environ- 3 credits, 3 hours modes of multimedia communication. ment. A project-based visual art/design studio Introduces students to new ways of thinking Readings by interface theorists will inform that builds on skills developed in Visual about interactivity and storytelling. Students discussions on the evolution of the software Concepts II. This course allows students analyze how the interactive structure of an interface, conceptual models, prototypes, the time to concentrate on and refine the experience creates narrative. Short readings interaction design, deliverables and basic con- visual communications aspects of their craft discussed in class range from Surrealist Dada cepts of human-computer interaction. Avenues through three fully realized pieces. Projects and Fluxus language games to the experi- for pursuing interactive media design in enter- are assigned by the instructor, and conceived mental literature of Joyce and Burroughs tainment, publishing, and education will also of and developed by the students. Projects to the literary theory of Barthes and Eco. be addressed. Current technologies, including may include: titling design and animation, Students examine contemporary examples of the trend from soft to hard interfaces, in terms visual interface design, graphic design, CD interactive media such as CD-ROMs, role- of their potential short- and long-term influ- packaging design, poster and postcard design, playing games and Internet sites. Open to all students. ence on communication and multimedia. digital painting and drawing, etc. Open to non-majors with permission of Department/ Basic methods for rapid prototyping and Instructor. MM 231 testing are considered. Digital Storytelling Open to all students. Prerequisite: MM 111 3 credits, 6 hours MM 130 MM 219 This class explores how visual and aural Information Concepts Introduction to Multimedia languages complement the verbal while pro- 3 credits, 3 hours 3 credits, 6 hours viding instruction in the use of multimedia Emphasis is on the importance of organizing An introduction to the basic software envi- software. After collecting old photographs, and communicating information in a digital ronments for digital interactivity. After movies, tape recordings, and meaningful world. Students will acquire a basic under- concentrating on creating nonlinear texts, objects, students create stories associated with standing of how computers operate and students investigate the integration of other them in digital form. Open to all students. communicate with each other, as well as an media elements. Subjects include the use of understanding of the evolution of the personal buttons, screen navigation, transitions, basic computer and the industries which have spun scripting, and controlling sound and video. Open to non-majors only. out of this technology. Student assignments include readings, database projects, and written analyses. Open to all students.
180 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 181 MM 240 MM 320 MM 344 Writing for Games Advanced Interface Seminar Game Design Thesis 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours A writing laboratory that allows students to A seminar course that builds on MM 121 Students complete a fully marketable game develop competency in writing rule-based (Introduction to Interface Design). Focuses on prototype. Students and instructors examine procedural description as well evocative the issues involved in creating user interfaces in how the gaming industry functions as well story lines for games and user/play scenarios. today’s development platforms (hardware, soft- as research and develop an individual work. Special emphasis is placed on the difference in ware, input devices, cell phones, etc.). Lectures, Special attention is paid to preparing to enter writing required between game types (chance, discussions, readings, research, and writing the field. Students must have completed Game puzzles, and strategies) as well as game genres constitute the body of this course. In addition Design minor requirements. such as role-playing, twitch, and games of to current interface trends, the process of devel- Prerequisites: MM 240, MM 342 perfect information. oping the interfaces of tomorrow is addressed. Prerequisite: HU 110B Prerequisite: MM 121 MM 350 Business Seminar MM 271 MM 340 2 credits, 4 hours Survey of Multimedia Interactive Programming A seminar that focuses on the profes- 3 credits, 3 hours 3 credits, 3 hours sional implications of pursuing a career in Examines the chronological evolution of dig- An introductory programming course dealing multimedia’s various industries. Taught by a ital technology and its inevitable application with issues in creating interactive applications. guest lecturer. Lectures, discussions, readings, by the aesthetic community. Beginning with The focus will be on client and server side research, writing, and presentations constitute the development of digital technology in the programming languages. Students will create this course. Assignments include the creation mid-1940s, the course discusses the conver- applications in each of the languages taught. of both a vitae and resume in addition to a gence of the scientific, military, and political The Internet as a programmable environ- portfolio. Professional practice is stressed. environments that spawned the employment of ment will be stressed. This will be primarily Topics such as portfolio presentation, self- digital technology, including the path that led a lecture course supplemented with practical promotion, financials, interviewing, and firm to the digital dominance over analog. Includes exercises and exams. research will be addressed. the enhancement, exploitation, and embracing Prerequisite: MM 121 Open to students with status U3 or above. of digital technology by the corporate and aesthetic communities, the invention of the MM 341 MM 360 personal computer and its ancillary products Programming for Games Psychology of Human/Computer and the application of digital technologies in 3 credits, 6 hours Interaction fields as diverse as medicine, communica- An introduction to programming for inter- 3 credits, 3 hours tions, manufacturing, cognitive psychology, active game environments. Students learn Students explore the ways humans perceive and in particular, the arts. Pioneers in all fields techniques and theory through exercises interacting with computers. How do humans will be identified and examined. and applications that they construct. The treat computers? Why? Should we interact Prerequisite: HU 110B programming language studied can change with them the same way we do with other Humanities each semester and may include: FlashAction humans? The reasons behind why some Scripting, Advanced Lingo for Games, C++, computer interfaces work and some do not is MM 310, MM 311 or Java. discussed in depth. Should computers be able Multimedia Studio I, II Prerequisite: MM 121 to perceive our emotions? Or should com- 3 credits, 6 hours each puters themselves have emotions? The final The experience of producing complete MM 342 for this course will allow students to take part multimedia works in a project-based environ- Game Play in designing an original interface solution. ment. Lectures and meetings augment this 3 credits, 3 hours Open to all students. studio course. Individual creativity is stressed A lecture-based focus on the human behavior Social Science as well as collaboration in the creation of in the how and why of play and creativity. works through individual and group projects. Course material examines the relationship Assignments vary in scale, and focus on between creativity and play, the effects of appropriate planning and information archi- reward and punishment, cultural notions of tecture, as well as acquisition and creation play, and the integration of play with design of content in various media. Programming play. Students examine the differences environments used include, but are not limited between informed and uninformed play as to, HTML, Lingo, and Java Script. Previously well as the phenomenon of flow. introduced concepts and technology are re- Prerequisite: HU 110B explored with an emphasis on integration and effectiveness in the communication of the concepts of the piece. Open to non-majors with permission of Department/ Instructor. Prerequisite: MM 222
182 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 183 MM 370 MM 470, MM 471 E-Music Thesis Project Issues in Multimedia Seminar I, II Museum Studies 3 credits, 3 hours 1.5 credits, 1.5 hours each A culminating course for students in the These courses serve as vehicles for discus- MS 501 E-Music minor in which they develop an sion of current topics in multimedia. Special Museum Seminar: The Museum application. Students develop a proposal for attention is paid to the discussion of emerging Society an application and carry the idea through technologies and criteria for evaluating their 3 credits, 3 hours research implementation, execution, and pre- effectiveness, appropriate use, and potential. Lecture/Seminar course exploring the history, sentation. With the consent of the instructor, Ethical issues surrounding new media are organization, and operation of the museum as projects may be the work of one student or discussed. a cultural/educational institution, an economic Open to students with U3 status or above. that of a group of students, be in a variety of entity, and a management enterprise. Visiting May be taken three times for credit. shapes, and in a variety of media. Students lecturers bring a wide range of knowledge must have completed E-Music minor require- MM 472 and practices from their respective institutions ments. and consultancies to provide the student with Prerequisites: MU 306, MU 413A Special Projects in Multimedia insight into the differences between museums 3 credits, 3 hours of different types, sizes, and missions. The MM 410, MM 411 This seminar is designed to give students Senior Studio I, II course provides students with an overall direct contact with their soon-to-be peers understanding of the museum as an institu- 4 credits, 8 hours each in the various multimedia industries. The tion and an introduction to the many roles Studio course that makes use of all the stu- multimedia industries that may be covered played by museum professionals. Offered dents’ previous instruction. Consists of a include but are not limited to: fine art, inter- in the evening. Priority is given to graduate six-hour studio component and a two-hour face design, installation art, game design, and students in the Museum Education, Museum critique component. One project completed electronic music. Timely and relevant issues Communication and MEPD programs. each semester. Students will be prepared on concerning the craft, thought and professional Open to majors only. the first day of each semester with a pro- expectations of a multimedia artist/ designer posal that includes, but is not limited to, a will be the content of this course. Topics MS 502 schedule, map, research, executive summary, related to the multimedia industries in general Museum Seminar: The Exhibition and supporting documentation. Projects can and the instructor’s specific industry experi- 3 credits, 3 hours be collaborative or individual. Students are ence are discussed. Readings, discussion, and Lecture/Seminar course exploring the encouraged to try both over the course of the a practical presentation or project make up the philosophy and history of museum exhibi- year. body of this course. tions and the development of the museum Prerequisite: MM 350 Open to students with status U3 or above. exhibition discipline. Visiting lecturers bring May be taken three times for credit. MM 440 a wide range of knowledge and practices Innovative Interfaces MM 499 from their respective professional disciplines Multimedia Internship and provide insight into museum exhibition 3 credits, 6 hours practice. Provides students with an overall The notion of the digital environment tran- 3 credits, 90 hours/semester understanding of the role exhibitions can scends the concept of the computer as we Students are placed with regional compa- and do play in public institutions. Offered know it. These addresses and environments, nies to expose them to a professional work in the evening. Priority is given to graduate although supported by digital technology, are environment in the fields of multimedia, web students in the Museum Education, Museum non-computer-like in many respects. Building design and information management. Communication, and MEPD programs. them calls for changes in the choice of inter- Open to majors only. Open to majors only. action devices (using touch, voice, gestures, Prerequisite: U3 Status. and possibly just user’s intent as a basis for May be taken three times for credit. MS 508 interaction), shape and size of computers (no The Museum Audience boxes, but interactive surfaces), their loca- 3 credits, 3 hours tion (floor, wall, pocket), as well as change Lecture course focusing on museum com- in content structure. Using cross-disciplinary munications and learning, identifying the data from cognitive and computer sciences characteristics of the museum visitor, the and social psychology, the students in this ways in which visitors experience museum research/studio course focus primarily on the exhibitions, cognitive and affective behavior, design and development of innovative ways of the relationship of museum exhibitions and interacting with digital technology. educational programming, and the impact of Prerequisite: MM 121 museum visitor studies on the planning and design of museum exhibitions and the envi- ronment. Open to majors only.
182 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 183 MS 510 MS 602 MS 619 Museum Education Practicum Museum Governance: Legal Issues, Video, Film and Technology for 3 credits, 3 hours Ethics and Museums Museum Interpretation This course is designed to help develop 3 credits, 3 hours 3 credits, 3 hours the practiced insight and skills needed as a Legal status of the museum and its obliga- Students become familiar with important professional in a museum environment with tions to the public, governance, staffing, and historical, philosophical, and site-based inter- all age groups. It provides opportunities for policy-making as a nonprofit organization. pretive uses for media in museum settings preliminary observations and experience with Establishing collections policies, laws regu- through a practicum that includes analysis professional museum educators and directors lations, conventions, and codes that affect of media (video, film, and technology) in and a professor who conducts the seminar acquisitions, deaccessions, loans, and collec- transferring knowledge and information in the in conjunction with the museum visits and tions care. The case study method is used to museum environment. Relates to the artistic, guest speakers. Through this process students examine the issues, the law, and the decisions historical, and content techniques of a variety develop dynamic teaching techniques that that affect today’s museums. State, federal, of moving image and multimedia approaches. explore and interpret information, concepts, and international legislation, common law, Research, planning, supervision, outsourcing, and cultural values that a museum collection and the applications of administrative law and execution of media pieces for museum communicates. Hands-on techniques and in museums are examined. Examines the environments are explored. Computer literacy experiences with curriculum development and complex relations of museums and museum is expected. methodology help students prepare for their professionals with trustees, collectors, donors, Open to majors only. research and internship. dealers, outside interest groups, and artists. Open to majors only. Prerequisite: MS 600 MS 620A Museum Graphics MS 600 MS 610A/B 1.5 credits, 3 hours Museology Museum Exhibition Design Studio Writing, design, and production of museum 3 credits, 3 hours 6 credits, 12 hours each graphic components. Graphic Design is Introduction to the social and cultural theory The primary vehicle for exploring and devel- defined as any visual information communi- underlying museum practice. The museum is oping museum exhibition planning, design, cated through word and image. studied as a dynamic institution. Its structure project organization and presentation skills/ Competence in web site design and the creation of and functions are examined in the context techniques. This studio focuses on the foun- interactive digital projects required. of political, economic, and social change. A dations of museum exhibition development Open to majors only. seminar/lecture course, students study the and design; space planning, color, light, com- writings of the founders of modern museum munication, content, interaction, and crafting MS 620B theory focusing on the development of experiences. Museum Lighting museums and their service to the public, Open to majors only. 1.5 credits, 3 hours learning as a central focus of contemporary A lecture/demonstration/workshop course museums, and the shift from private to public MS 615 dealing with the manipulation of light and support and responsibility for museums. Educational Programming for color in the museum environment. Open to majors only. Museums and Alternative Sites Open to majors only. 3 credits, 3 hours MS 601 Prepares museum educators for the develop- MS 621 Issues in Museums Seminar ment of educational programs and plans for Publications, Public Relations and 3 credits, 3 hours diverse types of museums and alternative Marketing Presents and discusses current political and learning sites. Exposes students to current 3 credits, 3 hours social issues, which may unexpectedly, some- issues and trends in museum education such as Organizational principles and practices as times problematically, affect museum practice, interdisciplinary and integrated learning, and they relate to the processes of public rela- particularly in the public areas of exhibition, issues of diversity. Methods of interpreting tions and museum communication (primarily programming, and publications. Recent exam- works of art, artifacts and collections are print media). Topics include public relations, ples would include controversial exhibits, studied. Extensive “theory into practice” com- interpretive and informational publications, legal, gender, race, cultural and religious ponent provides students with the opportunity advertising, identity, audience development, issues impacting museums; and the public to apply theory to actual permanent collection and marketing. Addresses the use and creation right to participate in the museum experience and temporary exhibition projects at area of publications, marketing plans, institution as an active contributor. Museum scholars, museums. and exhibition-based public relations, the specialists and university faculty offer in- Prerequisite: MS 508 creation of effective identity programs, and depth examination of current topics. Students audience development through membership complete projects designed to develop profes- and outreach programs. In a workshop setting, sional ability to deal with emerging debates in students learn to create effective publications the museum profession and the knowledge of and print media, and discuss web-based com- the impact of politics and the mass culture on munication. Students work under the guidance museum policies and practices. of a university professor and visiting experts Prerequisite: MS 600 in the museum field. Prerequisite: MS 620A
184 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 185 MS 622 MS 650 MS 710 Media for Museum Communication Development, Fundraising, and Museum Exhibition Design Studio 3 credits, 3 hours Grantsmanship 6 credits, 12 hours Computer literacy, familiarity with Macintosh 3 credits, 3 hours The primary vehicle for exploring and operating system required. A laboratory/ An introduction to the development process developing museum exhibition planning, workshop course on utilization of appropriate as it relates to fundraising and, more spe- design, project organization, and presentation technological media, with emphasis on the cifically, grants writing. This course will skills/techniques. This course will focus on creation of visitor interaction. address the changing nature of funding for the exhibition in its tangible/physical form, Open to majors only. museums today, and sources of funds. In a taking concept into reality. Documentation, lecture/workshop setting, students will learn construction documents and specifications are MS 623A current techniques for formulating institu- the deliverables. Exhibition Materials and Methods tional funding requests under the guidance Open to majors only. 1.5 credits, 3 hours of an instructor and visiting experts in the Prerequisites: MS 501, MS 610B This course gives students an in-depth museum field. Students will acquire profes- acquaintance with exhibit fabrication/ sional knowledge of museum practices in MS 740 construction processes, techniques, methods development and revenue generation; skills Thesis Research and materials, how to research and specify in developing a strategic fundraising plan and 3 credits, 3 hours appropriate materials, and how to use those preliminary case statement plan and carrying Examines the principle approaches to materials in the best way. out its elements for specific institutions and research. The nature of appropriate research Prerequisite: MS 620A for specific funding objectives. methods for selected thesis topics; the Prerequisites: MS 501 or MS 600 approaches and benefits of various methodolo- MS 623B gies; and the steps in research design. Students Exhibition Materials and Methods MS 651 identify a research problem, design a study, 1.5 credits, 3 hours Collection Management and collect and analyze data, compile, interpret Demonstration/studio course directed at the Computer Applications in Museums and report results. problems of exhibit production, the choice of 3 credits, 3 hours Open to majors only. materials and methods, suppliers of materials Students acquire the skills and knowledge nec- and services, and the use of CAD (computer- essary to develop, implement, and supervise MS 749A/B aided design). collections management projects. Emphasizes Thesis Development Prerequisite: MS 623A data processing applications related to col- 1.5-6 credits each lections management, documentation, and Independent research and design in an area MS 648 other museum functions, including collec- supporting the student’s career objectives and Graduate Museum Project tions administration, loan requests, rights and interests. 3 credits, 3 hours reproductions, exhibition planning and design, Open to majors only. A culminating research project concerning publications, collections security, and project museum studies, management, and education. management. Topics include multimedia and MS 759 The project is completed in one semester and digital imaging, graphics, and database devel- Museum Internship includes the study of research in the field, a opment and processing standards. Instruction 3 credits, 3 hours team project with the Museum Exhibition and in computer languages, database development A three-month supervised practicum in a Planning program, and an individual project and use, and digital imaging. Word processing cooperating museum. The internship repre- related to the student’s main area of interest experience and access to a computer are sents full-time employment equivalency under within the museum profession. This course expected. Database management experience is the mentorship of a professional museum provides preparatory research for the culmi- helpful. General level of computer experience educator. Provides practical on-site experi- nating museum internship. expected. ence, in which the intern is integrated into the Open to majors only. Prerequisite: MS 600 museum staff, assuming professional-level responsibilities and experience. A University MS 658 professor also observes, advises, and assesses Museum Internship the student during the internship. 3-6 credits Open to majors only. Taken in a cooperating museum, the internship represents full-time employment equiva- lency under the mentorship of a professional museum educator. It is intended to provide practical on-site experience in which the intern is integrated into the museum staff, assuming professional-level responsibilities and experi- ence. A University professor also observes, advises, and assesses the student during the internship. Open to majors only. Repeatable for credit.
184 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 185 MU 113 MU 123A/B Music Freshman Improvisation Guitar Class for Non-Majors 1 credit, 1.5 hours 1 credit, 1 hour each MU 010, MU 020, MU 030 Introductory-level jazz improvisation dealing One hour class of guitar instruction in contem- Jury Examination with linear, melodic, harmonic, and rhythmic porary guitar. Course covers basic technique 0 credits fundamentals of improvisation, as well as the including fingering, scales, chords, and chord Year-end graded examination by jury in the interactive and group aspects. Lecture and melodies. Open to all students. student’s major. skills development with a performance base. Open to majors only. Open to majors only. May be taken twice for credit.
MU 040 MU 115 MU 124A/B Senior Recital Music Technology Survey Drum Class for Non-Majors 0 credits 1 credit, 1 hour 1 credit, 1 hour each Year-end graded public recital in the student’s Provides students with a working knowledge Drum set instruction in basic technique and major. of music technology practices, definitions, contemporary styles including rock, jazz, and Open to majors only. and concepts. Through both lecture and lab Brazilian. classes, students become familiar with a cross- Open to all students. MU 100 section of hardware and software currently in May be taken twice for credit. Major Workshop use by the school and working professionals. Open to all students. MU 125A/B 1 credit, 1 hour Brass Class for Non-Majors Students, grouped by major, learn and practice MU 116 1 credit, 1 hour each aspects of instrumental performance including Music Technology Survey technique, literature, sight-reading, and impro- Designed for students with little or no experi- visation. Students perform individually and in 1 credit, 1 hour ence or formal training. Students will learn groups. Provides students with a working knowledge basic breathing, embouchures, and reading Open to majors only. of music technology practices, definitions, techniques. and concepts. Through both lecture and lab Open to all students. MU 103A/B classes, students become familiar with a cross- May be taken twice for credit. Musicianship I, II section of hardware and software currently in MU 126A 3 credits, 3 hours each use by the school and working professionals. Prerequisite: MU 115 Saxophone Class for Non-Majors Musicianship Placement Test required. This course centers on the establishment of 1 credit, 1 hour MU 117 Introductory class in saxophone techniques, fundamental skills through the singing and Beginning Wind Instrument Repair recognition of diatonic materials, i.e., scales, embrouchure, sound production, breathing, intervals, triads, and seventh chords, both as 1 credit, 1.5 hours fingering, and literature. Open to all students. isolated phenomena and in musical contexts. An introductory course designed to acquaint May be taken twice for credit. Solfeggio performance of diatonic melodies music students with fundamental techniques and rhythmic performance in all basic meters associated with the repair and maintenance of saxophones, clarinets, flutes, trumpets, trom- MU 127A/B is emphasized, as well as the dictation of these Flute Class for Non-Majors materials. bones, and French horns. Students will learn Open to majors only. valuable skills in replacing pads and corks, 1 credit, 1 hour each repairing springs, identifying leaks, making Provides the student with a solid introduction MU 107A/B minor adjustments, freeing frozen slides and to tone and technique development and reper- Music Theory I, II stuck brass mouthpieces, valve alignment toire for the flute. Open to all students. 3 credits, 3 hours each and other practical topics. The course will be May be taken twice for credit. Theory Placement Test required. An introduc- particularly useful for future teachers and free- tion to basic theory including the study of lance musicians. Open to majors only. MU 130A/B scales, intervals, chords of various types, har- Piano Class for Non-Majors monic progression, and the analysis of small MU 121 1 credit, 1 hour each musical forms. Calligraphy Open to majors only. One hour class of piano instruction in tradi- 1 credit, 1 hour tional beginning piano. Coursework includes MU 111A/B Professional methods of musical score and basic technique including scales, chords, and Composition for Non-Majors part preparation, both in the traditional way chord melodies. Open to all students. 1 credit, 1 hour each with paper and pen, and with computer pro- May be taken twice for credit. Students develop basic skills in various grams. An elective for all majors. aspects of composition, including form, Open to all students. Prerequisite: MU 107B melody, harmony, rhythm, color, texture, nota- tion, improvisation, and orchestration. Open to all students. May be taken twice for credit.
186 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 187 MU 131A/B MU 191A/B – MU 491A/B MU 241A/B Class Piano I, II Applied Major Instruction - Voice Vocal Styles and Diction I, II 1 credit, 1 hour each 3 credits, 1 hour each 2 credits, 2 hours each Introductory and elementary keyboard Private instruction in voice. This course brings together 2nd and 3rd year training using basic theoretical, harmonic, and Open to majors only. vocal majors to expose them to the wide technical concepts in practical keyboard appli- variety of literature and styles required of pro- cation: transposition, melody harmonization, MU 192A/B – MU 492A/B fessionals. Students perform and are critiqued elementary jazz improvisation, technique and Applied Major Instruction - by faculty and guests. English, Italian, French, repertoire. Required of non-keyboard instru- Instrumental and German diction are studied. mental majors. 3 credits, 1 hour each Prerequisites: MU 131B, MU 140 Open to majors only. Private instruction in instruments. Open to majors only. MU 301A/B MU 139, MU 140 Music History I, II Styles and Diction MU 193A/B – MU 493A/B 3 credits, 3 hours each 1 credit, 1 hour each Applied Major Instruction - Designed to define the major style periods Required of all vocal majors. Students prac- Composition from Greek times to the present in terms of tice English and Italian diction, and perform 3 credits, 1 hour each their philosophies, accomplishments, and for faculty and guests in a variety of musical Private instruction in composition. interrelationships. Composers, performers, styles. Open to majors only. and theorists are examined in the context of Open to majors only. musical literature with emphasis upon styles, MU 208A/B forms, and techniques of composition as they MU 141A/B Jazz Theory I, II evolve and change. The sequence puts into Voice Class for Non-Majors 3 credits, 3 hours each historical perspective the materials presented 1 credit, 1 hour each A study of diatonic and chromatic theory as in the Music Theory courses. Through lis- One-hour class of voice instruction in the related to jazz and contemporary music. tening assignments, students are expected to classical training of voice. Course will cover Prerequisite: MU 107B further develop their aural skills and knowl- proper technique of breathing, support, focus edge of musical literature. of tone, production of clear, vocal line, and MU 209A/B Open to all students. some musical interpretation of literature. Jazz Ear Training I, II Humanities/Discipline History Open to all students. 3 credits, 3 hours each May be taken twice for credit. Melodic, harmonic and rhythmic aural skill MU 308A/B development in the jazz and contemporary Analysis and Composition of MU 149A/B music idioms. Contemporary Music Aural Concepts Prerequisite: MU 103B 1.5 credits, 1.5 hours each 3 credits, 3 hours each An examination of compositional techniques For non-music majors. An introduction to MU 213A/B used in pop songs, jingles, soundtracks, and the use of music and sound components of Jazz Improvisation I, II underscores for radio, TV, records, films, multimedia and their potential for enhancing 2 credits, 3 hours each shows, and industrials. Students will inves- communication. Recognizing the special The application of improvisational techniques tigate the ways in which music serves to background and needs of the non-music major encompassing all standard forms and styles. enhance the overall goals of the product or student, examines the fundamentals of music Performance practices are related to the project. Musical analysis will serve to dem- and sound, their potential relationship to the individual student’s abilities, background, onstrate how each style is created. Students visual image, and the technology necessary to and experience. Coursework includes solo produce their own musical compositions in implement that relationship. transcription and analysis, a comparison of each media context. Open to all students. improvisational methods, and a survey of edu- Prerequisites: MU 208B, MU 209B Not open to Music Majors. cational resources. Prerequisites: MU 103B, MU 107B MU 309 MU 190A/B Advanced Rhythmic Skills Applied Instruction for Non-Majors MU 232A/B 1 credit, 1.5 hours 1.5 credits, 0.5 hours each Class Jazz Piano I, II A skills-based class intended to advance the Private instruction in all instrumental, vocal, 1 credit, 1 hour each student’s rhythmic understanding and perfor- and composition areas. Harmonic concepts in keyboard application mance abilities as applied to solo and sectional Open to all students. for jazz popular music; chord voicings for playing and singing, improvisation, reading, popular tunes, standards, and original harmo- arranging, transcribing, and composing. nizations; continuation of jazz improvisation. Subject matter is derived from and applies Required of non-keyboard instrumental to contemporary American and Latin art and majors. popular music. Prerequisite: MU 131B Prerequisites: MU 208B, MU 209B, MU 213B
186 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 187 MU 310, MU 311 MU 331A/B MU 401A Transcription and Analysis Advanced Piano and Accompanying Jazz History 1 credit, 1.5 hours each 1 credits, 1 hour each 3 credits, 3 hours Designed to advance the skills of ear training, Designed primarily for vocalists, this course Study of jazz from its African and European theory, and improvisation using transcription continues in the development of piano roots through its emergence at the turn of and analysis. Students transcribe melodies, techniques with an emphasis on learning the 20th century as a unique and distinctive rhythms, harmonies, and arrangements in self-accompaniment. Literature from all vocal American art form. The various styles of jazz increasingly complex forms. The musical areas including oratorio, musical theater, jazz, are studied (ragtime, New Orleans Dixieland, theory underlying each transcription is dis- opera, and contemporary. Students accompany Chicago style, swing, be-bop, cool, hard-bop, cussed and sometimes performed and used as other singers. freeform, third stream), including their effect a basis for further work. Prerequisite: MU 232B on the popular music with which jazz has Prerequisites: MU 208B, MU 209B, MU 213B coexisted. The course includes in-depth study MU 341A/B of the primary exponents of the various styles. MU 313A/B Vocal Styles and Diction III, IV Audio and video materials are used to provide Jazz Improvisation III, IV 2 credits, 2 hours each students with a better understanding of jazz 2 credits, 2 hours each Continuation of MU 241A/B. and its influences on the music industry. Continuation of MU 213A & B. Prerequisite: MU 241B Prerequisites: LACR 102 Prerequisite: MU 213B Discipline History/Humanities MU 347A/B MU 315A/B Advanced Sight Reading MU 401B Jazz Arranging I, II 1 credit, 1 hour each American Music History 2 credits, 2 hours each An advanced music reading course designed 3 credits, 3 hours A functional approach to ensemble scoring to further develop the student’s music reading, The development of both classical and popular including score analysis, combo arranging, writing, recognition, and inner-ear skills. American musical styles from the 17th to the arranging for mixed instrumentation, musical Prerequisites: MU 209B or TH 222B 20th century. Recordings and films as well as settings for vocalists, string writing, writing in-class performances will help bring to life for pop recording, and special techniques for MU 348A/B the music from our American past. Students multi-track recording. Vocal Improvisation gain a clear understanding of the social, his- Prerequisites: MU 208B, MU 209B 2 credits, 2 hours each torical, and musical time line that evolved into Develops improvisation skills for vocal majors our current musical environment. MU 317A through the study of advanced vocal tech- Prerequisites: LACR 102 Orchestration I niques, transcription, theory and analysis, and Discipline History/Humanities 3 credits, 3 hours metric concepts. An introduction to instrumentation, designed Prerequisites: MU 213B MU 402 to acquaint the student with ranges, trans- World Music positions, and characteristics of individual MU 390 3 credits, 3 hours instruments and voices. Aural and score Introduction to Acoustics Covers the classical and folk music of various analysis provide the basis for understanding 3 credits, 3 hours countries in Asia, Indonesia, the Middle East, vocal and instrumental treatments in small and The course deals with the following topics: Africa, and the Western Hemisphere. large ensembles. Written orchestrations are physical nature of sound; the reception and Open to all students. required. perception of sound; theories of consonance Humanities Prerequisite: MU 208B and dissonance; scales, tunings and tem- peraments; the acoustic properties of musical MU 406 MU 317B instruments, electronic instruments, and the Advanced Rhythmic Theory and Orchestration II voice; sound reinforcement; and environ- Practice 3 credits, 3 hours mental considerations, such as the design of 3 credits, 3 hours Primarily intended for composers, this course concert halls, theaters, recording studios, and Study of the rhythmic theories and practices presents an analytical history of orchestra- open spaces. A term paper, mid-term, and final of such composers as Hindemith, Messiaen, tion. Coursework culminates in a large project examination are required. Stravinsky, Carter, Reich, Bartok, and Babbitt, that is scored and critiqued. Composers are Prerequisites: LACR 102 as well as contemporary and jazz composers. encouraged to orchestrate their own composi- Science/Math Prerequisites: MU 208B or MU 209B tions. Prerequisite: MU 317A
188 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 189 MU 409 MU 417A MU 499 Contrapuntal Theory and Analysis Opera Literature Music Internship 3 credits, 3 hours 3 credits, 3 hours 1-3 credits, 30-60 hours/semester A continuation of freshman theory courses Survey of operatic styles and genres. An opportunity to participate in a workplace taken by instrumental, vocal, and com- Emphasis is placed on the cultural and social environment during the academic year. position majors. It is designed to enhance contexts of a wide diversity of operas, and Students earn internship credit by com- basic classical theory skills; to prepare for upon character analysis. Intensive examina- pleting a minimum number of hours in the graduate-level theory work, and to meet the tion of complete operas. field during the semester, and by satisfying requirements on the theory portions of the Prerequisite: LACR 102 the requirements of the sponsor, such as teacher certification examination. The course Humanities attendance, punctuality, responsibility, profes- centers on contrapuntal organization and sionalism, tasks completed. Students may be contrapuntal devices. The literature is drawn MU 420A assigned to recording studios, radio stations, from all musical periods. Harmony, rhythm, Business of Music arts organizations, or with music publishers, melody, and timbre is discussed as it relates to 2 credits, 2 hours entertainment attorneys, music therapists, or specific compositions. Requirements include Examination of the legal, practical, and proce- record producers. analytical study, out-of-class listening and dural problems encountered by the practicing Open to majors only. research, and written contrapuntal assign- musician. Specific course content includes May be taken three times for credit. ments. the study of music publishing, recording con- Prerequisites: MU 107A/B tracts, and copyright and intellectual property rights issues. MU 411 Open to all students. 20th Century Music 3 credits, 3 hours MU 420B A study of the theoretical bases of such Careers in Music 20th-century composers as Schonberg, Berg, 2 credits, 2 hours Webern, Stravinsky, Hindemith, Bartok, A study in the career options available to Varese, and Messiaen. musicians and the knowledge and craft Prerequisites: MU 208B or MU 209B necessary for the successful recognition and Humanities exploitation of these opportunities. Open to all students. MU 413A/B Recording I, II MU 424 2 credits, 2 hours each Wagner and the Ring Cycle A study of the recording process and the many 3 credits, 3 hours facets of the recording studio. Designed to An in-depth study of Wagnerian Opera with familiarize the student with conventional and special emphasis on the four operas that creative recording techniques through prac- constitute the Ring Cycle. Lectures and dis- tical experience in the studio. cussions will cover libretti, harmonic idiom, Open to all students. staging, and symbolism. Prerequisite: LACR 102 MU 415A/B Humanities Introduction to MIDI and Electronic Technology MU 441A/B 3 credits, 3 hours each Vocal Workshop A detailed “hands-on” examination of the use 1 credit, 1 hour each of micro-computers in the present day com- An exit-level course for vocal majors that position environment. The course includes prepares students for the musical, career, and the uses of a computer, the language of MIDI, performance practices they will encounter sequencing, FM and other types of synthesis, in the competitive professional marketplace. and a survey of currently available music Class includes lectures by guest singers, software packages. Students are strongly composers, opera and musical directors, vocal encouraged to engage in independent work coaches, and record producers. based on their own compositional interests. Open to majors only. No prior computer or synthesis experience is needed. Open to all students.
188 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 189 Master of Arts in MU 553 MU 557 Music and Special Children Music Administration and Teaching in Music 2 credits, 2 hours Supervision Education Readings, discussions, guest speakers, class- 3 credits, 3 hours room observations, and simulated teaching Course addresses issues and concerns of Note: Also see courses listed under Music define and examine various types of disabili- administering school music programs: pro- Education. ties; offer a background on special education gram planning and development, budget and practices and laws in America; develop an finance, facilities, equipment, public relations, MU 550 appreciation of the needs of handicapped scheduling, concert planning, and related Advanced Conducting: Choral or persons in general society, in education, and in matters. Principles and methods of effective Instrumental music education; and guide music education supervision of programs and personnel consti- students in developing goals and objectives; tute a second focus of the course. 3 credits, 3 hours Open to majors only. Advanced conducting techniques and applica- adapting lessons and preparing meaningful lesson plans for special students in the music tions of these techniques to instrumental or MU 559 choral music teaching at the secondary school classroom. Participation in class discussion based on assigned reading, a written/verbal Research, Evaluation and Technology level. Emphasis will include the selections in Music Education of appropriate literature, style and interpreta- presentation on a specific disability, field tion, rehearsal planning and implementation, observations, and two written examinations 3 credits, 3 hours evaluating performance outcomes, planning provide bases for evaluating student achieve- The course has three primary foci: 1. ment. Examination of the role of research in music and implementation, evaluating performance Open to majors only. outcomes, and special considerations relative education, sources of research, analysis of to the teaching of music through the vehicle of research types and methods, and the criticism MU 554A of research in terms of internal and external performance. Students will select either instru- Elementary Methods & Materials mental or choral emphasis. Required of all criteria. 2. Principles of effective evolutional candidates for the MAT in Music Education. 3 credits, 3 hours strategies in music education, standard- Open to majors only. A concentrated study of methods and mate- ized and teacher-constructed approaches to rials involved in planning, implementing, and evaluating music teaching and learning in MU 551 evaluating instructional programs in elemen- the cognitive, psychomotor, and affective Education in American Society tary music education. Lecture, workshop, and domains. 3. Study of computer applications 3 credits, 3 hours simulated teaching sessions. Required of all and related technological advances relative to The course utilizes lecture/discussion, candidates of the MAT in Music. teaching and administration of programs in Open to majors only. music education. seminar, field and research presentation expe- Open to majors only. riences to address historical, philosophical, MU 554B and contemporary issues in American Secondary Methods & Materials MU 560A/B Education. Students are required to complete 3 credits, 3 hours Workshop in Instrumental four major papers dedicated to the aforemen- Methods I, II tioned issues and present them during seminar A concentrated study of methods and mate- sessions. Assigned readings and the keeping rials involved in planning, implementing, 2 credits, 2 hours each of a notebook devoted to current events in and evaluating instructional programs in sec- Class instruction and participatory experiences education are required. Students are granted ondary music education. Lecture, workshops, in performing on brass and percussion instru- and simulated teaching sessions. ments and teaching brass and percussion in released time from class to complete research Open to majors only. papers and are counseled individually to facil- elementary and secondary schools. The class itate their projects. Guest speakers typically will constitute a lab ensemble for exploring MU 555 methods and materials. Full class sessions will include a school administrator, counselor/ Elementary Student Teaching social worker, a supervisor or teacher from be supplemented with small-group instruction, another curricular area other than music, and 4 credits, 3 hours and clinics will focus on instrument care and related school personnel. Taken concurrently with MU 556 and MU repair, instrument selection, developing begin- Open to majors only. 558. Offered only during the spring semester ning instrumental programs in schools, and to students in their final semester of study. related issues. MU 552 The equivalent of six week’s experience at Open to majors only. Workshop in Vocal Methods the elementary level is required. Placement 2 credits, 1 hour in schools is determined by the Director of Music Education. Class instruction and participatory experiences Open to majors only. in voice theory, vocal production, teaching methods, and instructional materials for use in elementary and secondary schools. The physiology of the voice is studied with refer- ence to principles of choral singing. Special problems of the child and adolescent voice are considered. Open to majors only.
190 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 191 Master of Music in Jazz MU 615, MU 616 MU 622 MIDI and Music Technology Graduate Arranging Studies 2 credits, 2 hours each 2 credits, 2 hours Hands-on exploration of music technology Emphasis is on effective writing in various MU 515 applicable to performer, composer, and contemporary styles and building on basic Music Journalism arranger with focus on fluency with MIDI arranging skills, with a focus on specific 1 credit, 1 hour sequencing including MAX to create interac- arranging techniques such as writing for the Practical, hands-on study of writing about tive live performance situations. Students rhythm section, horn voicings, sax solo, and music, musicians, and the music industry for work with modular digital multi-tracks and contemporary fusion styles. Arrangements are consumer, trade and academic periodicals; edit and create original sounds for synthe- studied in score format and aurally, and then books, videos, DVDs and other multimedia sizers and samplers. Hard disk recording using techniques are applied to student projects. projects. Students learn library and Internet Pro-Tools III and Digital Performer, SMPTE Open to majors only. research techniques, how to acquire and foster and synchronization in the studio, and com- industry contacts, interview methodology, position and sound design for film, video, and MU 624 how to best utilize archival resources, the theater are also explored. Training in notation Composing for Performers writing “marketplace” and the “business of software is an integral and essential aspect of 2 credits, 2 hours writing,” formulation of a marketable idea, the course: after the first month, assignments A dual emphasis—on acoustic instruments magazine writing and editing, the periodical for all graduate courses require use of profes- and on technologies—exposes students and book submission process, professional sional notation software. to a variety of professional composing guidelines and insights for composing video/ Open to majors only. situations, including large jazz ensembles, DVD narration and voice-overs. fusion, acoustic/electronic hybrids, films, Open to majors only. MU 617 videos, musical theater, and jingle writing. Advanced Transcription and Analysis Techniques using MIDI, MAX, and elec- MU 516 3 credits, 3 hours tronic composition are explored. Faculty Jazz Pedagogy Accurate notation, transcription fluency, and guest composers present workshops 1 credit, 1 hour and recognition of theoretical concepts are on their own approaches. Students learn to This course is designed to prepare students to developed through a regime of continual and use the recording studio as an instrument teach all aspects of a jazz curriculum including rigorous assignments, all designed to further and use notation software for score and part arranging, theory, history, improvisation advance skills in ear training and theory. preparation. Student works are rehearsed and and managing various ensembles including Projects begin with single line melodies in performed by graduate and advanced under- rehearsal techniques and such. A review of varying instrumental registers and prog- graduate ensembles. teaching strategies, methods, and available ress through advanced rhythms and chord Open to majors only. materials is conducted. Basic Computer tech- progressions to complete arrangements and nologies for the creation of teaching materials compositions. Sources include bass lines, is included. Each student will rehearse with a synthesizer sequences, pop recordings, jazz UArts ensemble. Outreach activities with area improvisations, and drum solos. Students public schools will be developed. learn techniques and performance practices of Open to majors only. varying styles and periods, and then perform transcribed parts and solos. MU 592A/B Open to majors only. Applied Major Instruction - Graduate 3 credits, 1 hour each MU 620, MU 621 Private instruction in instrumental, vocal, and Graduate Professional Internship composition areas. 1 credit, 1 hour each Open to majors only. Provides hands-on experience in a variety of professional settings—rehearsals, MU 603 performances, meetings with producers, Graduate Project/Recital and in-studio projects such as recording, 3 credits, 3 hours arranging, or project coordination. The pro- Independent research project designed to enable gram is developed by the graduate advisor and the student to work in depth on a topic of special major teacher in conjunction with the student relevance applicable to performance. The grad- to select topics and experiences most relevant uate project is evaluated in two parts: as a thesis, and beneficial to that particular student’s with the expectation that the student has com- education. pleted extensive research in a comprehensive Open to majors only. manner, and as a recital, in which the student incorporates aspects of the project and demon- strates personal instrumental growth. Students give presentations throughout the semester in seminar setting, showing their progress in research and its application to performance. Open to majors only.
190 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 191 Music Ensembles MU 764 Small Jazz Ensemble Music Education MU 625, MU 626 1 credit, 1.5 hours Open to non-majors with permission of Department/ Graduate Improvisation I, II Note: Also see courses listed under Master of Instructor. Arts in Teaching Music Education. 2 credits, 2 hours each Repeatable for credit. Improvisational styles, techniques, and devices are studied. Intervallic improvisa- MUED 110 MU 765 Brass Instruments tion, and advanced pentatonic concepts are New Music Ensemble addressed, as well as study of the pioneers 1 credit, 1 hour 1 credit, 1.5 hours Students learn basic breathing, embouchure, of jazz improvisation through recorded Open to non-majors with permission of Department/ sound-production, and fingerings for standard solos that mark turning points of improvisa- Instructor. band and orchestra brass instruments, appro- tion. Topics include melody embellishment, Repeatable for credit. improvising in phrases, silence, time-feel, priate repertoire and pedagogy, and diagnosing pacing, syncopation, chord tone soloing, MU 772 typical problems of beginning performers. The dynamics, non-harmonic triads, contracting Chorus performance emphasis is on cornet/trumpet, and expanding chord duration, tri-tonic cells, and horn and trombone, with euphonium and sustaining peak points, and unaccompanied 1 credit, 4 hours tuba being assigned to brass and bass majors. Open to non-majors with permission of Department/ Open to School of Music students only. soloing. Instructor. Open to majors only. Repeatable for credit. MUED 111 MU 627, MU 628 Flute & Double Reed Instrument Graduate Forum MU 774 Large Jazz Ensemble 1 credit, 1 hour 1 credit, 1 hour each Students learn basic breathing, embouchure, 1 credit, 4 hours sound-production, and fingerings for flute, A graduate seminar in which various aspects Open to majors only. appropriate repertoire and pedagogy, and of study, including musical development Repeatable for credit. and accomplishment, are correlated with diagnosis of typical problems of beginning critical, aesthetic, and historical compo- MU 776 performers. The performance emphasis in this nents. Additionally, artistic and professional Wind Ensemble course is on flute, with an introduction to oboe issues are researched and discussed. Various and bassoon. 1 credit, 4 hours Open to School of Music students only. approaches to the preparation of the graduate Open to non-majors with permission of Department/ recital are explored and progress toward a Instructor. MUED 112 successful performance is closely monitored. Repeatable for credit. Topic selection, research, and writing of the Folk and Social Instruments graduate thesis are evaluated through weekly MU 775 1 credit, 1 hour critiques. Graduate Ensemble Students learn basic techniques for guitar and Open to majors only. other selected folk and social instruments, 1 credit, 1.5 hours appropriate repertoire and pedagogy, and Open to non-majors with permission of Department/ MU 761 diagnosis of typical problems of beginning Instructor. Handbell Choir performers. 1 credit, 1.5 hours Open to School of Music students only. Open to non-majors with permission of Department/ Instructor. MUED 113 Repeatable for credit. Percussion Instruments 1 credit, 1 hour MU 762 Students learn basic drum performing tech- Chamber Singers Ensemble niques and an overview of all pitched and 1 credit, 1.5 hours non-pitched standard band and orchestra Open to non-majors with permission of Department/ percussion section instruments, appropriate Instructor. repertoire and pedagogy, and diagnosis of Repeatable for credit. typical problems of beginning performers. The performance emphasis of this course is on MU 763 drum-set, with timpani and mallet percussion Opera Scenes Ensemble being assigned to percussion majors. 1 credit, 1.5 hours Open to School of Music students only. Open to non-majors with permission of Department/ Instructor. Repeatable for credit.
192 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 193 MUED 114 MUED 400 MUED 431 Single Reed Instruments Psychology of Music Teaching & Basic Conducting 1 credit, hours Learning 2 credits, 2 hours Students learn basic breathing, embouchure, 3 credits, 3 hours An introduction to a basic repertoire of sound-production, and fingerings for standard This course covers major theories and devel- conducting patterns and gestures, pro- band and orchestra woodwind instruments, opments associated with music cognition and viding students with a hands-on laboratory appropriate repertoire and pedagogy, and child development in physical, emotional, conducting experience, and giving them diagnosis of typical problems of beginning and psychological terms; and principles sup- opportunities to utilize their music theory performers. The performance emphasis in this ported by psychological observation and analytical and aural skills. Through lectures, course is on clarinet and saxophone. investigation that appear to possess import laboratory activities and assignments, students Open to School of Music students only. for the teaching/learning endeavor in music. are introduced to the technical skills used in Emphasis is placed on the application of conducting, will be provided with opportu- MUED 115 learning theories to practical considerations nities to explore and implement them, and String Instruments of teaching, including motivation, learning develop assessment strategies to improve their 1 credit, 1 hour sequence, student-teacher interaction, and conducting. Students learn basic bowing techniques, hand classroom management. Developmental Prerequisites: MU 208B, MU 209B positions, and fingerings for standard orches- theories, like those of Piaget and Erikson, tral instruments, appropriate repertoire and and current research in cognitive science, are MUED 520 pedagogy, and diagnosis of typical problems explored with attention to selecting learning Music Pedagogy III: Pre-K to Grade 4 of beginning performers. The performance experiences in the music and art classrooms. 2 credits, 2 hours emphasis of this course is on violin and elec- Prerequisite: LACR 102 Study of pedagogical issues and approaches tric bass, with viola and cello being assigned Social Science for music instruction in classroom music to bass majors. settings for children from pre-kindergarten Open to School of Music students only. MUED 401 through grade 4. Topics include goal setting Music and Special Children and lesson planning, selection of age-appro- MUED 320 3 credits, 3 hours priate materials and methods, and assessment Music Pedagogy I: Private Lessons This course consists of readings, discussions, of learning. 1 credit, 1 hour guest speakers, classroom observations and Open to majors only. Pedagogical and practical aspects relative to simulated teaching to help students define and teaching private lessons. Students study the examine various types of disabilities; develop MUED 521 components of lessons, carious pedagogical a background on special education practices Music Pedagogy IV: Grades 5 to 8 approaches, the interpersonal nature of private and laws in America; develop an apprecia- 2 credits, 2 hours instruction, repertoire selection, diagnosis of tion of the needs of handicapped persons in Study of pedagogical issues and approaches problems, and administrative issues that are general society, in education, and in music for music instruction in classroom music in part of both private lessons and developing education; and guide music education students grades 5-8. Topics include goal setting and and managing a studio. in developing goals and objectives, adapting lesson planning, selection of age-appropriate Prerequisites: MU 291B, or MU 292B lessons and preparing meaningful lesson plans materials and methods, and assessment for special students in the music classroom. of learning, as well as the development of MUED 321 Participation in class discussion—based on advanced skills in functional piano, and Music Pedagogy II: Improvisation assigned reading, a written/verbal presentation writing/arranging for classroom ensembles. 1 credit, 1 hour on a specific disability, field observations, and Particular emphasis is placed on the use of The pedagogy of teaching improvisation to two written examinations provide the basis for technology (i.e., Smart Music, Yamaha MIS students of all ages, including an evaluation evaluating student achievement. etc.) and social instruments in the music class- of literature available for various levels of Prerequisites: MU 451B room. This is a TI:ME Level II course. difficulty. Social Science Open to majors only. Prerequisites: MU 213B MUED 430 MUED 522 Rehearsal Techniques - Jazz Music Pedagogy V: Grades 9 to 12 Ensemble 2 credits, 2 hours 2 credits, 2 hours Study of pedagogical issues and approaches Appropriate rehearsal techniques are studies for music instruction in classroom music in along with rehearsal planning, score study grades 9-12. Topics include goal setting and and analysis, repertoire evaluation, selection, lesson planning, selection of age-appropriate interpretation and preparation, performance materials and methods, and assessment of aspects such as tuning, balancing, phrasing; learning. Particular emphasis is placed on and teaching improvisation in the rehearsal the use of technology (i.e., Finale etc.) in the setting. Special topics include starting and music classroom and teaching composition building jazz programs, and jazz for younger and music theory at the secondary school students. level, as well as digital/audio recording. This Prerequisites: four semesters of Ensemble is a TI:ME Level II course. Open to majors only.
192 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 193 MUED 523 MUED 541 MUED 600 Music Pedagogy VI Vocal/Choral Student Teaching Seminar - Historical Foundations of Music 2 credits, 2 hours Elementary Education Study of pedagogical issues and approaches 1 credit, 1 hour 3 credits, 3 hours for music instruction in vocal/choral music. Discussion and analysis of field experiences, An intensive reading course in the history of Topics include voice theory, vocal production, special workshops and field trips. Continuing educational thought and practices in music teaching methods, and instructional materials development and refinement of skills in education in the United States from the in K-12 settings. The physiology of the voice reflective practice is emphasized as well as the Colonial Period to modern times. Student will is studied with reference to principles of needs of special learners. develop a basic understanding of the historical choral singing. Special problems of the child Prerequisite: MUED 540 roots of Music Education in America and var- and adolescent are considered. ious movements, philosophies, and events that Open to majors only. MUED 542 have had an impact on it. These movements Student Teaching - Secondary and philosophies will be analyzed in terms of MUED 530 4 credits, hours vary their impact and effectiveness and why some Conducting and Rehearsal Taken in a cooperating school, the internship have succeeded where others failed. An anal- Techniques: Elementary and Middle represents full-time employment equivalency ysis of ideas and events will reveal historical School under the mentorship of a certified music cycles, socio-political ramifications, and peri- 3 credits, 3 hours teacher. It is intended to provide practical odic reintroduction/revision of previous ideas Continued refinement of conducting skills experience in which the intern is integrated and approaches. Current trends in American developed in MU 454 Basic Conducting with into the program, assuming professional-level music education will be analyzed though the application to performing ensembles in the responsibilities and experiences. A university use of historical perspective. Students will elementary and middle grades. Age-appro- supervisor observes, advises, facilitates the also develop basic historical research and priate rehearsal techniques are emphasized relationship between the mentor and intern, reporting skills. along with rehearsal planning, score study and and assesses the student during the internship. Open to School of Music graduate students only. analysis, repretoire evaluation and selection, Prerequisites: MU 552, MU 554, MU 555 and assessment and reflection skills. Special Corequisites: MU 559 MUED 601 topics include recruitment of performers and Philosophical Foundations Of Music scheduling lessons. MUED 543 Education Open to majors only. Student Teaching Seminar: 3 credits, 3 hours Secondary An intensive reading course in the philo- MUED 531 1 credit, 1 hour sophical basis of music education. Emphasis Conducting and Rehearsal Discussion and analysis of field experiences, is placed on how one’s philosophic perspec- Techniques: High School and special workshops and field trips. Continuing tive informs and molds praxis with particular Community Ensembles development and refinement of skills in application to the curriculum and instruction 3 credits, 3 hours reflective practice is emphasized as well as in school music. The course moves chrono- Continued refinement of conducting skills certification, job searching, and career devel- logically from the roots of Philosophy in developed in MU 454 Basic Conducting with opment, and instrument repair. Ancient Greece to today, but most emphasis is application to secondary school and com- Prerequisite: MUED 542 placed on 20th and 21st century thought and munity-based adult performing ensembles. movements in American education. Students Appropriate rehearsal techniques are empha- develop a basic understanding of the philo- sized along with rehearsal planning, score sophical perspectives of Music Education in study and analysis, repertoire evaluation and America and various movements, philoso- selection, and assessment and reflection skills. phies and events that have had an impact on Special topics include issues related to pro- it. Student becomes familiar with the basic gram development and management. schools and terminology of philosophy needed Open to majors only. to be able to think about and discuss philo- sophical issues in music, education, and music MUED 540 education. Current trends in American music Student Teaching - Elementary education will be analyzed from a philosoph- 4 credits, hours vary ical perspective. Students will develop basic Taken in a cooperating school, the internship philosophical research and reporting skills. represents full-time employment equivalency Open to School of Music graduate students only. under the mentorship of a certified music teacher. It is intended to provide the practical experience in which the intern is integrated into the program, assuming professional-level responsibilities and experiences. A university supervisor observes, advises, facilitates the relationship between mentor and intern, and assesses the student during the internship. Prerequisites: MU 550, MU 551, MU 554 Corequisite: MU 558
194 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 195 MUED 602 PF 203 Sociological Foundations of Music Media Arts Portfolio Documentation Education 1.5 credits, 3 hours 3 credits, 3 hours The use of photography to create a portfolio of An intensive reading course in the sociology Photography/ artwork, exhibitions, and installations is nec- of music education’s role in society. Students Film/Digital Video/ essary for artists in all visual media. Students will develop a basic understanding of the will learn how to photograph two- and three- sociological functioning of music in society Animation dimensional artwork in a studio setting and and how education in music should, but often on location. Instruction addresses a wide does not, meet the greater society’s needs. range of issues including: artificial and natural Socialization in performing groups, group PF 125 lighting, film-based and digital camera opera- identity, and sociology of schools will be Freshman Photography tion, image processing techniques, and output studied. Current trends in American music 1.5 credits, 3 hours options. By participating in lectures, demon- education will be analyzed from a sociological An introduction to fundamental techniques strations, field trips and shooting assignments, perspective. Students will also develop basic used in black-and-white photography, students acquire the skills necessary to create sociological research and reporting skills. including camera operation, developing and a coherent visual portfolio of their work. Open to School of Music graduate students only. printing. Lectures and presentations on the Prerequisites: FP 111 or FP 121 technical aspects of photography as well as MUED 603 the creative and conceptual aspects related to PF 209 Curriculum and Assessment in Music the field. Demonstrations on the production of Photography for Illustrators Education photograms and pinhole images, the use of the 3 credits, 6 hours 3 credits, 3 hours copy stand and slide film, mural printing and a This course introduces Illustration Majors to The course covers the development, writing brief description of different camera formats. the fundamental techniques used in black- and evaluation of curriculum as a dynamic Open to all students. and-white photography, including camera interactive process based on research. operation, developing, and printing, as well Students develop curriculum writing and eval- PF 127 as photographic digital imaging. Emphasis is uation skills through critical review of various Freshman Animation placed on film selection and lighting for both curricula, analyses of curriculum models and 1.5 credits, 3 hours the studio and environmental shooting. The developing their own curricula. Measurement An introduction to the basics of animation, fundamentals of PhotoShop are employed and assessment of learning, which is the cru- with an emphasis on the development of for digital image manipulation. Lectures and cial dynamic element in curricula, is covered storytelling capabilities. Inventive studio projects are designed to provide the tools in depth. Upon completion of the course projects explore production techniques used necessary for illustrators who wish to use pho- students should be able to critically analyze both in experimental and character animation. tography in their work. curricula, design curricula, and develop In addition, an historical overview is provided Open to Illustration Majors only. appropriate assessment tools for various music through film screenings and group discussion. Prerequisite: FP 111 or FP 121 learning situations. Open to all students. Open to School of Music graduate students only. PF 210A PF 128 Introduction to Film Freshman Film 3 credits, 6 hours 1.5 credits, 3 hours A hands-on introduction to the principles and A short survey of film and video production, techniques of media production: shooting with an emphasis on the discussion of the 16mm film, developing a sensitivity to the artistic possibilities inherent in this medium. nuances of movement, understanding lighting Topics will cover elements of narrative, the and exposure, composition, and the logic of poetics of film, (early historical experiments, editing. We will also survey the historical and dream form, and visionary film), the docu- aesthetic development of the medium in order mentary idiom (propaganda, social analysis, to expand the students’ sense of the possibili- and political activism), video as an art form ties of the medium. (technology, fine art video, and performance Prerequisite: FP 121 art), and kinetic design in the commercial sector (text and moving image design, and kinetic structure in television commercials). Students will write two short papers and pre- pare a treatment for a work in film or video. Studio assignments concentrate on storyboard development and group shooting projects. Open to all students.
194 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 195 PF 210B PF 212B PF 219 Introduction to Film/Digital Video Introduction to Animation II Character Layout and Design 3 credits, 6 hours 3 credits, 6 hours 3 credits, 6 hours This course offers an introduction to the basic Students are introduced to under-the-camera Designing characters, backgrounds, pans, and practices of digital video editing and further animation using varied mediums such as pup- creative camera moves for the animated scene. creative exploration of the art of moving pets, cut-outs, and painting-on-glass. A final Design styles and techniques are explored for images. Students perform timing, staging project is created using one or more of the their potential in developing a wide range of and blocking exercises to develop a feel for techniques explored during the semester. character types, traits, moods, personalities, direction, experiment with more advanced Prerequisites: PF 212A or PF 210A and attitudes. Students learn to lay out scenes film strategies, learn to edit digital video, and around character action, work with camera investigate relationships between sound and PF 216 fields, deal with issues of composition and image. A final project integrates these explora- Computer Animation I perspective, and to create moods through tions creatively. 3 credits, 6 hours layout. A final project requires the develop- Prerequisite: PF 210A This introductory course develops the stu- ment of an “Animator’s Bible,” a production dent’s understanding of digital movement and workbook, for the student’s personal film PF 211A imaging through animation exercises using portfolio. Introduction to Photography I a variety of 2D software programs on the PC Prerequisite: PF 212A 3 credits, 6 hours platform. No previous computer experience is Introduction to basic concepts, processes, and required. PF 220 techniques of black-and-white photography, Open to all students. Introduction to Documentary including camera operation, exposure, dark- Photography room procedures, lighting, and their controlled PF 217 3 credits, 6 hours applications of these techniques. Emphasis is Color Concepts Introduces students to documentary photog- upon the normative standard of photographic 3 credits, 6 hours raphy as it exists in the digital age. Topics rendering. Prerequisite for all upper-level Introduction to methods of color shooting covered include the history of documentary Photography courses. and printing, leading to an exploration of the photography, 35mm camera operation, digital Prerequisites: FP 111 or FP 121 technical and creative possibilities of color camera operation, and the ethical, legal, and in photography. Processes covered include strategic issues of contemporary journalism. PF 211B negative and transparency films, filtration, Students create documentary photographic Introduction to Photography II chemical printing, and digital color controls projects utilizing both traditional and digital 3 credits, 6 hours with PhotoShop. photographic techniques. While consolidating the student’s control Prerequisite: FP 121 Prerequisites: FP 121 or MM 110 of the medium, this course introduces the student to a departure from normative pho- PF 218 PF 310A/B tographic rendering, techniques, and modes Creative Sound Junior Cinema Production I, II of expression and form. Strong emphasis on 3 credits, 6 hours 3 credits, 6 hours each manipulation of materials, including tradi- Exploration of the creative use of sound as a Film production class emphasizing independent tional photographic methods as well as an primary artistic medium. Topics include sound filmmaking techniques and concepts. Students introduction to computer-manipulation. and hearing, microphones and recording, tape explore cinematic ideas through structured Prerequisites: PF 211A, PF 209 or PF 220 editing and manipulation, sound aesthetics and personal filmmaking assignments that and production styles, voice and narration, emphasize keen visual thinking, story develop- PF 212A signal processing and sound manipulation, and ment, and an understanding of film form and Introduction to Animation I production formats. Through audio production film language. Students are taught professional 3 credits, 6 hours projects, students gain insights into new ways lighting, 16mm sync sound camera technolo- Through a series of drawn exercises concen- of using sound, both on its own and with other gies, editing and sound track strategies, and trating on timing and movement, the student media. laboratory procedures. Students also view and acquires a basic understanding of animation. Prerequisite: FP 121 analyze significant films. Sound is introduced for the final project, PF 310A Prerequisite: PF 210B which consists of a short animated film shot PF 310B Prerequisite: PF 310A on 16mm film using the Oxberry camera. Prerequisites: FP 110 or FP 120 PF 311A/B Junior Photography Workshop 3 credits, 6 hours each Exploration of photographic imagery through a series of problems aimed at personal vision and creative growth. PF 311A Prerequisite: PF 211B PF 311B Prerequisite: PF 311A
196 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 197 PF 312A PF 315 PF 323 Junior Animation Workshop I Digital Photography Workshop Selected Topics in Photography 3 credits, 6 hours 3 credits, 6 hours 3 credits, 6 hours This course focuses on the creation of a per- Concentrates on the production of creative Study of one or more various media, methods, sonal, one-minute animated piece, starting digital photography; students are encouraged or problems in still photography to be offered from initial conception and ending with final to experiment with new tools and techniques. according to the instructor’s interests and output to digital or film media. Stages in the Film and print scanners, CD-ROM discs, and students’ requests. Topics include: portraiture, production cycle include storyboarding, ani- digital cameras are used to produce images documentary photography, digital imaging, matics, animation, inking and painting, sound that are critiqued on the basis of both technical color manipulation, photographic illustration, image editing and final output. proficiency and aesthetic accomplishment. and photo-based mixed media. Prerequisites: PF 212A, PF 212B Portfolios are printed on digital output Prerequisite: PF 211A machines, silver-based photo materials, and PF 312B four-color offset. Frequent readings, lectures, PF 324 Junior Animation Workshop II and site visits expand the ongoing studio Film Forum: Selected Topics 3 credits, 6 hours experience. 3 credits, 6 hours Continuation of PF 312A, Junior Animation Prerequisites: PF 217, PF 211B Concentrated study of a particular area of Workshop I. This courses is devoted to the film, video, or animation. Courses deal with creation of a short piece directed toward a PF 316 specific issues and have included: film theory; client, actual or hypothetical, the creation of a Computer Animation II seminars in sound; media, theater, and per- portfolio in traditional, website or DVD form, 3 credits, 6 hours formance; history of video art; and history of and a series of exercises aimed at refining This course builds upon the students’ under- animation. previous knowledge of animation movement standing of 2D computer animation principles Prerequisites: PF 210B or PF 212B principles. and introduces and immerses them in the 3D Prerequisite: PF 312A digital animation world. Modeling, texturing, PF 325 and character animation are explored using Sound Design and Technology PF 313A industry-standard software and hardware. 3 credits, 6 hours Basic Photography Studio I Prerequisites: PF 216, PF 322 or MM 222 A hands-on exploration of various technical 3 credits, 6 hours materials and procedures that complement the Familiarizes the student with the tools, tech- PF 320 animator’s production skills, including video niques, and language of studio photography. Synch-Sound for Narrative Film editing, analog and digital sound mixing and Entails extensive use of the 4llx5ll view 3 credits, 6 hours processing, film editing and soundtrack prepa- camera. Deals exclusively with black-and- Students in this course will explore creative ration, Oxberry Animation Stand use, and white materials—sheet film exposure, hand sound design in finished films with instruc- computer image compositioning techniques. processing, and printing large-format nega- tion and practice in the use of sound recording Prerequisite: PF 212B tives. equipment, sound transfers, building and Prerequisite: PF 211B editing multiple synchronous sound tracks, PF 326 and preparing for the sound mix. Students Advanced 3D Computer Animation PF 313B work in groups to create and complete a five- 3 credits, 6 hours Basic Photography Studio II minute sync sound film that incorporates the An exploration of the aesthetic and technical 3 credits, 6 hours concept of “sound design.” possibilities of using 2D and 3D modeling Continuation of PF 313A. This course furthers Prerequisite: PF 210B and animation software as a means of creating the students’ familiarization with the tools, character and graphic animation. Through a techniques, and language of studio photog- PF 322 series of exercises, students learn advanced raphy and entails extensive use of the 4llx5ll Experiments in Advanced Digital 3D modeling, lighting, texturing, rigging, and view camera. This semester covers the intro- Video character animation. duction of color transparency films and strobe 3 credits, 6 hours Prerequisite: PF 316 lighting. An intermediate-level course in digital audio Prerequisite: PF 313A and video production. In the context of screen- ings and readings drawn from the history of experimental media, students will learn to use various digital and optical strategies to approach a variety of thematic issues. This course is a venue for the production of short, aesthetically energized works for a variety of screening environments, and encourages col- laboration with Dance and Music majors. Prerequisite: PF 210B
196 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 197 PF 327 PF 332 PF 335 Moving Art: Animation Theory and Video and Animation Technology Photojournalism Production 3 credits, 6 hours 3 credits, 6 hours 3 credits, 6 hours This course will introduce students to princi- This course covers basic photojournalism with The aesthetics of animation and how the ples of animation and the variety of means of a focus on the picture story. Choice of subject design and structural elements of frame-by- recording and manipulating live action media will depend on the students’ individual style frame filmmaking have evolved over time. and the conceptual possibilities available of photography and their point of view. The Analytical, theoretical, production, and through these means. We will be examining class is built on an intensive shooting schedule historical approaches will be brought to bear the technical and aesthetic principles of off- emphasizing photographic composition, in the study of animation principles and their line digital video post-production, sound regular feedback, and the use of appropriate development over time. processing and mixing, and non-linear digital equipment. The class will cover selecting Prerequisite: PF 212B editing. Principles of animation movement story ideas, picture editing, writing captions (squash and stretch, cycles, metamorphosis, and preparing text-blocks to accompany PF 328 etc.) will be explored through 2D computer photographs, and business aspects of the field Selected Topics in Animation animation exercises. such as how and where to sell or publish work. 3 credits, 6 hours Open to Multimedia majors only. Prerequisite: PF 211A An exploration of media used in anima- tion. The content of each course offering PF 333 PF 336 will reflect the professional interests of the Advanced Digital Photo Workshop Fashion and Editorial Portrait instructor. Topics have included clay and 3 credits, 6 hours Photography puppet animation, character layout and design, The study of advanced photo imaging tech- 3 credits, 6 hours each and experimental techniques. niques. Through a series of problem-solving This course explores the real world of fashion Prerequisite: PF 212B assignments, students are expected to develop and editorial photography. Students will learn strong digital shooting, scanning, color to present both themselves and their work PF 330 management, and printing skills as well as professionally. They will visit professional Clay and Puppet Animation competency in advanced PhotoShop tech- studios and will, on occasion, collaborate with 3 credits, 6 hours niques. A final portfolio of a series of creative art directors. They will learn to interpret and The technique of animating handmade three- images is a course requirement. execute assignments dealing with deadlines dimensional characters. Topics include puppet Prerequisite: PF 315 and other restrictions posed by commissions. construction (clay and mixed media), set Photographers, art directors, and studio design and construction, and lighting. The PF 334 assistants are invited into the class. Emphasis history of puppet animation is also studied Surface Altered Photographs will be placed on expanding and maintaining through film screenings and lectures, with a 3 credits, 6 hours personal vision in a commercially oriented special emphasis on European filmmakers and A concentration on the fundamental ideas context. nonverbal storytelling. and techniques for altering the surface of Prerequisite: PF 211B Prerequisite: PF 212A photographic prints, the emphasis is on one-of-a-kind prints, mixed media, and non- PF 410A/B PF 331 traditional materials. Techniques and materials Senior Cinema Production I, II Image and Performance covered include: traditional hand-coloring (oil 3 credits, 6 hours each 3 credits, 6 hours paint, watercolor, acrylic, pastel, pencil, liquid Each student produces an independent thesis For artists and performers of all disciplines. dyes), toning and bleaching, graphic arts film, film. An intensive cross-disciplinary workshop Polaroid transfer, photo-copier transfer lifts, Open to majors only. in which the students create their own short liquid emulsion, tin-types, and the preparation PF 410A Prerequisite: PF 310B performance works using fusions of video, and painting of digital prints. Assignments, PF 410B Prerequisite: PF 410A animation, dance, motion, and sound to a research paper, slide lectures, and critiques explore the interactions between visual media center on creative possibilities, technical pro- PF 411A/B and the performing arts. ficiency, and the development of increasingly Senior Photography Workshop Open to College of Art and Design and College of more personalized visual and photographic 3 credits, 6 hours each Media and Communication students only. statements. Continuation of PF 311A/B Junior Workshop. Prerequisite: PF 211A Students work on long-term individual proj- PF 331X ects or solve short-term problems to develop Image and Performance technical, aesthetic, and conceptual mastery of 1.5 credits, 3 hours the medium. Meets with PF 331 Open to majors only. Open to students in the College of Performing Arts PF 411A Prerequisite: PF 311B Prerequisites: TH 150A, TH 115A, DA 116A, PF 411B Prerequisite: PF 411A MU 772, MU 764 or MU 774 May be taken three times for credit.
198 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 199 PF 412A/B PF 424 Senior Animation Workshop Time: A Multidisciplinary Seminar Printmaking/ 3 credits, 6 hours each 3 credits, 3 hours Book Arts Directed independent production of a short The concept of Time considered from a film project in an idiom of the student’s multidisciplinary perspective, drawing on choosing; additional production of a VHS readings in philosophy, literature, psychology, PR 102 video portfolio composed of several short sociology, and film theory. Relevant works Freshman Screenprinting animated sequences that students will be able in film and video are screened. Students are 1.5 credits, 3 hours to use when applying for work as either free- responsible for a final term paper that inter- An introduction and investigation of various lance animators or for employment with an relates two or more of the readings with one of stencil methods, based on three primary types animation company. the screened works. of screen stencils—cut paper, blockout/resist, Open to majors only. Prerequisites: PF 310B or PF 312B and photo emulsion, using water-based PF 412A Prerequisite: PF 312B inks on both paper and fabric. Emphasis on PF 412B Prerequisite: PF 412A PF 499 the acquisition of personal expression and Internship technical skills, within the capabilities of PF 413 3 credits, 90 hours/semester screen-printed opaque and transparent colors, Professional Practices Internship program in which the student, and the use of editions in collaborative class 3 credits, 3 hours working closely with the Media Arts image exchange. Additionally, the various Study of the practice of professional pho- Department internship advisor, is placed media unique to Printmaking are shown and tography, with attention to various career in one of several professional situations. discussed, to introduce the beginning student opportunities, portfolio presentation, business Placements include assisting in professional to the wide possibilities of expression inherent practices, professional ethics, photographic studios, practice in biomedical photography in Printmaking. law, and personal objectives. A variety of pro- laboratories, and working for commercial and Open to all students. fessional guests visit the course. non-profit galleries, among others. Placements Prerequisites: PF 311A or PF 313A in film and animation are sponsored by local PR 103 independent production houses and televi- Freshman Etching PF 415A sion stations, design firms, and free-lance 1.5 credits, 3 hours Critical Issues in Photography artists; students of film may assist in location This printmaking course will introduce the 3 credits, 6 hours shooting, set production, editing, casting, hands-on process used on metal plates to Concentrated study of the concepts of photo- scripting, and a myriad of other practical create images with line, tone, and texture. graphic criticism. Extensive reading, writing, tasks. Color and monochromatic idea development and discussion of contemporary photographic Open to majors only. is encouraged in this print medium that is a literature, exhibitions, and trends is required. Prerequisites: PF 211B, or PF 212B, or PF 210B favorite of historic and contemporary artists. A The course is an in-depth examination of the May be taken two times for credit. class portfolio of prints will be exchanged by photographic medium from an historical and the participants. critical viewpoint. The course requires field Open to all students. trips to galleries and museums, and attendance at visiting lecture events to place current PR 200 trends in photography in a critical context. Relief Printing Prerequisite: PF 311A 1.5 credits, 3 hours This course offers an introduction to basic PF 415B relief printing methods, including: linoleum Senior Photography Seminar II cut, woodcut, and collograph. Black and white 3 credits, 6 hours and color will be explored. Both printing by Analysis and study of contemporary pho- hand and printing on an etching press will be tographic practices and trends. Extensive introduced. Special emphasis will be placed reading, writing, and discussion with atten- on personal expression. tion to current showings and exhibitions is Open to majors only. required. The course requires field trips to galleries and museums, and attendance at vis- PR 201 iting lecture events to place current trends in Relief/Monotype photography in a larger historical and critical 3 credits, 6 hours context, and to assist students in placing their Introduction to the graphic and expressive own work within the cannon of photographic qualities of woodcut, linoleum, and collograph expression. processes printed in monochrome and color. Prerequisite: PF 415A Monoprinting ideas from direct drawing and painting on plexiglass and metal plate are also explored. Open to all students.
198 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 199 PR 202 PR 222 PR 301 Screenprinting Nonsilver Printmaking Process Printmaking Workshop 1.5 credits, 3 hours 1.5-3 credits 1.5 credits, 3 hours Introduction and investigation of stencil Students are introduced to the basic tech- A continuation of the development of skills methods in screenprinting with water-based niques of non-silver by building images in in all media such as relief, intaglio, and inks. Idea development and acquisition of color with layers of brushed-on light-sensitive screenprinting by concentrating on one or visual skills in expression in color, line, and emulsion. Light-resists can range from pho- any combination of them including non- form through drawn, photographic, or com- togram objects to drawings and paintings, to printmaking methods in portfolio format. puter-generated stencil processes. film or paper negatives. Processes covered are Investigation of the combination of media, Open to all students. Vandyke brown, cyantype, gum bichromate including three-dimensional forms and unorth- and palladium. odox uses of materials and techniques, with an PR 204 Open to all students. emphasis on integration included. Screenprint/Etching Prerequisites: PR 201, PR 204 3 credits, 6 hours PR 223 The graphic qualities of expression in screen- Bookbinding Methods PR 306A printing and etching/intaglio are presented 1.5 credits, 3 hours Print Study Seminar I through historic and contemporary examples A workshop class familiarizing the student 1.5 credits, 3 hours and demonstration of the methods, which with the characteristics and handling qualities Students meet at the Philadelphia Museum convey ideas in these two media. Various of materials used in various book structures. of Art in the Print Study room to discuss and stencil processes from direct-drawn to photo- Structures covered include pamphlet binding, study original prints and rare books from graphic and computer-generated are explored multi-signature books, clamshell boxes, the museum collection. Masters of the 15th in screenprinting with water-based opaque and portfolios, accordion structures, and oriental through the 18th centuries are introduced and transparent inks. Handwork on the metal plate binding. Emphasis will be placed upon both researched. Various print processes that par- includes drawn drypoint, etching, and tonal the use of conservationally sound materials allel the material covered in the course will be processes. Emphasis is placed on the under- and the use of these structures as vehicles for researched in the printmaking studios. standing of the qualities of these methods and the students’ creative expression. Open to majors only. development of personal ideas through their Open to all students. combination. PR 307 Open to all students. PR 224 Book Arts: Concept and Structure Book Arts: Structures 3 credits, 6 hours PR 207 1.5 credits, 3 hours An opportunity to explore the integration of Papermaking Historical book forms serve as models as type and relief image in unique and editioned 1.5 credits, 3 hours well as a departure point for innovative new book structures. Hands-on experience in Through slide lecture/demonstrations and work. Students are made familiar with tra- dealing with composition (metal) type and films, this studio course introduces students to ditional binding techniques, encouraged to computer typesetting is on an intermediate all aspects of traditional Western and Japanese explore new applications and to experiment by level. Methods of relief printing will be papermaking techniques including pulp combining images and text into unique book explored and cultivated. Wood engraving, preparation, sheet formation, pressing, and structures. Among the sculptures presented photopolymer relief, color reduction printing, drying sheets. Students learn refined, profes- are signature binding, Japanese binding, and related traditional and contemporary sional methods as well as explore the creative accordion structure, pop-up structures and methods of multiple image making will be versatility of pulp. Classes include: casting tunnel books. May serve as a follow-up pursued. Special emphasis on development of three-dimensional objects and bowls, building course for those who have completed PR 223 a personal visual language. subtle relief images in colored pulp and Bookbinding Methods. Open to all students. painting with pulp. Various fibers explored Open to majors only. throughout the semester include unique ones PR 308 made from garden vegetables and indigenous PR 300 Advanced Lithography plants. Lithography 3 credits, 6 hours Open to all students. 3 credits, 6 hours Opportunity for further investigation and All of the basic techniques of drawing, image- development of lithographic image making, PR 211 making and printing skills that are necessary including photographic techniques and mul- Etching/Monotype to produce hand-pulled, black-and-white ticolor printing. Editioned prints of greater 1.5 credits, 3 hours lithographs from stones and plates will be scope and complexity are undertaken, consis- Individual expression with the graphic quali- experienced. An emphasis will be placed on tent with the students’ interest and experience. ties of etched and directly drawn ideas created visual expression and development of ideas Prerequisite: PR 300 on the metal plate by hand or acid etching in through group discussions and critiques. color and monochrome. Processes also include Open to all students. printing from drawing and painting directly on plexiglass and metal plate with oil and water- based materials. Open to majors only.
200 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 201 PR 322 PR 400 PR 421 Advanced Non-Silver Advanced Workshop Collaborative Printmaking 1.5-3 credits 3 credits, 6 hours 1.5-3 credits Opportunity for continued development of Students continue to develop their ideas, Involvement in the business, technology, and image and skills in combinations of non-silver images, and technique while establishing experience of printing limited editions for processes. their direction and personal original expres- faculty, student, or professional artists through Prerequisite: PR 222 sion. The workshop atmosphere permits a guidance of the artist in preparation of the comfortable handling of all procedures and idea, then proofing and printing the edition. PR 326A printmaking processes. Students are encour- Advanced students only; demonstration of Offset Lithography aged to be involved with adjacent expressive mark-making and editioning abilities. 1.5-3 credits means such as drawing, painting, sculpture, Open to non-majors with permission of Department/ Develops skills in image preparation and photography, and crafts in combination with Instructor. printing techniques using offset lithography. printmaking. An emphasis placed on personal imagery. Prerequisite: PR 301 PR 425 Hand-drawn, photographic, and digital Book Production methods of image making are investigated. PR 406 1.5-3 credits Open to all students. Print Study Seminar II This advanced course will focus on the devel- 1.5 credits, 3 hours opment and production of a printed book or PR 327 The historical and conceptual context of portfolio of works: design and formatting Advanced Offset Lithography prints, portfolios and book arts of the 19th and of a publication including investigation of 1.5-3 credits 20th centuries are studied at the Philadelphia sequence, page design, and binding possibili- Students will have the opportunity for a con- Museum of Art. Written and printed expres- ties; hands-on experience in the preparation tinued investigation of offset lithography and sion of the ideas and processes involved are of images for press production, pre-press an advanced project. integrated into this course of study. techniques; and assisting the Master Printer Prerequisite: PR 326A Open to majors only. in the printing. All work is produced in the Borowsky Center for Publication Arts, the PR 333 PR 412 University’s state-of-the-art offset lithography Attitudes and Strategies: Digital Printmaking facility. Students may choose to collaborate on Printmaking 3 credits, 6 hours projects or work independently. 3 credits, 6 hours This course offers the students an opportunity Open to non-majors with permission of Department/ While the first semester of this course con- for continued investigation into etching and Instructor. centrates on general issues of contemporary waterbased screen-printing on an advanced artists’ practice, it continues in the second level both in terms of technical understanding semester with a focus on the printmaker’s and the development of imagery. The world. The student creates many prints emphasis will be on the integration of idea and exploring a variety of printmaking methods. process. Graduate students may register for Drawings to clarify the direction that a pos- this course under PR 613. sible later series of prints might take are Open to majors only. another expectation as well as completed drawing projects. Students should take at least PR 420 one area of printmaking and develop technical Thesis Workshop skills beyond elementary proficiency. All three 3 credits, 6 hours mediums: relief, intaglio, and planographic Offers the student the opportunity to develop a are to be used in making prints this semester. body of work in preparation for portfolio and Combining methods, particularly for the addi- exhibition presentation. An emphasis is placed tion of color, is urged. on the development of ideas and content of Prerequisites: PR 204, PR 201 individual student’s work, which is supported by a series of individual and group critiques, by faculty and visiting artists. The student is expected to participate in group exhibitions as well as a solo exhibition and to present a professional portfolio of work. Prerequisites: PR 201, PR 204, PR 300
200 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 201 MFA in Printmaking/ PR 610B PR 623A/B Books Arts Studio: Projects Bookbinding Book Arts 3 credits, 6 hours 1.5 credits, 3 hours This course deals with the structure, form, Basic book structures are explored in the first PR 500 and production of the narrative reflecting the semester with emphasis on sound conserva- Graduate Papermaking artist’s voice. The focus will be on developing tion techniques and good craftsmanship. In the 3 credits, 6 hours skills and techniques to create a cohesive body second semester historic book structures serve Graduate papermaking is an advanced studio of work. as models and departure points for innovative course based on the in-depth involvement with Open to majors only. bindings. handmade paper as a creative artistic medium. Prerequisite: PR 610A Open to majors only. Digital slide lectures and demonstrations on Western and Japanese pulp preparation, sheet PR 611 PR 626 formation, and pressing and drying techniques Non-Toxic Printmaking Methods Offset Lithography will be presented. Students will create papers 3 credits, 6 hours 1.5-3 credits and images using a variety of handmade pulps A range of printmaking media using non- Offers the student hands-on experience with and fibers. Book structures unique to the toxic processes and materials. Designed for offset lithography as an artist’s medium. The handmade paper process and the creation of graduate students who are experienced art- primary focus is on the creation of personal the unique papers specifically for prints and ists with an understanding of their personal imagery (photographic and/or hand-drawn) books will be presented. Students will engage imagery and approach to visual expression, for prints and books. The course enables in individual projects utilizing this exciting but who are not necessarily proficient print- students to take advantage of state-of-the-art medium to enhance their artistic development makers. Students will be offered a number of production methods and develop skills in as well as broaden and enrich their educational solutions to working in the studio, solvent and photomechanical processes, platemaking, and goals. acid free. Topics covered will include intaglio color printing. Open to non-book arts majors with permission of (using water process photographic plates) Open to majors only. Department/Instructor. drypoint, relief, collograph, monotype, and screenprinting. PR 700A/B PR 600A Open to all students. Colloquium.: Professional Practices Colloquium: Text & Image 1.5 credits, 3 hours each 1.5 credits, 3 hours PR 612A/B Professional practices and issues related to the An understanding of language and verbal con- Book Arts Studio: Letterpress fields of printmaking and book and publica- structs will enable the individual to explore 3-4.5 credits tion arts are explored through discussions, the relationship between text and imagery in A series of studio courses exploring con- lectures, and field trips in the first semester. their work. Emphasis is placed on the individ- ceptual concerns intrinsic to the creation of In the second semester the course focuses ual’s personal vision throughout the program’s a book. The student learns to incorporate on the completion of the individual’s written course of study. calligraphic, handset, or computer-gener- thesis requirements. Each thesis candidate will Open to Book Arts Majors only. ated letterforms with images in unique and prepare a resume and an artist’s statement, and editioned books. Emphasis on proficiency in present a slide lecture that will be placed on PR 600B process and the creation of a personal visual record in the University Library. Colloquium: History of the Book language. Focus on achieving a strong founda- Open to majors only. 1.5 credits, 3 hours tion in technical and conceptual skills. Hands-on study of rare books and manuscripts Open to majors only. PR 710A/B form antiquity to the present with discussions MFA Thesis Studio: Projects Tutorial dealing with their structural, historical, and PR 613 3 credits, 6 hours artistic significance. The class meets at the Digital Printmaking In conjunction with the faculty advisor, the Library Company of Philadelphia with field 3 credits, 6 hours MFA candidate develops an individual course trips to local special collections. This course of study offers students an of study and defines the project. The evolution Open to Book Arts Majors only. opportunity for continued investigation into of ideas and imagery is encouraged through Prerequisite: PR 600A etching and water-based screen-printing frequent faculty critiques. on an advanced level both in terms of tech- Prerequisite: PR 610B PR 610A nical understanding and the development of Book Arts Studio: Color/Mark imagery. The emphasis will be on the integra- PR 711A 3 credits, 6 hours tion of idea and process. Thesis Studio Provides the student with a broad range of Meets with PR 412. Graduate students are 3 credits, 6 hours image-making approaches. Personal imagery required to meet with the instructor prior to A continuation of book and printmaking proj- will be investigated through various print- the start of class to determine and outline the ects is combined with related visual concerns making and drawing techniques. nature of the requirements to be met, and the in preparation for the required MFA Thesis Open to all students. quality of the work expected of them. Exhibition to be presented during the final Open to all CAD graduate students. semester. May be taken twice for credit. Prerequisite: PR 610B
202 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 203 PR 711B PT 225 Thesis Studio: Thesis Exhibition Painting/Drawing Figure Drawing 3 credits, 6 hours 1.5-3 credits The faculty advisor and the student’s Thesis PT 101 Students work from the clothed and nude Committee advise the student through the Freshman Painting model and are introduced to the range of thesis exhibition process. 1.5 credits, 3 hours approaches relevant to the act of direct obser- Prerequisite: PR 711A An introduction to the decisions, general vation. This course encourages the students methods, and problems pertaining to the act to clarify what they are looking for when they PR 723A/B are drawing the human body. Proportion, Bookbinding of painting. Students will be introduced to oil painting with both still life and figure subject anatomy, psychology, posture, kinetics, 1.5 credits, 3 hours matter. Technical instruction will be given weight, volume, tactility, and environment Continued investigation of the book structure to allow the student to focus on the broad are a few of the considerations that have an at an advanced technical level. Individual imagery possibilities in painting. This class impact on the diverse ways in which figure attention to developing creative solutions to will introduce and encourage the student in the drawings can be made. Prerequisites: FP 111, FP 121 support book content will start in the first use of oil and acrylic. We will work from set- May be taken twice for credit. semester. Through critiques and individual ups and models and, when weather permits, instruction the second semester will be landscapes. PT 226 devoted to developing structures that support Open to all students. thesis work. Abstract Drawing Prerequisite: PR 623B PT 202A/B 3 credits, 6 hours Sophomore Painting An assignment-critique format, which exam- 3 credits, 6 hours ines the nature of abstraction in the context Studio work introduces the student to the of drawing disciplines. Options in media, domain of painting through projects that cover tools, methods, and formats are considered in not only the basic elements of form, color, relation to the purposes of a given project. In and technique, but also the basic conceptual general, abstraction calls for an appreciation challenges unique to painting. Students of the intrinsic properties of the materials used are exposed to the origins and purposes in a work, the formal characteristics of tool- of painting and the range of possibilities markings, and the significance of pictorial offered by both traditional and contemporary structures. Prerequisites: FP 111, FP 121 approaches. Prerequisites: FP 111, FP 121 May be taken twice for credit.
PT 211 PT 227 Painting Studio Figure Painting 1.5 credits, 3 hours 3 credits, 6 hours A general study of painting subjects, such as Painting projects that develop awareness of the still life, landscape, the city, the human the many issues to be considered in creating figure, and its environs. This course usually forms that may represent the human being. will include a subtitle, such as Figure in the Working from the live models as well as from Landscape, which defines the thematic basis other visual sources, including those of pho- for the studio projects. tography and fine-art masterworks, students Prerequisites: FP 111, FP 121 investigate the variety of conceptual and May be taken twice for credit. stylistic possibilities in depicting the human figure. Concerns for gesture, weight, color, PT 219 proportion, scale, apparel, portraiture, space Watercolor and light, composition and narration, can all 1.5 credits, 3 hours be a part of the circumstances in which the A course in which the preferred medium is human figure is the center of interest. Prerequisites: FP 111, FP 121 transparent watercolor, the particular char- May be taken twice for credit. acteristics of which will be explored. Both perceptual and nonperceptual approaches will be introduced. Prerequisites: FP 111, FP 121
202 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 203 PT 233 PT 245 PT 334 Landscape Painting Figure Drawing & Modeling Junior Drawing 3 credits, 6 hours 1.5 credits, 3 hours 3 credits, 6 hours Painting the traditional subjects of the land- This course is based on the concept that An advanced studio in drawing, extending scape: land, city, country, water and sky, light drawing and modeling are mutually sup- knowledge, experience, and authority in and air. An examination of how these subjects portive. Students draw from the model using drawing as a form-making act in the painting can be seen and interpreted. a variety of materials and approaches. They process and as a form of expression in its own Open to majors only. model in clay. Emphasis is placed on the right. Students will be guided through various Prerequisites: FP 111, FP 121 exploration of intentions and concepts, and the aspects of the uses of pictorial elements (line, May be taken twice for credit. development of visual perception. tonality, surface, etc.) in the making of images Prerequisites: FP 111, FP 121 that express content and meaning. References PT 236 May be taken twice for credit. to contemporary and historical sources will be Figure Composition investigated. 1.5-3 credits PT 264 Prerequisite: FA 222 A drawing course emphasizing the devel- Mixed Media opment of images using multiple figure 3 credits, 6 hours PT 340 arrangements. Assignments are designed to A diversity of drawing and painting media Color Studies foster awareness of the significance of poses and methods, including collage and construc- 1.5 credits, 3 hours and grouping relative to formal design virtues, tion, are explored, discovered, invented, and Studio group projects and independent proj- narrative, and symbolism. intermixed in order to develop a versatile rep- ects consider the purposes and effects of color Prerequisites: FP 111, FP 121 ertoire of studio skills. organization, color perception, and color May be taken twice for credit. Prerequisites: FP 111, FP 121 theory. Color is approached as emotive, sym- May be taken twice for credit. bolic, descriptive, and structural. PT 237 Prerequisite: PT 202B Representational Painting PT 269 May be taken twice for credit. 3 credits, 6 hours Collage: The Constructed Image A studio course addressing the traditional 3 credits, 6 hours PT 360 and contemporary concepts and approaches Studio projects are assigned that promote the Junior Seminar to representational images. Special emphasis development of images through the aggre- 1.5 credits, 3 hours is placed on the relation between content and gation of fragments. Collage as a principle A discussion format aimed at investigating form. Exploration in color, space, texture, of construction re-examines compositional and understanding the content of, the motiva- shape, composition, and style will be evalu- notions of unity and harmony and can involve tions for, and the influences on contemporary ated in the context of intention, aspects of the interaction of diverse and incongruous painting. Emphasis is on exploring the recognition, and precedent. Paintings will materials, methods, styles, and/or images. theories, questions, and issues that create the be generated out of direct observation of Prerequisites: FP 111, FP 121 intellectual content for contemporary artists. nature and human models as well as from the May be taken twice for credit. Students will be given reading assignments as students’ own resources. Projects may focus preparation for the seminar dialogue. Selected on contemporary prototypes (paintings since PT 302A/B texts will include artists’ documents, critical 1945), specific domains such as American Junior Painting writings, and classic essays covering such Portraiture, or paradigms from the entire 3 credits, 6 hours areas as aesthetic principles, political and lineage of East/West traditions of representa- Students maintain designated spaces in the cultural realities, and psychological perspec- tional art. Junior Studio where they can develop a tives. Class sessions will emphasize group Prerequisites: FP 111, FP 121 more professional working routine. They are discussions based on viewing slides and other May be taken twice for credit. expected to show increasing personal initia- appropriate visual material, reading assign- tive and direction. Regular critiques on both ments, and various written and oral forms of PT 238 an individual and group basis connect the stu- student presentations. Abstract Painting dent to the values of the past and the present, Open to majors only. 3 credits, 6 hours stimulate interest in the major questions of our The genesis of abstraction can be nature, an time, and provide resources for progress. This idea, or an emotion. An abstract painting is course embraces a plurality of ideas about one in which the pictorial form is primarily painting and, linked with the goals of FA 333, a product of invention and imagination. It advocates a spirit of experimentation and may or may not reflect a reality outside itself. research. Assignments investigate a range of concepts, Prerequisite: PT 202B sources, and procedures. Prerequisites: FP 111, FP 121
204 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 205 PT 402A MFA in Painting/ Senior Painting Sculpture 4.5 credits, 9 hours Drawing Critical commentary will center on four areas SC 101 of concern: 1. The character of the work—its PT 610 Freshman Sculpture Major Studio I/Painting formal properties, its physical properties, 1.5 credits, 3 hours aspects of intelligibility. 2. Intentionality— 6 credits, 10 hours An introduction to sculptural thinking and investigation of motives and choices. 3. Evaluation of the student’s artistic involve- methods using a variety of materials and pro- Context—ways that a work relates to a larger ment, projecting and testing options for the cesses, including modeling and fabrication. body of work, both generic and stylistic. 4. direction of the student’s graduate work. Form-making options are undertaken that are Quality—approaches to questions of value. Open to majors only. May be taken twice for credit. especially suited to acquaint beginning stu- There will be individual critiques each week dents with the diversity of sculptural activity. and periodic group critiques involving the par- Open to all students. ticipation of a visiting artist. PT 611 Prerequisite: PT 302B Major Studio II/Painting SC 201, SC 202 6 credits, 10 hours Sculpture I PT 402B Further exploration of the options, with Senior Painting 3 credits, 6 hours increased awareness of theoretical issues and Emphasizes the fundamental and formal 6 credits, 12 hours personal vision. Greater focus in the student’s aspects of sculpture. Projects are assigned to Continuing the structure of PT 402A, the work, with a view to refining the repertoire of help the student experience and understand Painting Major formulates a senior thesis skills and expression in the medium needed to the unique expressive values of mass, space, project. Working with senior faculty who read undertake a thesis project. Open to majors only. plane, line, balance, rhythm, scale, movement, and critique early drafts, the student develops and transformation. This course also serves to a formal written thesis and a body of artwork Prerequisite: PT 610 May be taken twice for credit. introduce the student to a variety of materials to be presented at the end of the term to a and techniques. Assigned projects, group cri- senior thesis panel. This panel is comprised of PT 710 tiques and slide lectures. studio faculty, liberal arts faculty, and student Prerequisite: FP 130 peers. Major Studio III/Painting Prerequisite: PT 302B 6 credits, 10 hours SC 220A/B Planning and initiation of a sustained body of Molding and Casting PT 451 mature work to be presented in a thesis exhibi- 1.5 credits, 3 hours Advanced Painting Projects tion following the thesis exhibition semester. Open to majors only. Covers processes and techniques utilizing 1.5 credits, 3 hours plaster, rubber, plastics, clays, and wax Painting assignments dealing with the larger Prerequisite: PT 611(477) May be taken twice for credit. for making hard and flexible molds and issues of the format and language of painting. for casting sculpture in durable materials. Students are expected to give individualized Provides a thorough foundation in foundry responses to these issues and convene in group practices, including wax preparation, critiques to discuss the results. investing, pouring bronze or aluminum, Prerequisite: PT 302B chasing, finishing, and patinating finished metal casts. Open to all students. May be taken three times for credit.
SC 241, SC 242 Introduction to Sculpture Projects 3 credits, 6 hours An open studio oriented toward helping the development of individual initiative. Stress on how ideas are transformed into sculptural statements through aesthetic reasoning and the internal logic of a sculpture’s color, material, and physical construction. Open to all students.
204 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 205 SC 251 SC 401, SC 402 SC 441, SC 442 Sculpture Since 1945 Sculpture III Advanced Projects 1.5 credits, 1.5 hours 3 credits, 6 hours 3 credits, 6 hours Lectures, discussions, projects concerning Terms like site-specific, monumental, genre, Provides a studio context where maturing self- various artists, movements, concepts, phi- narrative, emblematic, environmental, etc., initiated areas of concentration in sculpture losophies, and critical theories influencing reflect the cluster of types of sculptural can be developed to fruition on an advanced contemporary art with an emphasis on sculp- imagery. This studio-criticism course is con- level. Whatever the direction, a critical ture. Focus on the currents since 1945. cerned with the ideational and technical issues emphasis is placed through both open and Open to majors only. raised by various types of sculptural imagery devised assignments on how materials and that are assigned in turn. The relationship that forms compatible to personal statements are SC 260A/B sculptures have with the context they exist in found. Structure of the Figure and the purpose they serve is stressed. Prerequisites: SC 241 or SC 242 3 credits, 6 hours Prerequisite: SC 202 Anatomic and morphological analysis of MFA Sculpture male and female bodies for artists through SC 421 Metals a three-dimensional constructional method. SC 610 Proportions, anatomic structure, surface 1.5 credits, 3 hours Major Studio I/Sculpture topology, morphological variation, and the Forming metal sculpture has contributed body in movement are covered. Directed much to the history of sculpture, particu- 6 credits, 10 hours toward two-dimensional artists as well as larly in the present, where the idiom has Evaluation of the student’s artistic involve- ment, projecting and testing options for the sculptors. The means by which the body’s become as familiar as carving and mod- direction of the student’s graduate work. salient features can be recognized from any eling. Concurrently offering both basic and Open to majors only. viewpoint in any pose is stressed. advanced technical instruction in welding and May be taken twice for credit. Prerequisite: FP 130 forging, using both ferrous and non-ferrous metals, this course is concerned with both SC 321 SC 611 the technical and aesthetic aspects of metal Major Studio II/Sculpture Carving sculpture. 1.5 credits, 3 hours Open to all students. 6 credits, 10 hours Introduces the student to carving, one of the May be taken three times for credit. Further exploration of the options, with basic methods of forming sculpture. Students increased awareness of theoretical issues and learn to prepare, maintain, and use the tools SC 431, SC 432 personal vision. Greater focus in the student’s of the carver. They will be introduced to the Advanced Figure Modeling work, with a view to refining the repertoire of characteristics of suitable carving materials. 3 credits, 6 hours skills and expression in the medium needed to undertake a thesis project. Emphasis is placed on the exploration of the For students seriously involved with the Open to majors only. formal and expressive potentials of carved figure, this course provides an atelier to Prerequisite: SC 610(647) sculpture. continue figure modeling on increasingly May be taken twice for credit. Prerequisite: FP 130 advanced levels, and a context to help formu- May be taken three times for credit. late a personal figurative sculptural idiom. SC 620 Works are sculptured at various scales, Molding and Casting SC 333 including life size, and independent projects Attitudes and Strategies: Sculpture are undertaken in consultation with the fac- 1.5 credits, 3 hours 3 credits, 3 hours ulty. Critiques involving the meaning and Covers processes and techniques utilizing A studio-criticism course that focuses on the sculptural significance of the works are an plaster, rubber, plastics, clays, and wax issue of artistic strategy as it applies to the integral part of the ongoing class activity. for making hard and flexible molds and creation of art. Assignments attempt to aid stu- Prerequisites: SC 260A, SC 260B or FA 223 for casting sculpture in durable materials. dents in recognizing their own and alternative Provides a thorough foundation in foundry tendencies through projects that are made to SC 433 practices, including wax preparation, reflect attitudes like expressionism, idealism, Projects in Figure Modeling investing, pouring bronze or aluminum, mathematical systems, decoration, naturalism, 3 credits, 6 hours chasing, finishing, and patinating finished etc. Required of all Fine Arts Majors; open as Allows the student to move beyond modeling metal casts. an elective. the figure as an academic study. Exploration Meets with SC 220A. Graduate students are Prerequisite: SC 201 using the figure in expressive contexts is required to meet with the instructor prior to emphasized. the start of class to determine and outline the Prerequisites: SC 260A, SC 260B or FA 223 nature of the requirements to be met, and the May be taken four times for credit. quality of the work expected of them. Open to CAD graduate students only. May be taken twice for credit.
206 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 207 SC 641 TH 103L Advanced Projects Theater Arts Crew 3 credits, 6 hours 0 credits, hours vary Provides a studio context where maturing self- TH 100A/B Four different production assignments for initiated areas of concentration in sculpture Acting for Non-Majors I School of Theater productions. Continues the can be developed to fruition on an advanced 1 credit, 1.5 hours each classroom instruction in theater tech skills, level. Whatever the direction, a critical This course introduces the non-actor to impro- providing an increased understanding of emphasis is placed through both open and visation, character development, and the basic Technical Production. Open to majors only. devised assignments on how materials and idea of action and objective in performance. May be taken three times for credit. forms compatible to personal statements are The first four weeks acclimate the new actor found. to being expressive in a group using body Meets with SC 441. Graduate students are TH 105A and voice through improvisation, theater Stage Combat I required to meet with the instructor prior to games, movement; breathing and relaxation the start of class to determine and outline the techniques are also taught. The student is 2 credits, 3 hours nature of the requirements to be met, and the introduced to script analysis, and asked to The integration of aggressive acting intent quality of the work expected of them. write and develop monologues, and create dra- and safe combat techniques using both the Open to CAD graduate students only. matic characters for performance. Grading is unarmed body and the knife. May be taken twice for credit. Corequisite: TH 103A based on class participation and progress with Open to majors only. SC 710 the work on monologues. Open to all students. Major Studio III/Sculpture TH 105B
6 credits, 2 hours TH 101 Stage Combat II Planning and initiation of a sustained body of Neutral Mask 2 credits, 3 hours mature work to be presented in a thesis exhibi- 1 credit, 1.5 hours The integration of aggressive acting intent and tion following the thesis exhibition semester. A sequence of instruction in mask/movement safe combat techniques using a saber or single Open to majors only. techniques designed to remove all pedestrian rapier. Prerequisite: SC 611 Prerequisite: TH 105A movement from the actor, thereby developing May be taken twice for credit. the student actor’s movement vocabulary. TH 109A/B Develops students’ awareness of their own per- Voice and Speech for Actors I, II sonal movement habits and their ability to drop their habits in order to achieve neutral body 2 credits, 3 hours movement. Exercises are designed to achieve Linklater exercises are the basis of a course neutral body by beginning with simple actions designed to help the student find his/her and progressing to object identification. natural voice, and to integrate body, breathing, Open to majors only. voice, thought, and feeling into expression through speech. The student is given a prac- TH 103A/B tical understanding of the voice and how it Acting Studio I, II works. Tensions that inhibit primary impulses 3 credits, 6 hours each are uncovered and dismantled. The function of An introductory studio focusing on the fun- the articulators is studied and they are exam- damentals of acting including basic skills for ined for blocks and exercised for release. Open to majors only. stage communication, voice and movement; involves centering, and exercises designed to TH 109L increase physical and emotional stamina, iden- Voice for Actors Lab tify and strengthen technique, develop focus and concentration, and introduce the student 0 credits, 1.5 hours to the demands of the theater. In the process of Lab work designed to strengthen techniques demystifying the craft, the student discovers learned in TH 109A/B Voice and Speech for the energy, power, and vulnerability of self. Actors. Open to majors only. Open to majors only. May be taken twice.
206 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 207 TH 111 TH 115A/B TH 123 Makeup Movement for Actors I, II Scene and Lighting Technology 1 credit, 2 hours 1 credit, 1.5 hours TH 124 Focuses on cosmetic application combined Introduces basic movement vocabulary in Costume & Property Technology with thorough exploration of the relationship Modern Dance using basic improvisational 2 credits, 2 hours each of appearance to character. The course empha- technique. The course is designed to provide Introductory course in various phases of phys- sizes the total visual impact of the character the student with awareness of his/her body and ical production dealing with the stage, house, on the audience, discussing in depth the con- the basic skills of movement and dance, such backstage personnel and their duties, construc- tribution of props and costume to the overall as stretching, breathing, posture, coordination, tion and painting of scenery, stage lighting, effect. The student is given clear directions on balancing, etc. Course also allows student the costumes, props, and makeup. the basic techniques including methods and experience of creative application of move- Open to all students. materials for all types of stage makeup, period ment and movement expression through makeup, fantasy and the use of three-dimen- various forms and structures of improvisation. TH 123L sional makeup and prosthetic makeup. Open to majors only. Scene & Lighting Tech Lab Prerequisite: TH 103L TH 124L TH 116A/B Costume & Property Tech Lab TH 113 Dance for Actors 1 credit, 1.5 hours each Encounters With Theater Arts 1 credit, 1.5 hours each Supports TH 123 and TH 124. 3 credits, 3 hours A foundation course for actors that uses basic Open to Applied Theater Arts and Theater Design Designed to foster students’ intellectual Vaganova ballet technique to develop align- Tech Majors only. engagement with drama and theater, from ment, flexibility, coordination and discipline, classical to contemporary, by introducing them and introduces the actor to the movement TH 139 to the basic terminology and methodology vocabulary of this tradition. Development Theater Design I: Introduction to used in understanding plays and performances. of body awareness with attention toward the Design A range of critical perspectives are applied to verticality, two dimensionality, control and 3 credits, 3 hours a variety of plays from different periods and restraint of ballet. The fundamentals of design for the theater places; additionally, a number of contexts for Open to majors only. including costume, lighting, and scenery. theater study are introduced, including theater Review of the designer’s role in the pro- history and production elements. TH 122A/B duction process, design requirements, and Open to majors only. Music Skills for Musical Theater I, II aesthetics. Emphasis on the basic principles 2 credits, 3 hours each of two-dimensional art and graphic forms TH 114 Skill training in sight reading, ear training, through various media and study of color and Mask Characterization keyboard and music theory, oriented to the color theory. 1 credit, 3 hours needs of the musical theater performer. Prerequisites: TH 123, TH 124, FP 101, FP 102, An introductory course in character develop- First year focuses on rudiments of notation, FP 103, FP 104 ment focuses on a process designed to release pitches, intervals, rhythms, and simple chords. and open the student’s emotional and physical Students learn to read from “lead sheet” nota- TH 141A/B range, stimulate the imagination, place great tion. Examples are drawn from the musical Voice for Musical Theater I, II emphasis on physical actions, acting with the theater repertoire. In-class exercises and 1 credit, 1.5 hours each whole body, and ridding the student of self- drills are supplemented with computer-based Introduction to the fundamentals of vocal conscious mannerisms. Through the use of instruction and keyboard lab. technique, vocal anatomy, and vocal perfor- oversized masks (and a series of challenging Corequisite: TH 122L mance for the musical stage. Examination of exercises), the student is allowed the freedom Open to majors only. various styles used in the musical theater, past to become someone else. The work aims and present. to integrate the student’s skills with his/her TH 122L Corequisite: TH 141L instincts, allowing impulses and the imagina- Music Skills Lab Open to majors only. tion to flow in conjunction with a flexible and 0 credits, 1 hour vulnerable body. The work culminates with Supports Music Skills I and II. TH 141L the presentation of a fully realized character; a Corequisite: TH 122A/B Voice for Musical Theater Lab synthesis of the entire semester’s work. Open to majors only. 0 credits, 1.5 hours Prerequisite: TH 101 May be taken twice. Introduction to the fundamentals of vocal technique, vocal anatomy, and vocal perfor- mance for the musical stage. Examination of various vocal styles used in the musical the- ater, past and present. Open to majors only. Repeatable for credit.
208 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 209 TH 142A/B TH 205A TH 215A/B Voice Lesson for Musical Theater Stage Combat III Movement for Actors III, IV 1 credit, 1 hour each 2 credits, 3 hours 2 credits, 3 hours each Individual (and, occasionally, small group) This intermediate course teaches the integra- Utilizes intensive physical-emotional instruction in vocal techniques appropriate tion of safety and acting with the techniques of improvisation work, including exercises in for the musical theater, culminating in a jury broadsword and rapier-and-dagger. Williamson technique, rhythmic movement, examination each semester. Prerequisite: TH 105B center floor work, stretches, and the use of Open to majors only. physical impulse to expand emotional range. Repeatable for credit. TH 205B Prerequisites: Permission of the faculty. Stage Combat IV Open to majors only. TH 151, TH 152 2 credits, 3 hours Beginner Ballet Intermediate course prepares the student for TH 222A/B 0.5 credit, 1.5 hours each the National Stage Combat Proficiency Test Music Skills for Ballet technique training oriented to the spe- adjudicated the last day of class by a Fight Musical Theater III, IV cific needs of the musical theater performer. Master from the Society of American Fight 2 credits, 3 hours each Classes build strength and awareness while Directors. This test includes unarmed combat, Continued skill training in sight reading, ear extending the student dancer’s physical and rapier-and-dagger, and broadsword integrated training, keyboard, and music theory, oriented expressive range. into a character-specific scene of dramatic to the needs of the musical theater performer. Open to majors only. conflict. Examples are drawn from a wide range of Prerequisite: TH 205A musical repertoire. In-class exercises and TH 153, TH 154 drills are supplemented with computer-based Beginner Jazz TH 209A/B instruction. 0.5 credit, 1.5 hours each Voice and Speech for Actors III, IV Prerequisite: TH 122B Jazz dance technique training oriented to the 2 credits, 3 hours each specific needs of the musical theater per- Practical training in speech for the stage. TH 222L former. Classes build strength and awareness, Emphasis on articulation and eliminating Advanced Music Skills Lab while extending the student dancer’s physical regionalisms. Through the course of the year 0 credits, 1 hour and expressive range. Emphasis placed on iso- each student is expected to achieve a high Supports music skills for Musical Theater III, lation of muscle groups and rhythm training. degree of proficiency in General American IV. Open to majors only. Pronunciation. Resonance, placement, and Prerequisite: TH 122B range are developed. Particular attention is TH 155, TH 156 paid to ending consonants, equating length TH 223 Beginner Tap of thought and length of breath, and key Acting Studio: Technique I 0.5 credit, 1.5 hours each wording. 4 credits, 7.5 hours Dance Technique training in tap. Prerequisite Prerequisite: TH 109B Study in contact and truthful response, con- one year (1 cr.) training in Ballet and one year versational reality, concentration, spontaneity, (1 cr.) in jazz. Attention to the specific needs TH 213 getting in touch with one’s own behavior and of the Musical Theater performer. Introduction Script Analysis that of others. of Broadway dance style as well as hoofing. 3 credits, 3 hours Prerequisite: TH 103B Tap vocabulary and terminology introduced. Introduces the student to practical analysis of Open to majors only. texts/scripts. The course explores the concepts TH 224 of conflict, human action, character, action/ Acting Studio: Technique II TH 203A/B reaction cycle, dramatic structure, translations, 4 credits, 7.5 hours Acting Studio III, IV and resources external to the script (historical Refinement of the actor’s inner resources, and 3 credits, 6 hours each perspective). At the course’s end, the student further development of the actor’s technique This course continues the work started in should possess a firm understanding of the and skills at textual analysis. Exploration of TH 103. Sensory/ emotional work and its rela- process involved in script analysis, be thor- relationship, point of view, circumstance, tion to characterization is further explored, oughly familiar with the composite types of truthful involvement, and the reality of doing. leading to an in-depth study of motivation and dramatic literature, begin to understand the Prerequisites: Permission of the faculty. subtext. Sensory, emotional, and adaptation nature of an informed aesthetic, and under- Prerequisite: TH 223 exercises, as well as improvisation and two- stand the consequences of each element of a character scenes, are used to deepen the actor’s performance on its audience. ability to execute honest and purposeful stage Prerequisites: TH 113 or LACR 102 action and communication. Emphasis is placed Humanities/Discipline History on the “truth of the movement.” Both perfor- mance and personal journals are maintained on a continuing basis, and extension outside rehearsals on scenes are expected. All scene work is directed by the instructor, using indi- vidualized hands-on approach. Prerequisite: TH 103A
208 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 209 TH 227 TH 242A/B TH 309, TH 310 Fundamentals of Voice Lesson for Musical Theater Voice and Speech for Actors V, VI Stage Management I 1 credit, 1 hour each 2 credits, 3 hours each 3 credits, 3 hours See TH 142A. Involves the study of the key dialects of North An examination of the role of the stage man- Prerequisite: TH 142B America, the British Isles, and Europe using ager in theatrical production. Practice in the the International Phonetic Alphabet as a guide. techniques of pre-production activity, coordi- TH 251, TH 252 The dialects chosen are those for which there nating and maintaining rehearsal discipline, Intermediate Ballet is most demand in dramatic literature; con- developing a prompt script and calling a show. 0.5 credit, 1.5 hours each sequently, some time is spent on “Standard Open to non-majors with permission of Department/ This course is a continuation of the pre- British,” “Southern Irish,” “American Instructor. vious year’s dance training. There is greater Southern,” and “New York.” Approximately Prerequisite: TH 124 emphasis on additional steps and increasing eight to ten dialects are addressed in depth. flow and speed. More center floor and combi- Prerequisite: TH 209B TH 228 nation work is demanded. May be taken twice for credit. Theater Management Prerequisite: TH 152 3 credits, 3 hours Repeatable for credit. TH 311A/B An introduction for the Applied Theater Arts Theater History I, II student to the important role that theater man- TH 253, TH 254 3 credits, 3 hours each agers and their administrative staffs play in the Intermediate Jazz Two-semester survey of the history of theater: day-to-day operations of theater companies. 0.5 credit, 1.5 hours its dramatic literature, theater structures and A close-up look at all the facets of running a A continuation of the previous year’s dance production methods, styles of acting, and successful theater: fundraising and audience training with focus on the jazz technique historical trends, through readings, discus- development, marketing and public relations, needs of the musical theater performer. More sions, and lectures. The course explores the fiscal organization and board relations, box intricate combination work, turning, increase history of theater through its artistic, spiritual, office and house management, and educational in speed and strength. Required of all Musical political, and cultural sources of empower- outreach. Theater Majors. ment. Students are provided with the historical Open to majors only. Prerequisite: TH 154 background to apply acting, directing, and Repeatable for credit. designing techniques to the theater of other TH 237 periods of history. Fundamentals of Technical Direction TH 255, TH 256 Prerequisite: TH 213 3 credits, 3 hours Intermediate Tap Humanities/Discipline History Foundation training in the role of technical 0.5 credit, 1.5 hours each director, including production scheduling, A continuation of the previous year’s dance TH 312A/B coordinating, planning, budgeting, familiarity training with focus on the technical and sty- Musical Theater History I, II with materials, equipment and purchasing listic needs of the musical theater performer. 3 credits, 3 hours each procedures. More difficult steps, more intricate patterns Two-semester survey of the history of the Prerequisites: TH 123, TH 124, TH 103L and rhythms. American musical theater in the 19th and 20th Prerequisite: TH 156 centuries. Students develop insight into the TH 239 Repeatable for credit. writers, performers, and theater artists who Theater Design II: Scene Design created the legacy of the musical theater in 3 credits, 3 hours TH 303A/B America, and examine representative works An exploration of and instruction in tech- Acting Studio V, VI from a variety of periods. Students under- niques for theatrical scenic design. This class 3 credits, 6 hours each take research projects focusing on major would include lectures, individual guidance, The overall emphasis of the course is on styles performers, writers, directors, and choreog- discussions and projects investigating the of acting. raphers. Artists and their work are studied in aesthetic, technical, and practical problems of Open to majors only. print and on audio and video recordings. designing scenery for the stage. Open to all students. Prerequisite: TH 139 TH 305A/B Humanities/Discipline History Stage Combat V, VI TH 241 2 credits, 3 hours each Foundation of Singing/Acting Advanced exploration of the text-specific 2 credits, 3 hours challenges of fight direction and fight per- Students are introduced to techniques for formance using a wide variety of weapons. handling the unique challenges of integrated Weapons and texts change each semester. singing-acting. Vocal technique and acting Prerequisite: National Stage Combat Proficiency technique are integrated through intensive Test Recognition work on solo literature, musical scenes, exer- Prerequisite: TH 205B cises, and improvisations. Prerequisites: TH 122B, TH 141B, TH 223
210 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 211 TH 315A/B TH 323 TH 327 Movement for Actors V, VI Acting Studio: Technique III Advanced Stage Management 2 credits, 3 hours each 3 credits, 6 hours 3 credits, 3 hours Develops clarity and precision of movement Studies in advanced acting. Further develop- Advanced study of the stage manager’s func- through increased awareness of action and ment of performance technique as it relates to tion in theatrical production. Coordination of character. The student develops greater kin- the rehearsal process. Special emphasis given production personnel, and the management esthetic sense and enhances his/her capability to clarity of behavior, characterization, action responsibilities in the pre-rehearsal, rehearsal, for expressive movement. First term focuses and objective. Scene work used as a means and production periods. on Laban efforts; second term on LeCoq tech- of gauging the actor’s ability to apply studio Prerequisite: TH 227 niques and period work. work to text. Prerequisite: TH 215B Prerequisite: TH 224 TH 330 Acting on Camera TH 317 TH 324 1 credit, 2 hours Fundamentals of Directing Acting Studio: Poetic Realism Designed for acting students who want to 3 credits, 3 hours 3 credits, 6 hours gain knowledge and experience in acting for An overview of the directorial process. Exploration of scene study methods as they film and television, the primary market in the Discusses the various facets of a director’s apply to dramatic works by such authors as entertainment industry. Sessions give each job, especially in the early phases of a pro- Ibsen, Strindberg, Wilde, Chekhov and Shaw, participant a hands-on experience in acting duction, e.g. working with the actor, casting, and further development of actor’s attention to for the camera. The actors are able to see and table work, and rehearsal, and culminates with and application of behavioral specificity. evaluate each other’s film work during a spe- each student directing a scene of his/her own. Prerequisite: TH 323 cial screening session at the end of the course. The emphasis is on empowering the students Prerequisite: TH 323 as theater practitioners within the rehearsal TH 325 process, by introducing them to the basic Oral Interpretation TH 339 problems encountered by the stage director, 2 credits, 4 hours Theater Design III with whom all theater participants work. The course examines the elements of form 3 credits, 3 hours Prerequisite: TH 311B or TH 312B and structure in various kinds of literature, Fundamental procedures for lighting, with and applies that analysis to the craft of the emphasis on the functions of theatrical stage TH 318A/B performance. Studies begin with fairy tales, lighting. Discussions and projects inves- Musical Theater Repertory investigate modern and contemporary retell- tigating the problems of lighting design, 2 credits, 3.5 hours each ings of fairy tales, and continue with modern including electrical principles, instrumen- Scenes, songs, and dances are drawn from the and contemporary short stories. The tech- tation, color, media, equipment control, diverse musical theater repertory, enabling niques of oral interpretation—different than planning and rigging. the student to develop versatility and a sense those used in a studio acting class—focus on Prerequisite: TH 239 of style. the meaning of literature via suggestive vocal Prerequisites: TH 222B, TH 241 dexterity and subtlety of revelation, rather TH 341A/B than explicit action. Students are required Voice for Musical Theater V, VI TH 320 to write papers analyzing the literature they 1 credit, 1.5 hours each Musical Theater Performance choose to perform. The course will close with Styles of singing-acting. Students apply inte- 2 credits, 4 hours a class performance. grated singing-acting technique to a diverse An elective course for actors, singers, and Open to majors only. range of period styles of musical theater. Solo dancers in which students can explore the literature from the 1860s through the present craft of the singing actor through exercises, TH 326 day is examined. improvisations, and repertoire study. Students Audition Techniques Prerequisites: TH 224, TH 222B, TH 241 will learn and rehearse solos, scenes, and 2 credits, 3 hours ensembles from the musical theater repertoire. This course focuses on the skills necessary TH 342A/B Emphasis is on developing honesty, ease, to audition successfully for theater, film, Voice Lesson for Musical Theater and expressiveness in musical theater perfor- and television. Topics include cold readings, 1 credit, 1 hour each mance. monologues, television commercials, and See TH 142A. Prerequisites: one year of voice training, one year of dealing with agents and casting directors. Prerequisite: TH 242B acting training and permission of the faculty. Open to majors only. Permission of Department/Instructor required. May be taken twice for credit.
210 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 211 TH 349 TH 400A TH 412 Production Practicum Acting for Film I New Play Workshop 1 credit, hours vary 3 credits, 3 hours 3 credits, 3 hours Practical application of training to experi- For acting students who want to gain knowl- This workshop will explore the collaborative ences in a wide range of production areas: edge and experience in acting for film and relationship between the playwright, director, dramaturgy, design, technology, theater man- television. The primary goal of the class is to and actor in the practical creation of a new agement, etc. May include realized studio, bring out each actor’s natural talent, which work. Within a supportive environment that workshop, or project assignments. is often the most “marketable” in film and encourages risk and exploration, the new Prerequisite: TH 103L television industry. Each actor will work on a work will be developed through dramaturgical Repeatable for credit. monologue or scene—chosen in consultation investigation, class discussion, and critiques with the instructor—to make his/her work by the instructor and will result in an informal TH 351, TH 352 in front of a camera compelling, secure, and reading of the piece. Advanced Ballet believable. Special video sessions will give Prerequisite: TH 317 0.5 credit, 1.5 hours each each participant a valuable, hands-on experi- A continuation of the two prior years of ence in acting for the camera. The actors will TH 415A training. Execution of all jumps, all dance also be able to see and evaluate each other’s Movement for Actors VII steps in combination, in turns and in relevè. film work during a special screening session at TH 415B Styles and performance technique explored. the end of the course. The actors will be able Senior Movement Project Prerequisite: TH 252 to use excerpts from their monologue/scene 2 credits, 3 hours each Repeatable for credit. for a “video audition” commonly required by Continuation of TH 315A & B. Work in today’s Casting Directors, Actor’s Agents, and LeCoq movement. Spring term develops a TH 353 TH 354 Film/TV Directors. senior movement project. Advanced Jazz Prerequisite: TH 330 Prerequisite: TH 315B 0.5 credits, 1.5 hours A continuation of jazz training of the two TH 403A/B TH 417 previous years. More technically challenging Acting Studio VII, VIII Directing Studio steps, more intricate combination at more 3 credits, 6 hours each 3 credits, 3 hours rapid instructional pace. Styles and perfor- The senior acting student will be prepared A thorough investigation of the directing mance technique emphasized. for his/her entry into the theater profession vocabulary, exercises in space and composi- Prerequisite: TH 254 through a research and practicum approach to tion, exploration of scripts from the director’s Repeatable for credit. interview and audition techniques. Research point of view, and practical experience with into type of theater companies available; ground plans. The student is asked to demon- TH 357, TH 358 theater and casting agents; showcase oppor- strate his/her understanding of blocking values Partnering tunities; useful sources for job opportunities; and textual analysis by conceptualizing and 0.5 credit, 1.5 hours each a survey of Actor’s Equity Assoc. and current then staging simple scenes. Introduces the For the more advanced student this course trade papers will be included in the course, as basics of acting coaching and is coordinated explores the dynamics of partnering including well as an actual experience of interview and with script analysis and dramatic criticism. Ballet and Jazz lifts, turns, tilts, balances, audition for a play director or casting agent Prerequisite: TH 317 simple to advanced. Swing, mambo, cha cha, with valuable critique following. Emphasis in disco. Includes strength, weights training, the first semester will be placed on the senior TH 419 conditioning. actor’s one-person performance projects. Text Business of Theater Prerequisite: TH 252 for course will be assigned. 1 credit, 1.5 hours Prerequisite: TH 323 Exploration of the business and legal aspects of careers in the professional theater: the roles TH 405A/B of agents, managers, producers, and managing Stage Combat VII, VIII directors are explored. Involves lectures on 2 credits, 3 hours each various topics such as unions, contracts, taxes, Advanced exploration of the text-specific management, and representation as well as challenges of fight direction and fight per- occasional visits by professionals in the field. formance using a wide variety of weapons. Corequisite: Enrollment in TH 423, TH 442B, Weapons and texts change each semester. TH 451, or TH 452 Prerequisite: TH 305B TH 423 Acting Studio: Verse Drama I 4 credits, 7 hours Integrated voice and performance work on period scenes and monologues. Material to be covered includes Greek and Restoration. Prerequisite: TH 324
212 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 213 TH 424 TH 430 TH 451, TH 452 Acting Studio: Verse Drama II Stage to Video Production Senior Project 4 credits, 7 hours 2 credits, 3 hours 3 credits, 3 hours Continues the student’s training in the most Project work both behind and in front of the Faculty-approved and supervised cap- advanced level of period style work. Increased camera. Each actor works on a monologue stone experience in a student’s area of attention to voice work is supported by or scene chosen in consultation with the concentration. May be a School of Theater the use of texts from Greek to Restoration. instructor to make his/her work in front of Arts-sponsored project or one with a reputable Exploration of comic techniques, heightened a camera compelling, secure, and believ- outside company recognized by the faculty behavior and emotional support. able. ATA students will deal with Production and area professionals. Prerequisite: TH 423 Assistant responsibilities, such as continuity, Prerequisites: TH 349, TH 351 assisting directing, etc. Student assignments TH 425 may vary according to strengths and interests. TH 460 Scene Study in American Playwrights Special benefit: students can use excerpts ATA Seminar 3 credits, 6 hours from the workshop for a “video audition” 3 credits, 3 hours This Senior acting studio focuses on American commonly required by today’s casting direc- Analysis and study of contemporary practices master playwrights of the 20th century: tors, agents, and film/TV directors. and trends in non-performance disciplines of O’Neil, Miller, Albee, Williams, Shepard, Prerequisite: TH 330 theatrical production. Students will engage etc. Scenes will be chosen to give students May be taken twice for credit. in readings, discussions, and writing projects the opportunity to explore fully the emotional dealing with their experiences to-date in their lives of characters and will learn how to TH 439 chosen field of theatrical endeavor. The course become more expressive and imaginative in Theater Design IV: Costume Design may require field trips and/or attendance at their acting choices. The work of this course 3 credits, 3 hours special events to place current trends in larger will demand the complete investment of the Further study of materials and principles, social and practical contexts, and to help the actor through transformation of self into tools, supplies and techniques of costume student develop strength and perspective character in these heightened, highly theatrical design and construction, with emphasis on within his or her own work. texts. Improvisation and exercises may also be pattern drafting, cutting, and draping. Open to majors only. included in the work sessions. Prerequisite: TH 339 Prerequisite: U4 status. Prerequisite: TH 323 TH 441A/B TH 475 TH 429 Voice for Musical Theater: Special Studies in Theater Arts Design Technology Seminar Cabaret/Audition 3 credits, 3 hours 3 credits, 3 hours 1 credit, 2 hours each Topics and studies of current interest in areas This seminar style class is designed as a forum A senior seminar in singing-acting. Students of theater practice, such as new trends or for considering challenges and concepts work on more demanding repertoire and on movements in performance, movement, voice facing advanced design and technology stu- special performing challenges such as cabaret work or international theater. Topics could dents. Course will deal with advanced design theater and auditioning. A Senior Showcase is also include areas of theater production, guest concepts and applications in the various the- prepared and performed, and professional out- artists’ workshops, or contemporary develop- atrical forums, including dance, opera, ballet placement issues are addressed. ments in the field. Courses can be taught in and musical theater. Solutions will be sought Prerequisite: TH 341B either a studio or lecture format with contact through the collaborative process with cos- hours varying accordingly. tume, lighting, scene design and theater tech TH 442A/B Open to majors only. students arriving at conceptual treatments and Voice Lesson for Musical Theater Repeatable for credit. visualizations. 1 credit, 1 hour each Prerequisite: TH 339 See TH 142A. Prerequisite: TH 342A/B
TH 449 Internship 3-15 credits, hours by assignment Hands-on involvement with a professional company. Placements may consist of adminis- trative or production support work, positions in assistance to directors, producers, stage managers, designers or dramaturgs, literary management, casting, understudying or per- formance, and may be outside the Philadelphia area. Open to majors only. Prerequisite: U4 Status.
212 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 213 WM 225, WM 226 WM 253 Writing for Film Interactive Writing I, II History of Television and Television 3 credits, 4 hours each 3 credits, 3 hours A year-long studio course that builds upon Provides an overview of the medium of the basic principles of dramatic writing by television. The impact of television since its WM 111, WM 112 identifying and utilizing the web environment inception has become increasingly pervasive Traditions of Narrative I, II as a unique medium for narrative storytelling. and has influenced an entire society through 3 credits, 4 hours each Through analysis and written exercises, stu- its ability to educate and entertain. Video Two-semester studio writing course that uses dents learn how multiple story and character examples of the medium are supplemented narrative examples from various genres to arcs are designed and supported by specific by class discussion and reading assignments. introduce dramatic structural elements such interactive storytelling models. Two term papers, a midterm, and final exam as character, conflict, and premise. Students Prerequisites: WM 219 or MM 221 are required. are required to write extensively both in and Open to all students. out of class. Two major creative written works WM 241 Humanities required in each semester. Arts of the Media Open to majors only. 3 credits, 3 hours WM 314 Introduction to the various production values, Screenplay Adaptation WM 113, WM 114 which directly influence the character of the 3 credits, 3 hours Dramatic Structure I, II dramatic product. Subjects of study include The vast number of theatrical and television 3 credits, 4 hours each music, cinematography, art and production films adapted from fictional and nonfic- An intensive year-long writing course that design, editing, sound, costume design and tion sources make it essential that emerging introduces students to major principles of the special/computer effects as they relate to the screenwriters understand the art of adapta- three-act structure found in narrative screen- writer’s intention and the quality of the final tion. Following an introduction to the basics plays. Focus on such topics as act design, product. of adaptation, this course will analyze three creation of character, conflict, and setting. Open to all students. movies adapted from fictional sources (novels, Students will be required to complete major short stories, etc.) and three from nonfiction written work and participate in workshops of WM 243 sources (e.g. books and magazine journalism). written material. Screenplay Analysis Prerequisite: WM 215 Open to majors only. 3 credits, 3 hours A course devoted to the critical analysis of WM 317 WM 214, WM 215 screenplays. Students will be required to read Episodic Television Writing I Screenwriting I, II numerous scripts and write critical papers on 3 credits, 4 hours 3 credits, 4 hours each various dramatic structural principles high- Studio writing class that analyzes the specific An intensive screenwriting workshop where, lighted. genre of episodic television writing. Students in the first semester, students write a series of Prerequisites: WM 219 or WM 214 read scripts and view examples of various outlines for a short screenplay. In the second genres in the form, and work in teams to semester, students write outlines and a short WM 251, WM 252 create original written work. screenplay. Narrative Cinema I, II Prerequisites: WM 215 or WM 219 Prerequisites: WM 114 or WM 219 3 credits, 6 hours each Examines and analyzes film through the per- WM 318 WM 219 spective of narrative structure. Various forms, Episodic Television Writing II Writing for Film schools of film, styles, and genres from both 3 credits, 4 hours 3 credits, 4 hours the domestic and international film commu- Advanced studio writing course in which stu- Studio writing class introducing students nity are studied chronologically, emphasizing dents outline and draft two full-length scripts to the basic elements of screenwriting for the influence and integration of the various for episodic television series. film. Students are required to write dramatic forms with one another. The course requires Prerequisite: WM 317 exercises in class, as well as outside of class. weekly screenings of the work being studied. Supplemental readings are discussed and film Open to all students. WM 321, WM 322 highlights shown to assist the students in their Humanities/Discipline History Advanced Screenwriting I, II writing. 3 credits, 4 hours each Prerequisite: LACR 102 Studio writing course preparing the student for the entire process of crafting a full-length script for film. In the first semester, students develop a concept, pitch the project, prepare an outline/treatment for a full-length work, and draft the first act. The second semester is devoted to the completion of the full-length work and the revision process. Prerequisite: WM 215
214 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005 215 WM 330 Web Drama Studio 3 credits, 6 hours A capstone course in which students are required to begin with an already completed and approved web drama proposal and script. Each student then works to produce his or her own web drama script online, while collab- oratively supporting other writer/producers on their projects. Prerequisite: WM 226
WM 341 Acting/Directing for Writers 3 credits, 4 hours Studio course addressing the collaborative aspect of dramatic production involving writers, actors, and directors. Students are introduced to directing and acting, using their own dramatic texts as the source material. Prerequisites: WM 215 or WM 219
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. Prerequisites: WM 215 or WM 219
WM 411, WM 412 Senior Thesis I, II 3 credits, 3 hours each The final writing project in the program where over the year, the student develops an outline/treatment and the completion of a full- length screenplay along with two revisions. Entertainment industry practices are integrated into the course. Prerequisite: WM 322
WM 499 Internship 3 credits, 90 hours/semester Seniors are placed with regional companies to expose them to a professional work environ- ment in the field of media. Placements vary and can include local network-affiliated televi- sion stations, public broadcasting stations, film production companies or multimedia manufacturers. A paper or journal chronicling the experience is required upon completion of the internship. Open to majors only. Repeatable for credit.
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General Information
Undergraduate and Graduate Course Catalog 2004 • 2005 corr_ Back Section/04 8/24/04 10:20 PM Page 218
1. Application Form. Paper forms are available from the Office Admission of Admission or downloadable from the University website; they also may be electronically submitted at www.uarts.edu/applynow. Barbara Elliott All candidates are required to submit a completed application for [email protected] admission and a $50 application fee. The application fee for interna- Director of Admission tional applicants who are not U.S. citizens or Permanent Residents is First Floor, Dorrance Hamilton Hall $75. The University of the Arts will waive the application fee in 215-717-6030 cases of extreme family financial need. A fee-waiver request is required from a high school guidance counselor, two-year college The admission requirements and procedures are designed to help counselor, or other authorized person. the University select, from among the men and women applying, 2. Secondary School Record. An official copy of the secondary those best qualified to benefit from the educational opportunities at school transcript is required of all applicants. A curriculum of col- The University of the Arts. The University prefers applicants who lege preparatory subjects is recommended. Specific course express themselves through visual images, performance, and cre- distribution is not required, although a minimum of four (4) years of ative writing; who demonstrate intellectual abilities through their English and two (2) years of history is strongly recommended. academic record; who wish to increase their awareness of them- Remaining courses should be selected from the approved college selves and their world; who address their environment in a positive, preparatory program, including study in languages, mathematics, individualistic manner; and who bring energy, concern, and humor science, humanities, art history, psychology, and sociology. These to their inquiry. The University values diversity, liveliness, thought- courses should be augmented by study in visual art, music, dance, fulness, and curiosity, and seeks in its students a broad range of drama, or creative writing. intellectual, artistic, extracurricular, and personal energies. Applicants not holding a regular high school diploma may qualify Admission is offered without regard to race, color, national or ethnic for admissions consideration upon conversion of the General origin, religion, sex, sexual orientation, marital or parental status, Education Development Test (GED) to a state diploma through the age, or handicap. Each applicant is considered individually, and the Department of Public Instruction of the applicant’s resident state. Director of Admission may make an exception to any requirement. The University of the Arts welcomes applications from students Admission to The University of the Arts is based on both aca- who are home-schooled. Home-schooled students must present a demic performance and artistic development. Each college at The secondary school diploma issued by their public school district or University of the Arts has special admission criteria related to its the GED. For Pennsylvania residents, The University of the Arts course of study. The admission committee examines every appli- also accepts secondary school diplomas issued by Erie Area cant’s academic record for evidence of rigorous, scholarly Homeschoolers, Buxmont Christian Educational Institute, and preparation. In addition, each college at the University has separate Pennsylvania Homeschoolers Accreditation Agency, all of which are requirements for evaluating a candidate’s artistic progress. Entrance approved by the Pennsylvania Department of Education to award to the College of Art and Design requires the candidate to present a secondary school diplomas. visual portfolio. The College of Performing Arts requires students 3. Standardized Test Scores. The submission of official stan- to pass an audition in their specific discipline. The College of dardized test scores is required for admission although applicants Media and Communication asks candidates to present a media or who have completed a college-level English Composition course writing portfolio. Because the portfolio and audition requirements with a grade of “C” or better, or applicants who have been out of are specific to each program, interested applicants should contact school for more than five years, are not required to submit standard- the Admission Office for a full explanation of the University’s ized test scores. The SAT, SAT 1, or ACT are the acceptable expectations. standardized tests. Applicants with a diagnosed learning disability or Admission to the University is based upon a combination of fac- the other qualifying impairment may submit nonstandard-adminis- tors; candidates for admission must assume responsibility for all of tration test results. United States-educated students whose first the admission requirements when submitting an application and language is other than English are required to submit the results of realize that the Admission Committee will base its decision on the the SAT II English Language Proficiency Test (ELPT). The ELPT is sum total of these factors. offered as an achievement test through CEEB. Test results should be sent to the University directly from the testing agency. The University of the Arts’ CEEB code is 2664. The ACT code is 3664. Undergraduate Application Process Candidates for admission from Puerto Rico or Latin America may International applicants should also refer to the section of this cat- substitute or augment the SAT or ACT with the Prueba de Aptitud alog titled International Students. (See index.) Academica (PAA). All applicants are encouraged to visit The University of the Arts 4. English Language Proficiency. Applicants educated outside for an information session and portfolio review or audition. the United States for whom English is not their first language are Information sessions with the Admission staff offer students and required to demonstrate proficiency in English. The TOEFL is their families the opportunity to learn more about the application required for applicants who have been educated in non-English- process, programs of study, campus life, and financial aid. Portfolio speaking countries. A minimum score of 500, if paper-based, or 173, reviews, interviews, and auditions are part of all applicants’ entrance if computer-based, is required for undergraduate admission. United requirements and are separate from the information sessions. In States-educated students whose first language is other than English addition to demonstrating their artistic abilities during the portfolio are required to submit the results of the SAT II English Language review or audition, students should be prepared to discuss their aca- Proficiency Test (ELPT). The ELPT is offered as an achievement demic record, personal achievements, extracurricular activities, and test through CEEB. Test results should be sent to the University professional goals. directly from the testing agency.
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5. Recommendations. Applicants are required to submit a letter grade of “C” is required in order to present a course for transfer of recommendation from a teacher, guidance counselor, or credit. Only credits are transferable, not grades. employer. Recommendations should comment on the applicant’s Candidates are given a preliminary transfer credit evaluation at demonstrated abilities in the arts, maturity, ambition, determination, the time of admission; final award of transfer credit and placement and seriousness of purpose. level is subject to receipt of final official transcripts and verification 6. Personal Statement. All applicants are required to submit a by the registrar at the time of enrollment. 150- to 300-word essay. The statement should be typed on a separate sheet of paper and attached to the application. The applicant should Residency Requirements list his/her name, Social Security number, and the semester for The time it takes for a student to reach graduation will depend which he/she seeks admission on the statement. upon the time needed to fulfill The University of the Arts’ degree 7. Artistic Presentation. Refer to the Portfolio and Audition requirements. requirements published in the application packet. Every transfer student must complete a minimum of four full-time 8. Interview. Although not required, all applicants are encour- semesters in residence preceding graduation and must earn a min- aged to visit The University of the Arts and interview with a member imum of 48 credits in studio and/or liberal arts courses. Transferable of the Admission staff or University faculty. Applicants to the credits will be applied only to the specific studio and liberal arts College of Art and Design are expected to present their portfolio requirements stipulated for a UArts degree. For this reason, transfer during the interview. Applicants to the College of Performing Arts or students may be required to remain in residence at the University for the College of Media and Communication should be prepared to dis- more than the minimum four semesters and to complete more than cuss their academic record, personal achievements, extracurricular the minimum 48 credits, regardless of the number of credits earned activities, and goals. The interview also provides the applicant with at previously attended institutions. Transfer credit is evaluated by the an opportunity to ask questions about the University. Applicants department chair or school director and the Director of Liberal Arts should feel free to note questions about the application process, pro- in consultation with the Office of the Registrar. grams of study, courses, instructors, student life, or financial aid and bring these with them to the interview. College of Art and Design 9. Financial Aid, Federal Loans, Scholarships. The University Upon completion of the preliminary credit evaluation, the appli- encourages electronic aid application. Students may submit the Free cant will be invited to schedule an interview and portfolio review Application for Federal Student Aid (FAFSA) online at with a faculty member from the major department. If unable to http://www.fafsa.ed.gov. For those without Internet access, the attend a personal interview, refer to the University’s Portfolio and FAFSA can be obtained from a high school guidance counselor. Audition Brochure for specific requirements. Submit the FAFSA to the Federal Student Aid Program by March 1 for priority consideration. List The University of the Arts as the Freshman Transfers institution to receive your information. The Title IV Code for The Transfer students with fewer than 21 transferable liberal arts University of the Arts is 003350. For additional information, see the credits and without qualifications for advanced standing in studio Financial Aid section of this catalog. should expect to be registered for the Foundation Program and antic- ipate being enrolled at The University of the Arts for the equivalent Transfer Applicants of eight semesters. Those who qualify for either the three-year pro- Transfer students are admitted to The University of the Arts under gram or advanced standing but wish to take advantage of the policies that vary from college to college. The University considers Foundation Program and elective courses may also apply as any applicant who has been enrolled in a college-level program of freshman transfers. study after secondary school to be a transfer applicant. Transfers enjoy a preferred position among applicants for admission since it Three-Year Transfers can be assumed they have matured in their goals and have demon- Applicants who have not had substantial studio instruction but strated their abilities at the college level. who present a minimum of 21 transferable credits in liberal arts may qualify for the three-year transfer program. Under this program, stu- Transfer Application Requirements dents have the opportunity to fulfill the College of Art and Design’s The application process for undergraduate transfer students is the graduation requirements in three years. In the first year, the same as for freshmen with the exception that, in addition to the Foundation Program curriculum is combined with studies in the process described in the above section, applicants must submit offi- major department. If approved by both the Foundation Program and cial transcripts from all colleges attended. Candidates should include major-department chairpersons, the transfer student may attain a listing of any courses in which they are currently enrolled or intend third-year status at the start of his or her second year. This program to complete prior to matriculation at The University of the Arts. To imposes an extremely demanding schedule and is best suited to aid in the assessment of transfer credits, a catalog containing the mature students who have definitely decided upon a major. course descriptions, credit assignment, and credit-hour ratio for each college attended should be sent to the Office of Admission. A min- Advanced Standing imum G.P.A. of 2.0 is required for transfer. Students transferring into the second- or third-year level studios of major departments are considered advanced-standing candidates. Transfer of Credit The first year in the College of Art and Design includes 21 credits of Students may receive credit for courses taken at other regionally studio classwork in the Foundation core (Drawing, Two- accredited institutions that are similar in content, purpose, and stan- Dimensional Design, Three-Dimensional Design, and an optional dards to those offered at The University of the Arts. A minimum course, Time and Motion) and elective courses. Students who have
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completed between 18 and 21 credits in studio and who have studied Northampton County Community College (PA) Ð in the Foundation areas may be considered for advanced status. Communication Design program (pending) Decisions concerning admission to a major department, class standing, and mandated prerequisites are made by major-department College of Art and Design faculty upon an evaluation of the admission portfolio and prelimi- nary transfer-credit analysis. Fine Arts Department Ars Hungarica in Budapest, Hungary College of Performing Arts Bucks County Community College (PA) (pending) At the time of the entrance audition, the Audition Committee evalu- Keystone College (PA) ates the applicant’s performance with respect to the level of Montgomery College/Maryland College of Art and Design (MD) achievement required for advanced standing. Transfer credit in the Sage College of Albany (NY) major may be granted for comparable previous undergraduate credit earned, up to the level of placement. Transfer credits may be granted Crafts Department toward the Liberal Arts requirements regardless of a student’s standing Bucks County Community College (PA) (pending) in the major. The number of Liberal Arts credits accepted for transfer is unlikely to change the length of time required to complete the degree. Graphic Design Department Transfers to the College of Performing Arts are not given credit for Keystone College (PA) studio courses until after the completion of the first semester at The University of the Arts. Transfer students to the College of Performing Illustration Department Arts should assume that they will receive freshman status unless Keystone College (PA) advanced status is clearly indicated in their letter of admission. Industrial Design Department College of Media and Communication Keystone College (PA) Transfer applicants to Writing for Film and Television, Multimedia, and Communication are evaluated on a case-by-case Media Arts Department basis, depending on the nature of prior educational experience and Keystone College (PA) demonstrated creative abilities. Transferrable credits may be applied to major, Liberal Arts, and/or elective requirements. Painting Department Articulation Agreements Harrisburg Area Community College (PA) Keystone College (PA) Articulation agreements are drawn between two institutions in order to facilitate the maximum transfer of credits when students Photography Department move from one institution to the other. The University of the Arts Harrisburg Area Community College (PA) has a series of these agreements for students attending the schools Keystone College (PA) mentioned below. Students who successfully meet the requirements set by the agreement with their home institution will earn the option College of Performing Arts to transfer to the University of the Arts at an advanced level upon enrollment. Each articulation agreement has specific requirements and is valid only for the major programs listed on the agreement. School of Music To obtain specific information about these agreements, prospective Community College of Philadelphia (PA) School of Music students should contact the transfer advisor at their home institution. Application Notification College of Media and Communication Applications are reviewed on a rolling basis beginning in December for fall admission and September for spring admission. Communication Department Priority is given to fall candidates who file an application for admis- Ocean County College (NJ) sion by March 15, although the University will accept and review Bucks County Community College (PA) applications as long as space in the class is available. Official notifi- Burlington County College (NJ) cation of the Admission Committee’s decision is made in writing by Luzerne County Community College (PA) Ð Broadcast the Director of Admission. Generally, students can expect to receive Communication Technology program (pending) notification of the decision within two weeks of completing all admission requirements. Multimedia Department Burlington County College (NJ) - Graphic Design and Digital Tuition Deposits Media program Applicants who are offered admission for fall enrollment are Camden County College (NJ) - Game Design and Development asked to submit a $300 tuition deposit within three weeks of the program offer of admission to reserve a place in the entering class. Upon Camden County College (NJ) - Computer Graphics: receipt of the tuition deposit a housing reservation will be sent to the Game Designer Option program student. The tuition deposit may be refunded if the student notifies Delaware County Community College (PA) - Interactive the Office of Admission of his/her intent to cancel enrollment, in Multimedia program writing, prior to May 1.
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The University of the Arts subscribes to the May 1 Candidate’s Conditional Admission General Reply Date and will honor any applicant’s written request to The University of the Arts has designed alternative admission pro- defer the acceptance of the offer of admission until May 1. Requests grams to consider those whose potential may not be indicated in for a refund of the tuition deposit that are postmarked after May 1 standardized test scores or class rank, or who have had limited cannot be granted. After May 1 the University assumes that the stu- formal training in the arts. dent’s tuition deposit to The University of the Arts is the only Offers of admission may specify one or more of the following enrollment deposit that the student has submitted. The University conditions: reserves the right to cancel the offer of admission if the student posts 1. Pre-Freshman Enrichment Program. The admission of a deposit at another college or university, or fails to complete their freshman applicants to the College of Art and Design or the senior year in good academic standing. Multimedia program may be contingent upon successful completion of the University’s Summer Pre-Freshman Enrichment Program Housing Deposits (PREP). This condition is made when the application review indi- University housing is open to new students entering in both fall cates that additional preparation in studio is necessary to ensure the and spring semesters. Housing reservation forms are sent to all student’s success in the first year curriculum. PREP includes studies incoming students upon receipt of the tuition deposit. The in drawing, two-dimensional, and three-dimensional design. Classes University will guarantee housing to all students who submit a are scheduled for a four-week session, with 30 hours of instruction housing reservation and post a non-refundable $200 housing deposit per week. PREP is a noncredit program, but grades are given to by June 1. Although the University anticipates that it has adequate measure performance. A minimum “C” (2.0) grade-point average housing to meet the student demand for on-campus living, there is indicates successful completion. no way to predict when University-supervised housing may be 2. Academic Warning. Students admitted under Academic filled; therefore, after June 1, space is available on a first-come, first- Warning must achieve a “C” (2.0) grade-point average at the end of served basis. their first year of study in order to be promoted. 3. Academic Achievement Program. Applicants may be Deferred Admission required to participate in the Academic Achievement Program Deferment of admission is not automatic. Undergraduate and (AAP). The purpose of the program is to provide developmental graduate students who are admitted to The University of the Arts maintenance and transition services to students who, because of life and then wish to defer their admission must submit their requests, in circumstances, may not have achieved their potential in secondary writing, to the Office of Admission. If permission is granted, a $300 school and need additional preparation in art and academics to nonrefundable tuition deposit must be paid in order to confirm ensure their success. AAP is funded by the Commonwealth of enrollment for the following semester or year. Deferred students Pennsylvania’s Higher Education Opportunity Act (ACT 101). who enroll in a degree program at another institution in the interim Students selected to participate in the program must be Pennsylvania will not retain their deferred status; they must reapply to the residents and meet the family income eligibility guidelines estab- University as transfer students. lished by the Commonwealth of Pennsylvania. Deferred candidates are also required to submit a statement of activities and reaffirm their intent to enroll at The University of Advanced Placement the Arts. Candidates seeking fall or summer enrollment must file this statement by January 15; spring candidates must submit CEEB Advanced Placement Program (AP) this statement by November 15. Students are permitted only The University of the Arts may award three credits toward the one deferment. Liberal Arts requirements for a score of 4 or better in any CEEB Those who are not approved for deferred admission may reapply Advanced Placement Examination in an academic subject. An offi- for the following year. A new application form must be filed with a cial report of scores must be submitted to The University of the Arts reapplication fee of $10; additional credentials may be required. directly from The College Board, Advanced Placement Program, Princeton, NJ. AP credit is not given for studio art or performance. Early Admission Students are notified of AP credits awarded prior to registration. Extremely capable students may be ready for college before they have completed the normal four-year secondary school program. College Level Examination Program (CLEP) The University welcomes applications from those who feel they are The University of the Arts cooperates with the College scholastically and artistically prepared, and sufficiently mature, per- Examination Board in its College Level Examination Program sonally and socially, to undertake college work. (CLEP). Credits may be awarded for Subject Examinations in com- Early Admission candidates must be able to fulfill either of the position and literature, foreign language, history and social studies, following conditions: or science and math depending on the score earned in the examina- 1. By taking an overload during the junior year of high school or tion and other factors as follows: summer courses, the applicant is able to complete high school 1. The credit must be directly applicable to the student’s diploma credit requirements and receive the diploma before degree requirements. enrolling at the University. 2. The credits cannot be used to fulfill upper-level course 2. Under a written agreement, the candidate’s high school authori- requirements. ties grant the applicant a high school diploma upon completion of 3. The total number of credits awarded through CLEP is the freshman year at The University of the Arts. limited to 12. 4. A score equivalent to the minimum acceptable score or
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higher as recommended by the American Council on Education 1. English proficiency. Applicants to the undergraduate pro- is necessary. grams whose first language is other than English are required to demonstrate their proficiency in English in one of two ways: College-Level Coursework Submit official scores from the Test of English as a Foreign The University may also award credit for college work completed Language (TOEFL). A minimum score of 500 on the paper-based while the student was still in high school. Applicants who have taken test, or 173 on the computer-based TOEFL, is required for admis- college courses should arrange to have their college transcripts sent sion to the undergraduate programs, to the Office of Admission for transfer-credit evaluation. Students or should also send official descriptions of the college courses so that Complete Level 112 in the English Language Program offered by the University can make accurate evaluations. Transfer credit cannot any one of the more than 20 ELS Language Centers located be granted for courses that were taken to fulfill high school gradua- throughout the USA. Information about these programs may be tion requirements nor for credits earned in a dual enrollment obtained directly from: program that granted secondary school and college credit for the same course. Credit will not be granted for pre-college programs. ELS Language Centers 1357 Second Street, Suite 100 International Baccalaureate Santa Monica, CA 90401-1102 USA The University of the Arts recognizes the International Telephone: 310-458-7400 Baccalaureate Examination (IB). The University may award six Fax: 310-458-7404 credits toward the Liberal Arts requirements for a score of 4 or better www.els.com in a higher level (HL) examination and three credits for a score of 4 or better in a subsidiary level (SL) examination in an academic sub- International candidates for admission to a graduate program ject. An official report of scores on the IB exams should be sent to whose first language is other than English must present an official the Office of Admission for evaluation. Students are notified of the TOEFL score of 550 or above, if paper-based, or 213, if computer- credits awarded prior to registration. based, or complete Master’s Level 112 in the English Language Program offered by any of the ELS Language Centers located Credit from Nonaccredited Institutions throughout the U.S. Information about these programs may be Based on the applicant’s portfolio, credit may be awarded at the obtained directly from ELS Language Centers, as listed above. time of admission by the department chairperson of the intended 2. Transcripts/Mark/Grade Sheets. All applicants must provide major. The maximum number of credits awarded may not exceed the complete, official transcripts from every school attended on the high number of credits earned at the nonaccredited institution (as school/secondary level and postsecondary level. Each transcript adjusted to conform with the University’s credit evaluation policies). must be translated into English by a certified translator and the These credits may be assigned to fulfill specific requirements of The translation must be notarized. University of the Arts degree as agreed upon by the department chair International students who wish to be considered for advanced or director, and the registrar. standing and receive transfer credit for coursework already com- pleted should submit an Evaluation of Foreign Educational Credit by Portfolio/Audition Credentials Comprehensive Report from the Academic Credentials Evaluation Institute (ACEI). International applicants to the graduate A maximum of 18 credits may be granted to applicants by port- programs are also required to submit The Basic Report from ACEI. folio review for artistic experience independent of any coursework. It is the applicant’s responsibility to contract with ACEI directly for Credit by portfolio is granted only for studio work done prior to this service. Instructions and application for foreign credentials eval- matriculation at The University of the Arts. Academic standing and uation can be obtained directly from: course credit based on portfolio review are determined by the appro- priate department chairperson during the admission process. This Academic Credentials Evaluation Institute, Inc. portfolio work cannot have been part of the assigned work for a sec- P.O. Box 6908 ondary or post-secondary course. Beverly Hills, CA 90212 USA Applicants who qualify may be granted credit by audition in per- Telephone: 310-559-0578 formance subjects. Audition credit requires the approval of the Fax: 310-204-2842 Audition Committee and the school director. Academic standing and www.acei1.com course credit based on the audition are determined during the admis- sion process. 3. Certification of Finances. International students who plan to enroll at the University are responsible for all of their educational International Students and personal expenses for the full duration of their education at The Applicants who are neither U.S. citizens nor Permanent Residents University of the Arts. Certification that these financial obligations are considered International Students. The University encourages can be met is required in order to qualify for the F-1 visa. A international candidates with strong academic and artistic qualifica- Certification of Finances form is sent to international students upon tions to apply for admission. receipt of their application. The form must be completed in English International students who apply to the University should follow and certified by a bank official. This statement must declare the the procedures outlined in the appropriate section of this catalog. availability of funds of at least (U.S.) $36,310 to cover the cost of International applicants should also be aware of the following addi- one year of education and personal expenses. The I-20, used to tional requirements and procedures: apply for the F-1 visa, will not be issued without a valid
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Certification of Finances. All F-1 students are responsible for candidates’ completed applications will be reviewed and notification obtaining immigration information and following all the regulations of admission and financial aid decisions issued. If space remains in order to maintain status. Page 2 of the I-20 explains many of the available in the entering class after the published application dead- obligations of an F-1 student. line, applications will continue to be accepted and reviewed on a 4. Financial Aid. International students may be considered for a rolling basis until the class is filled. limited number of University-funded, merit-based scholarships. These scholarships cover partial tuition costs only. Need-based Application Deadlines financial aid is not available. Students who are not U.S. citizens or Permanent Residents may qualify for educational loans through an International Student Loan Program (ISLP). Further information on Fall and Summer Enrollment the ISLP may be obtained directly from: Application for fall admission and admission to the summer resi- dence MFA (Ceramics, Painting, and Sculpture) programs may be International Education Finance Corporation submitted as follows: 424 Adams Street Milton, MA 02186 USA Priority Decision http://www.IEFC.com Applications received and completed prior to February 1 for fall or summer enrollment will be reviewed for priority consideration. 5. Scholarships. A limited number of partial merit scholarships Applicants will be notified of the Admission Committee’s decision may be awarded to international students who demonstrate out- on or before March 15. standing academic and artistic achievement and potential. International merit scholarship recipients are notified of the scholar- Rolling Admission ship award within two weeks of the offer of admission. Applications received after February 1 for fall and summer enroll- 6. Special note for summer applicants: Summer MFA pro- ment will be considered on a space-available basis and reviewed on grams do not qualify for a student visa and are therefore closed to a rolling basis. international students who would need a visa to attend. Spring Enrollment Music, Museum Communication, Museum Education, and Art Admission Requirements for Graduate Education accept applications for spring enrollment. and Post-Baccalaureate Programs Regular Decision The University of the Arts offers these graduate degrees: Applications received and completed by November 15 will be Master of Fine Arts notified of the admission decision on or before December 1. Book Arts/Printmaking Rolling Admission Ceramics Applications received and completed after November 15 will be Museum Exhibition Planning and Design considered on a space-available basis and reviewed on a rolling Painting basis. Candidates can generally expect to be notified of a decision Sculpture within two weeks of completing all application requirements. Master of Arts Transfer of Credit Art Education A maximum of six credits may be transferred and applied toward Museum Communication graduate degree requirements with the approval of the program Museum Education director and registrar. Only those graduate courses in which a grade of “B” or higher has been earned may be considered for transfer Master of Arts in Teaching credit. Visual Arts Music Education Graduate Application Requirements All applicants for admission to graduate study at The University Master of Industrial Design of the Arts must hold a bachelor’s degree from a U.S. institution that is accredited by a recognized regional association, or have the equiv- Master of Music alent of a bachelor’s degree from a foreign institution of acceptable Jazz Studies standards. 1. Application Form: All candidates are required to submit a In addition to the graduate programs, The University of the Arts completed graduate application for admission and $50 application offers post-baccalaureate non-degree programs in Crafts and teacher fee. The fee for international applicants who are not U.S. citizens or certification in Visual Arts. Please refer to the Table of Contents to Permanent Residents is $75. The application fee will be waived for locate full program descriptions. University of the Arts alumni. Candidates for graduate admission are strongly encouraged to file 2. College Transcripts: An official transcript from each under- the admission application and complete all admission requirements graduate and graduate school attended is required of all applicants. early. The University has established several deadlines, after which 3. Recommendations: Applicants are required to submit three
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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 Teacher Program, 4. Personal Statement: All applicants are required to submit a Pre-Certification Concentration in Art Education one- to two-page statement that describes their professional plans Professional Semester and goals. The statement should be typed on a separate sheet of The Post-Baccalaureate Teacher Program, Pre-Certification paper and attached to the application. Applicants should list name, Concentration in Art Education, is only available to University of the Social Security number, and the semester for which they seek Arts/College of Art and Design alumni. The Professional Semester admission on the statement. is taken the semester after graduation and after all pre-certification 5. Interview: A personal interview with the director of the pro- requirements have been met, except for AE 552 The Art of Teaching gram to which the candidate is applying is strongly recommended. and AE 659 Student Teaching Practicum. To be eligible to take the Appointments should be scheduled directly with the department. Post-Baccalaureate Professional Semester, candidates must have a 6. English Language Proficiency: Applicants for whom English “B” average and have successfully completed the Instructional I, is not their first language are required to demonstrate proficiency in PRAXIS tests. They must also meet with the chair of the Art English. The Test of English as a Foreign Language (TOEFL) is Education Department and fill out a Student Teaching Application required for applicants who have been educated in non-English- the semester prior to student teaching. speaking countries. A minimum score of 550 on the paper-based test, or 213 on the computer-based test, is required for graduate Post-Baccalaureate Teacher Program admission, or level 112 in the English Language Program, offered (Non-Degree) by any one of the more than 250 ELS Language Centers located Candidates for this program must hold a BFA or BA degree in art, throughout the USA, must be successfully completed. or equivalent, with 45 credits in studio art and 12 credits in art his- 7. Financial Aid: Obtain the Free Application for Federal Student tory, with a “B” or better cumulative average. They must also have Aid (FAFSA) and a Stafford Loan Application if applying for finan- completed six credits in college-level math, three credits of English cial assistance. Submit the FAFSA to the Federal Student Aid composition, and three credits in American or British literature. In Program by February 15 for priority consideration. The Title IV addition, candidates must have successfully completed the Code for The University of the Arts is 003350. Instructional I, PRAXIS tests. Graduate students who wish to be considered for grant assistance Credits earned in the Post-Baccalaureate Teacher Program (Non- should contact their department for additional information. Degree) may not be converted to graduate credits or be considered 8. Special Requirements for Graduate Education Applicants: for transfer credit in a graduate program. Master of Arts in Teaching in Visual Arts (MAT) Applications may be obtained from The University of the Arts Candidates for this program must hold a BFA or BA degree in art, Office of Continuing Studies. or equivalent, with 45 credits in studio art and 12 credits in art his- tory, with a “B” or better cumulative average. They must also have completed six credits in college-level math, three credits of English composition, and three credits in American or British literature. Master of Arts in Art Education (MA) Candidates for this program must hold a BFA or BA degree in art, or equivalent, with 45 credits in studio art and 12 credits in art his- tory, with a “B” or better cumulative average. A teaching certificate is not required. Deficiencies in this minimum must be made up as prerequisites or corequisites; a maximum of 12 such credits may be taken while a matriculated graduate student. With approval of the program director, a maximum of 6 studio credits may be applied to the elec- tive requirements in the program. Graduate Portfolio and Audition Information Every student applying to the College of Art and Design must submit a portfolio of his/her work. Every student applying to the College of Performing Arts must audition. An application must be filed with the Admission Office before a portfolio review or audition is scheduled. Please refer to the Graduate Application Form for spe- cific requirements, which may be obtained through the Admission Office. Crafts Studio Post-Baccalaureate Certificate Admission to the Crafts Studio Program is based on portfolio and interview. The program is designed for students who already hold an undergraduate degree. Applications may be obtained from the Office
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master’s degree and is currently working on the graduate Tuition and Expenses project/thesis, either on or off-campus, must register and pay a grad- uate project continuation fee (equal to the cost of 0.5 Mariann Cardonick credit/semester) until all degree requirements are met. Students [email protected] completing a degree in the summer must pay the fee in the final Manager, Student Billing Office semester. This registration, through the Office of the Registrar, is Second Floor, Dorrance Hamilton Hall required in each semester until all degree requirements are met. 215-717-6187 A student without an approved leave of absence who does not reg- ister each semester will be considered to have withdrawn from candidacy for the degree. Students who have not maintained contin- Undergraduate Tuition and Fees uous registration must apply through the Office of the Registrar for Annual tuition is charged to all full-time undergraduate students, readmission to the program, and will be retroactively charged for the with one-half payable prior to the start of each semester. Full-time intervening semesters. students carry a minimum of 12 credits per semester and may carry up to 18 credits without incurring additional charges. Excess credits Schedule of Annual Graduate are subject to additional charges at the standard semester credit rate. Charges and Fees Permission of the dean of the appropriate college is required for a 2004-2005 Academic Year student to carry more than 18 credits in one semester. Full-time tuition $ 22,060 (9-18 credits/semester) In addition to the annual tuition charge, all students registered for Tuition per credit $ 1,118 12 credits or more are required to pay an annual general student fee. General Student Fee $ 850 (all full-time students) The general student fee is applied toward the cost of library facili- ties, studio and computer operations, orientation, student activities, and special services, including health services, placement, and regis- Tuition Payments and Financial tration. The annual general student fee is not refundable. Responsibility Students registering for fewer than 12 credits are charged per Payment in full for each semester is required before students may credit. There may be additional course fees or charges, which may attend classes. Tuition invoices are mailed to students each July and include deposits, the cost of expendable materials, and lab fees in November. Students who have not made arrangements to pay their selected studio classes. Lab fees, in particular, are most common in tuition, fees, housing, and/or any other financial obligations to the the Crafts and Media Arts departments. Please contact those depart- University before the first day of classes each semester are subject to ments directly for more information. In addition, private lessons for having their registration cancelled for that semester and losing their students who are not enrolled in the School of Music will carry an class places. Cancelled registrations can only be reinstated with the additional fee. Reservation deposits for housing and tuition are cred- approval of the Student Billing Office and are subject to a late pay- ited to the student’s bill and are not refundable. ment fee of $60. The first-semester bill must be paid by mid-August and the Schedule of Annual Undergraduate second-semester bill must be paid by mid-December. Any amount Charges and Fees unpaid after the due date as indicated on the invoice is subject to a late payment fee of $60 unless an alternative payment plan has been 2004-2005 Academic Year arranged through TMS (see “Payment Plans”). Settlement of all Full-time tuition $ 22,060 financial obligations of the University rests with the student or the (12-18 credits/semester) student’s parents if the student has not attained independent adult Tuition per credit $ 954 status. General Student Fee $ 850 (all full-time students) Failure to receive a tuition statement does not excuse a student from paying tuition and fees before attending classes each semester. Housing Fees Student accounts are considered settled when students receive Housing: Business Office Approval and a validated ID card. Burleigh Residence $ 5,640 Any unpaid balance at the end of the semester will be referred to Pine Residence $ 5,430 Ð 5,865 the University’s outside collection agency for collection and legal Furness Residence $ 4,870 Ð 5,580 action. Students or their paying agents will be responsible for all 1228 Spruce Residence $ 5,640 Ð 6,200 collection costs and attorney fees. 311 Juniper Residence $ 6,090 Ð 6,400 Housing reservation deposit $ 200 Housing damage deposit $ 200 (refundable) Methods of Payment Students who wish to make their tuition payment directly to the Graduate Tuition and Fees University may use one of the following methods of payment: Graduate students are considered full-time if enrolled in at least 1. Check nine credits. Teacher Certification students in Visual Arts are consid- 2. Certified check ered full-time at nine credits. Full-time graduate students pay annual 3. Money order tuition plus the general student fee. General student fee charges are 4. Wire Transfer (Before arranging for a wire transfer, please call the same for graduate and undergraduate students. Tuition for part- the University for details about the process: 215-717-6194.) time graduate studies is charged on a per-credit basis. A student who has completed all the course requirements for the
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The Interest-Free Monthly Payment Option Sibling Discount To help manage tuition and housing expenses, the University has Families that have two or more members simultaneously access to the services of Tuition Management Systems. Tuition attending The University of the Arts are eligible for a tuition remis- Management Systems’ Interest-Free Monthly Payment Option sion. To qualify, a student must present to the Registrar an original allows education expenses to be spread over smaller monthly install- or notarized copy of the long-form birth certificate, which lists the ments for only a small enrollment fee. There is no interest and no names of both parents. The youngest member of the family may pre-qualification or credit check for this service. With this payment receive a 10 percent tuition remission each semester during which option there is 24-hour access to account information through both are full-time matriculating students. Tuition Management Systems’ web site, www.afford.com, toll-free automated account information through InfoLine, and personal Spousal Discount account service Monday through Saturday. Education Payment A husband and wife attending the University at the same time are Counselors are available to help determine the best payment option. eligible for tuition remission. To qualify, presentation of an original For more information on specific payment options or to enroll in or notarized copy of the certificate of marriage must be submitted to the Interest-Free Monthly Payment Option, visit Tuition the Registrar. The second person of the married couple to register at Management Systems’ web site at www.afford.com or call 1-800- the University may receive a 10 percent tuition remission each 722-4867 and speak with an Education Payment Counselor. semester during which they are both full-time matriculated students. Acceptance of Credit Cards Housing Fees The University only accepts credit cards for payment of new stu- Students are not permitted to move into University housing until dent application fees, Continuing Education programs, and all tuition and fees are paid in full. A damage deposit is required of purchases made at the bookstore. Due to the high cost of merchant all students who live in University housing. This deposit is held in service fees imposed by credit card companies and banks, the escrow and will be refunded to the student after the apartment is University does not accept credit cards for payment of undergrad- vacated. Any charges for damage to the apartment will be subtracted uate and graduate tuition, housing charges, and the general fee. For from this deposit. An additional Housing Reservation Deposit is those who prefer to use credit cards for their convenience or for required to reserve a space in University housing. This deposit will reward/bonus programs, Tuition Management Systems, Inc. be credited to the student’s bill and is not refundable. (TMS—see Payment Plans, above) provides two options. You may use your credit card either to make your monthly payments to TMS or to pay the tuition in full. TMS will not assess a separate enroll- Special Charges and Fees ment fee for these options. However, their contract levies a convenience fee, between two to three percent of the balance Application Fee charged. For more detailed information, please call TMS at An application fee of $50 is required with every application for 1-800-722-4867. admission or readmission. Tuition Remission and Discounts Tuition Deposit Students are entitled to only one type of tuition discount (i.e., Once the student has been accepted for admission to the alumni discount, sibling discount, spousal discount, etc.) in any University, a $300 tuition deposit is required to reserve a place in the given academic year. For more information, contact the Office of the class. This deposit will be credited to the student’s bill and is not Registrar at 215-717-6420. refundable after May 1. The tuition deposit must be paid in U.S. dol- lars within three weeks of the offer of admission. Please refer to the Alumni Discount Admissions section of this catalog for more complete information. Sons and daughters of alumni of the University of the Arts are eli- gible for a 10 percent remission on their tuition. To qualify, a student Late Registration must present to the Registrar an original or notarized copy of the A late registration fee of $35 will be charged to any student regis- long-form birth certificate, which lists the names of both parents. tering after the dates listed in the Academic Calendar. For purposes of this policy, alumni are defined as graduates who have received a diploma, degree, or certificate as a matriculated Late Payment student in an undergraduate or graduate program from either A late payment fee of $60 will be charged to any student failing to the College of Art and Design, the College of Media and pay his or her tuition and/or housing bill by the due date. Communication or the College of Performing Arts, excluding the Evening or Continuing Education divisions of each College. The Bad Check Penalty discount will be issued commensurate with the number of years that A $25 fine is charged for all checks issued to the University and a student’s alumni parents attended the University (i.e., if an not paid upon presentation to the bank. A hold will be placed on all alumnus received a certificate from a two-year program, the dis- official student documents until the original charge is paid in addi- count would be offered for only two years). tion to the fine. A “flag” will be placed on the student’s account 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 Billing Manager to review his/her payment history. All balances will be referred to a collection agency if repayment is not made.
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Transcript Fee total Title IV aid awarded (excluding Federal Work Study). This per- A $5 fee is charged to students requesting an official transcript from the centage is calculated by dividing the 20 days completed by the 105 University. Please refer to the Academic Policies section in the front of total days in the term (including Saturdays, Sundays, and holidays). this catalog under Transcript Request Procedures for more information. This retained aid is then applied against the remaining balance of tuition charges calculated under the general refund policy. The balance of the Title IV aidÐor 81 percentÐmust be returned to the appropriate Tuition Refund Policy and Procedures issuer. If this student also received University awards (non-Title IV By registering for classes, students accept responsibility for Program), the same retention percentage would apply. paying charges for the entire semester/term, regardless of the If a student withdrew after 60 percent of the term was completed, method of payment and attendance in class. or on the 63rd day, 100 percent of the aid would be retained. Students who are considering withdrawing (either from the A student withdrawing during a Summer Session on the 20th cal- University or individual classes) should seriously consider the finan- endar day after the start of classes retains 47.6 percent of the total cial consequences. Depending on the time of withdrawal, balances Title IV aid awarded. This percentage is calculated by dividing the may still be owed to the University, the Federal Government (if a 20 days completed by the 42 total days in the session (including Title IV program aid recipient), State Governments, Agencies, loan Saturdays, Sundays, and holidays). This retained aid is then applied providers, and other non-University grantors of scholarships and against the remaining balance of tuition charges calculated under the awards. Students are urged to meet with a financial aid counselor to general refund policy. If this student also received University awards discuss the monetary impact of withdrawal and their eligibility for (non-Title IV program), the same retention percentage would apply. aid in the current and future semesters. If a student withdrew after 60 percent of the term was completed, or on the 25th day, 100 percent of the aid would be retained. General Refund Policy That portion of Federal Title IV aid that will be returned to the Tuition Charged Tuition Refunded issuer must be repaid in the following order: Fall or Spring Semester 1. Unsubsidized Federal Stafford Loan Withdrawal occurring: 2. Subsidized Federal Stafford Loan Prior to first day of classes 0% 100% 3. Federal PLUS Loan Before end of second week 20% 80% 4. Federal Perkins Loan Before end of third week 60% 40% 5. Federal Pell Grant After end of third week 100% 0% 6. Federal SEOG Aid 7. Any other Title IV program aid Summer Sessions 8. Other federal, state, or private student financial assistance Withdrawal occurring: 9. To the student Prior to first day of classes 0% 100% Before end of first week 20% 80% Retention of University Scholarships, Before end of second week 60% 40% Grants, and Awards After end of second week 100% 0% Withdrawing students who have received University Scholarships, Grants, and Awards are permitted to retain a portion of these funds The following items will be excluded from the refund calculation: as an offset (payment) against tuition charges based on the duration 1. The comprehensive fee. of attendance. For those students not receiving any Title IV program 2. Supplies, which are considered 100 percent expended upon aid, the portion retained is the same as the tuition charged under the purchase. general refund policy. For example, a student without any Title IV 3. Books, which are considered 50 percent expended during the aid withdrawing before the end of the third week of classes will be first week of classes and 100 percent thereafter. liable for 60 percent of tuition charges. This same student will also 4. The documented cost of any equipment issued to the student receive credit for 60 percent of any University aid awarded. and not returned in good condition. If a withdrawing student received Title IV Program aid in 5. Library fines and late fees. addition to University Scholarships and Awards, the total amount 6. Security deposits, which will be returned separately once it has of aid retained from both sources is calculated using the Federal been determined that no damages or fines have been assessed. Title IV rules. Retention of Federal Title IV Program Funds Financial Holds Students should understand that withdrawing from the University Students who do not satisfy their financial obligations to the may cause them to owe more money than if they had remained to University will have a financial hold placed on their record. Such a complete the semester/term. hold may result in cancellation of the student’s preregistration and Withdrawing students who have been awarded Title IV Program will prevent the student from being permitted to register for future aid funds are permitted to retain a pro-rata portion of these funds as courses until the financial hold is lifted. Furthermore, students with an offset (payment) against tuition charges prior to completion of 60 outstanding financial obligations to the University will not be eli- percent of any Term or Summer Session. After the 60 percent mark, gible to receive official copies of their transcripts or their diplomas. all such aid is treated as 100 percent earned. Title IV Program or To avoid incurring late fees and/or a hold on academic records, stu- Federal funds would include PELL and SEOG grants, and Perkins, dents are expected to make arrangements to pay all tuition, fees, Stafford, and PLUS loans. library fines and fees, and dormitory charges by the due date on their For example, a student withdrawing during a fall or spring term on bill. Students are encouraged to apply early for financial aid. the 20th calendar day after the start of classes retains 19 percent of the
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Financial Aid Deadlines Deadlines are used to assist the University in determining how many students wish to be considered for aid from the available Amy Hooper funds. 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 Director of Financial Aid you 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 that has not been The University of the Arts offers a variety of financial aid pro- processed, as well as the withholding of registration and class atten- grams to assist students in meeting their educational goals. Aid may dance in the event of outstanding balances. be offered in the form of grants, scholarships, loans, or employment, All eligible students are considered for financial assistance and 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, 2005. to the institution. All students who plan to attend the University during the Fall Eligibility for aid is based upon the applicant’s financial need, the 2005 or Spring 2006 semesters must file the FAFSA by the above ability to meet individual program requirements, and the availability deadline. Incomplete applications, and applications submitted after of funding. March 15 will be considered only after on-time applications have Typically, 75 percent of the University’s students enrolled on a been awarded. Some types of aid (University Grants, Scholarships, full-time basis are eligible for some type of need-based aid. SEOG Grants, Perkins Loans, Federal Work Study, and PHEAA Therefore all students, undergraduate and graduate, are encouraged Grants) are awarded on an on-time basis and may not be available to to apply. otherwise eligible but late applicants. Information on application procedures, types of aid, program requirements, educational costs as determined by the University, and New Students the students’ rights and responsibilities is detailed in the following The University of the Arts’ postmark deadline for submission pages. Most general questions will be answered in these pages. of the FAFSA is March 1, 2005. Contact the Financial Aid Office to speak with your counselor for All students who plan to attend the University during the Fall assistance with any specific questions you may have. 2005 or Spring 2006 semesters must file the FAFSA by the above deadline. Incoming students are considered on a rolling, funds-avail- Eligibility Criteria able basis after the 1st. Applicants are advised to submit all In order to qualify for financial aid a student must: application materials by March 1, or as soon as possible. Some ¥ Be a U.S. citizen, or eligible non-citizen per Immigration and sources of funding (as above) are limited and will not be available to Naturalization Service (INS) regulations. otherwise eligible but late applicants. ¥ Be admitted to the University. ¥ Not have received a bachelor’s degree or its equivalent. Some Award Letter Deadlines forms of aid are offered to post-undergraduate students as The response date on the award letter is the date by which the specifically noted under “Bachelor’s Degree Holders.” University requests confirmation of the acceptance of the ¥ Not have received aid for the maximum number of allowable University’s offer of financial aid. (Financial aid includes all offers semesters (eight). of Scholarships, Grants, Loans, and Work Study.) Students are not ¥ Not have defaulted on a previous federal loan. obligated to the University in any way by confirming the award, and ¥ Be matriculated in a program that terminates in a degree will not be penalized in any way by doing so. By confirming the or certificate. award, the student reserves those funds. ¥ Be enrolled as a full-time student. (A full-time student is one If the University does not receive a confirmation from the stu- who is registered for at least 12 credits per semester.) The dent we will assume that he/she does not wish these funds to be University offers some types of financial aid to part-time stu- reserved, and will rescind the entire financial aid offer. dents. For undergraduates, part-time is defined as 6-11.5 credits. New students are strongly urged to confirm their awards from the For graduate students, part-time is defined as 4.5-8.5 credits. University of the Arts even if they have not made their final college Some forms of aid are offered to less than full-time students as choice. specifically noted under “Part-Time Students.” ¥ Maintain satisfactory academic progress as defined by the Stafford/PLUS Application Deadline: University. The March 15, 2004, Stafford/PLUS deadline is a suggested ¥Apply for financial aid by the deadline. deadline. Eligibility for these loans will not be affected if applica- ¥ Demonstrate financial need as determined by the analysis of the tions are submitted after March 15. Students should submit loan Free Application for Federal Student Aid (FAFSA). application(s) as soon as they have decided which college to
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attend in the fall because loan applications require six to eight weeks The paper FAFSA application must be mailed directly to the of processing time. processor in the envelope provided and requires approximately four We cannot guarantee that loan applications that are submitted weeks to process. after May 1, 2005, will be processed in time for fall billing. If a loan Transfer students may be required to submit financial aid tran- application(s) is submitted late, the student will be required to pay scripts to the University from post-secondary institutions attended in tuition from other resources and then wait to be reimbursed from the current year, whether or not aid was received. This regulation loan proceeds. applies to transfer students who enroll beginning in January. It does not apply to transfer students who enroll beginning in September. PHEAA State Grant Deadlines—All Students The state’s deadline for receipt of the completed FAFSA applica- Declining Financial Aid tion is May 1, 2005, for the following year (2005-2006). If a student declines his/her offer of financial aid or admission, the Applications received after that date may render a student ineligible University will rescind all offers of financial assistance (scholar- for PHEAA Grants as well as the other types of aid specified above. ships, grants, loans, and work study). If that student later decides to enroll at the University, he/she will be reconsidered for assistance at Duration of Eligibility that point. Eligibility for financial assistance may be greatly reduced Under federal and University guidelines, undergraduate students at a later point, and will be determined on a funds-available basis. may continue to receive financial aid for only eight semesters, or until the first baccalaureate degree or its equivalent has been earned. Title IV Code Students are no longer eligible for aid once they have either com- The University’s Federal Title IV code is 003350. pleted the requirements for the degree or have completed the equivalent number of credits. State Grant Information Students may not receive undergraduate grants to complete Residents of Pennsylvania (per PHEAA’s guidelines) will be eval- minors, double degrees, or teacher certification programs that extend uated for a PHEAA Grant by filing the FAFSA. PHEAA deadline beyond eight semesters. May 1. FAFSA serves as the state grant application. Students are not permitted to delay graduation in order to con- Residents of Alaska, Connecticut, Delaware, District of tinue their eligibility for aid. Columbia, Maine, Massachusetts, Ohio, Rhode Island, Vermont, or Students can also exhaust their eligibility for financial aid by West Virginia, please note these additional deadlines: failing or withdrawing from courses. Connecticut deadline February 1: state grant application required. If you have questions about your status please contact the District of Columbia deadline June 28: district grant application Financial Aid Office. required. Rhode Island deadline March 1: FAFSA serves as state grant Financial Aid Application Procedure application. West Virginia deadline June 28: state grant application required. Prerequisite Students who are residents of these states and are currently To be considered for financial aid, students must be accepted for receiving a state grant MUST file the Free Application for Federal admission to the University or be currently enrolled and making sat- Student Aid (FAFSA). A separate state grant application form may isfactory academic progress as defined by the University. also need to be submitted to the higher education assistance agency Requisite in the student’s home state. If the state grant can be used in Pennsylvania, it is “portable.” All students who wish to be considered for financial aid must file Portable state grants may be less at UArts than if used at a college in the Free Application for Federal Student Aid (FAFSA). The infor- a student’s home state. mation must be released to the U.S. Department of Education and to Residents of states not listed above are prevented by their state the University. from using their state grants in Pennsylvania. The FAFSA is basic to the University’s Financial Aid application process and is essential to the determination of the student’s eligi- bility for all types of aid (Pell, FSEOG, and PHEAA Grants, Types of Aid University Scholarships, as well as Federal Work Study and loans). Each student who completes a FAFSA will be considered for all A student cannot be considered for any type of financial aid until a of the following types of aid. Parental enrollment will not be consid- correct and complete FAFSA has been processed. ered when eligibility for University aid is calculated. The University does not require the CSS, ACT, FAF, Profile, or other financial aid applications to be considered for financial assistance. Institutional Scholarships The Department of Education has provided an easy way to apply and Grants electronically for aid. With Internet access, the FAFSA can be com- pleted and filed at http://www.fafsa.ed.gov. University Scholarships Students can also file using software provided by the Department University Scholarships are awarded on the basis of academic of Education by downloading the FAFSA Express from the Depart- excellence and demonstrated talent. The Presidential, Promising ment’s Web page at http://www.ed.gov/offices/OPE/express.html. Artist, and Artist Grant are types of University Scholarships. Remember, no matter how a student decides to file, he/she should University Scholarships are awarded when students are admitted. submit only ONE application each year.
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Those students who demonstrate exceptional artistic ability and out- Federal Supplemental Educational standing academic achievement will be considered for University Opportunity Grant (FSEOG) scholarships. FSEOG is a federally funded University administered program. To assist students and their families with financial planning for These grants are awarded to needy students who do not hold a bach- their enrollment, scholarship amounts are fixed and renewable so elor’s degree. Typically, FSEOG grants are first awarded to Pell long as the student makes academic progress. Grant recipients who have met the filing deadlines on a funds-avail- able basis. Named Scholarships The University offers a number of scholarships that have been Outside Scholarships donated by individuals or groups to help support promising artists. The University encourages students to explore all options for out- These named scholarships are awarded based on need and merit. side scholarship assistance. Local businesses, foundations, churches, unions, civic organizations, etc., often sponsor scholarships that can University Grant be used toward educational costs. University Grants are need-based and are awarded by the A good place to begin the search for outside scholarships is on- Financial Aid Office to supplement all other financial aid assistance. line at www.fastweb.com. This is a free scholarship search service. Students must be enrolled for at least 12 credits in order to receive The University of the Arts does not recommend that students pay Institutional Aid that is merit-based. fees for financial aid information, or for scholarship searches. As a service to students, the Financial Aid Office maintains a Federal/State Grants scholarship notebook containing useful information about such funding. This notebook may be viewed in the Financial Aid Office. Pell Grant The Financial Aid Office must be notified if any additional The Pell Grant is a federally funded program that awarded indi- awards are received. Notification of all grants and scholarships will vidual grants in amounts ranging from $400 to $4,050 in 2003-2004. be included in the award letter. Pell Grants are awarded to students who have not received a bach- elor’s degree nor been aided for the maximum number of semesters Student Loans allowed. Student loans are available at low interest rates (capping at 8.25 Eligibility is determined by the federal government and notifica- percent), and with extended repayment terms to assist students in tion is sent directly to the student in the form of a Student Aid meeting both tuition and living expenses. Because loan indebtedness Report (SAR). The student should expect to receive the SAR has serious implications, students should carefully consider the approximately four weeks after the FAFSA has been filed. The SAR amount of their borrowing (both yearly and cumulative) and borrow should be reviewed for accuracy and corrected if necessary. The cor- the minimum necessary to reasonably meet those expenses that rect SAR should be retained by the student as confirmation of remain above the Financial Aid Award. receipt of the FAFSA. Students must enroll for at least three credits Students wishing to borrow should secure an application from the in order to be eligible for the Pell Grant. bank of their choice. All students, regardless of state of residency, University scholarships are awarded when students are admitted. may borrow from Pennsylvania banks and are urged to do so. The Those students who demonstrate exceptional artistic ability and out- Financial Aid Office can provide an application from one of our rec- standing academic achievement will be considered for University ommended lenders. scholarships. All students must use the new Stafford application called the To assist students and their families with financial planning for Master Promissory Note (MPN). Returning Students may secure a their enrollment, scholarship amounts are fixed and renewable so MPN from the same lender used previously. New Students’ award long as the student makes academic progress. letter package should include an MPN. Students who have previously received a Stafford using an MPN PHEAA Grant are not required to file another MPN for 10 years. Awards are made to Pennsylvania residents who have not Students who use PHEAA lenders must submit all loan applica- attained the bachelor’s degree nor been aided for the maximum tions (MPN and PLUS) directly to PHEAA. Students who use number of semesters allowed (eight). out-of-state guarantors must submit loan applications to the Eligible students must demonstrate financial need, Pennsylvania University’s Financial Aid Office. residency, and be enrolled for at least six credits. To continue to be Students are encouraged to use a lender having PHEAA as a guar- eligible for state grant assistance, a full-time student must complete antor. PHEAA has reduced the fees charged on student loans and a minimum of 24 credits per academic year. provides financial incentives during repayment. An award letter may indicate an estimated state grant amount; If the student has previously borrowed under any of the student however, eligibility is determined by the state, and official notifica- loan programs, he or she is encouraged to use the same bank to tion is sent directly to the student beginning in May. avoid having multiple loan payments upon graduation. (Pennsylvania borrowers are required to use the same lender.) NOTE: Students must meet state residency requirements in accor- All loan applications are based on the FAFSA application; thus dance with PHEAA guidelines. PHEAA’s filing deadline is this application is prerequisite to the filing of the loan application. May 1. While the loan application is an element of the Financial Aid Other states have scholarship programs for their residents. application process, it is also a separate transaction between the stu- Information and applications are available from the respective state dent and his or her bank. It is critical that the student understand that boards of education. it is he or she alone who is responsible for repaying funds borrowed,
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and that for most students this will be the most serious long-term Federal Stafford Student Loan (Stafford) financial obligation yet undertaken. Applications for the Stafford loan are available from the lender of All first-time borrowers are required to attend an Entrance Interview the student’s choice. before loan funds will be released by the University. Additional infor- The University is pleased to recommend a preferred lender to mation will be available at orientation and registration. those students who have not previously borrowed. Please contact the All students must submit the Stafford Loan Application by Financial Aid Office for additional information. March 15. A Stafford loan cannot be approved until a complete FAFSA has Graduating students who have borrowed under any federal loan been processed. Students wishing to use proceeds from the Stafford program (as well as those who leave the University prior to gradu- loan must submit a complete application by March 15. Students who ating) are required to attend an Exit Interview. Students intending to use Pennsylvania lenders must submit the loan application directly discontinue enrollment at the University must contact the Financial to the lender. Students who use out-of-state lenders must submit the Aid Office. loan application directly to the Financial Aid Office. Under federal regulations, only one Stafford loan may be Student Loan Programs processed for each student each year. Federal Perkins Loan (Perkins) Stafford Loan Eligibility Perkins is a federal loan that is need-based and is awarded by the Undergraduate Students University. The Federal Perkins Loan is currently offered at a fixed Undergraduate students are required to register for at least six five percent interest rate and is repayable to the University over a credits each semester in order to receive funding from the Stafford maximum 10-year period. Repayment begins nine months after program. graduation or cessation of at least half-time enrollment at an eligible Stafford loan eligibility is determined based upon the number of institution in an approved program of study. credits the undergraduate student has completed, according to the Because Perkins loan funds are limited, this loan is offered to the following schedule: earliest applicants whose Expected Family Contribution (EFC) is lowest. Perkin loans are usually awarded to freshman and sopho- 0 Ð 29.75 credits Freshman maximum $2,625 more students (junior and senior students have greater eligibility for 30 Ð 59.75 credits Sophomore maximum $3,500 Stafford loans). Notification of eligibility for this loan is included in 60 Ð 89.75 credits Junior maximum $5,500 the award letter. 90 + credits Senior maximum $5,500 Parent Plus Loan For Undergraduate Students The above loan amounts may be subsidized or unsubsidized (PLUS) depending upon the student’s financial eligibility. If the loan is sub- The parent of a dependent student may borrow up to the cost of sidized the student is not responsible for making any interest or education (which includes living expenses) minus any other finan- principal payments during enrollment. If the loan is unsubsidized cial aid the student is scheduled to receive. Repayment begins 60 the student is responsible for making interest payments during days after loan funds have been disbursed. The PLUS loan interest enrollment. rate is variable and caps at nine percent. Approval for the PLUS loan Undergraduate students who are independent and dependent stu- is based upon credit history. dents whose parents cannot qualify for the PLUS loan are eligible Loan applications are available from the lender of the student’s for the following additional amounts under the Unsubsidized choice. The parent must borrow from the same lender the student Stafford Program. has chosen for the Stafford loan, unless that lender does not partici- pate in the PLUS program. A PLUS loan cannot be approved until a 0 Ð 29.75 credits Freshman maximum $4,000 complete FAFSA has been processed. 30 Ð 59.75 credits Sophomore maximum $4,000 Typically the loan application process requires six to eight weeks. 60 Ð 89.75 credits Junior maximum $5,000 In order to deduct the anticipated proceeds from a PLUS loan from 90 + credits Senior maximum $5,000 the invoice, the loan must have been approved. Therefore, parents wishing to use PLUS proceeds toward the fall balance must submit a Graduate Students complete application by March 15 in order to deduct the amount of Graduate Students are required to register for at least 4.5 credits the anticipated loan check from the fall invoice. each semester in order to receive funding from the Stafford program. NJ Class Loan Subsidized Stafford Loan Eligibility up to $ 8,500 If a student’s parent is a New Jersey resident, he/she may be inter- Unsubsidized Stafford Loan Eligibility up to $10,000 ested in the NJ Class loan, which may allow payments to be deferred while the student is enrolled. For information and application forms (Total graduate maximum Stafford eligibility per academic year call 1-800-792-8670, or visit www.state.nj.us/treasury/osa. $18,500)
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PLUS/Stafford Information about job availability and placement is as listed in the The lender will deduct origination and insurance fees from Federal Work Study section. Stafford and PLUS loans before they are disbursed. These fees can The Student Employment Handbook details all of the regulations total up to four percent of the principal amount borrowed. Thus, the governing the Federal and non-Federal Work Study programs. amount available from the loan to pay educational costs may be less Students are reminded that falsifying time cards is a criminal than the amount initially borrowed. offense, which can subject them to criminal prosecution, discipli- Students who are in default on a federal loan are not eligible for nary action, expulsion, and loss of all financial aid. Stafford or Perkins loans, or other financial aid while enrolled at The University of the Arts. Award Notification Students and their parents are strongly urged to make an appoint- Award letters will be sent to new students beginning in March and ment in the Financial Aid Office to discuss questions regarding any to returning students beginning in June. The Financial Aid Office of the student loan programs. staff will be available to counsel students at any point during the PHEAA Loan Line (to check on the status of your loan): application process. Students should be aware that some aid is con- 1-800-692-7392 or www.pheaa.org ditional on the availability of funds to the University, and if these Remember: funds are reduced, the University will reduce aid accordingly. If a student uses his/her Stafford or PLUS loan proceeds toward the Students must return a signed award letter with acceptance of aid. fall invoice, he/she must submit the loan application(s) by March 15. Failure to return the award letter may result in cancellation of aid. If an award is estimated, that means some additional steps must Disbursement Amount be taken before the student can receive those funds, such as com- The lender will deduct origination and insurance fees from pleting verification. To receive the Stafford, the student must submit Stafford, PLUS, and other alternative loans before they are dis- the loan application and his/her funds must be disbursed. Stafford bursed. These fees can total up to four percent (or more for some loan proceeds are disbursed electronically or by paper check. He/she alternative loans) of the principal amount; thus, the amount available must endorse the Perkins loan promissory note in order for this loan from the loan to pay educational costs may be less than the amount to be credited to his/her account. borrowed. Additional steps are required to claim these forms Student Employment of financial aid: Federal Work Study Federal Work Study (FWS) In order to claim a FWS award the student must locate an eligible FWS is a federally funded program administered by the job. Once hired, the student must come to the Financial Aid Office to University. Eligibility for this program is based upon the availability complete the necessary payroll paperwork. Students cannot work, of funds to the University and the student’s EFC. nor can they be paid, until this paperwork is submitted and proper The Financial Aid Office will make a determination of the stu- identification is documented. FWS cannot be deducted from the dent’s eligibility to earn money through the FWS Program. tuition invoice. Notification of eligibility will be included in the Award letter. A FWS award is not an offer or a guarantee of a job; it is the Pell Grant amount a student is eligible to earn should she or he secure a job. Work study awards are not applied against the invoice. Payment is Approximately four weeks after the FAFSA is filed, the student made directly to employed students by University payroll check. will receive a Student Aid Report (SAR). This document will notify Eligible students are permitted to work up to 20 hours weekly a student as to Pell Grant eligibility. All of the information on the when classes are in session. Students are paid at least minimum SAR must be correct and complete. wage and hours may be arranged to accommodate the class The award letter will list the Pell Grant amount. Changes to the schedule. The 2004-2005 FWS award can be used between FAFSA information may affect the student’s Pell Grant eligibility. July 1, 2004, and June 30, 2005. Jobs are usually available throughout the University in academic Perkins Loan departments, security, University offices, the library, etc. Positions To claim these funds the student must endorse a Perkins promis- require various levels of skill and experience. sory note in the Student Billing Office. Funds cannot be credited For students who are interested in working in the larger commu- until a complete, correct note is negotiated. nity, there are several off-campus work study positions available. These jobs are located at sites such as community and arts organiza- PLUS and Stafford Loans tions, theaters, and museums. These loans must be applied for through the student’s lender. The Student Employment Handbook contains expanded informa- Proceeds from these loans are disbursed to the University. Most tion about FWS and NFWS, job openings, and additional Stafford loans will be disbursed to the University electronically and information for fall placement. The handbook is available in the will not require the student’s signature. If a student loan is disbursed Financial Aid Office in late summer. by check, it cannot be credited to his/her account until he/she signs the check. (Stafford loan checks will be available in the Finance Non-Federal Work Study (NFWS) Office for signature; PLUS checks will be mailed to the parent bor- Students who do not qualify to work under the Federal Work rower.) Study program may work on-campus under the NFWS program.
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The award notice is subject to revision under the following Death circumstances: Sadly, the University occasionally is called upon to assist a student 1. If government funding levels to the University are reduced, whose parent or spouse has died subsequent to the filing of the finan- individual awards will be adjusted accordingly. cial aid application. Should this occur, the Financial Aid Office should 2. Verification - The Financial Aid Office is required by federal be contacted immediately, and it will offer every assistance possible. regulation to resolve any discrepancies in information submitted per verification with that already in a student’s file. Any discrepancies Dependency Override may result in revision to a student’s aid amounts and/or types. The Financial Aid Office is occasionally asked to re-evaluate a 3. As above, if at any point in the year we become aware of infor- student’s status due to the student’s assertion that he or she should mation that conflicts with other documentation in the student’s file, be considered independent of parental support. we will resolve the discrepancy and revise the award accordingly. The guidelines for dependency are set by federal law, and thus 4. Outside Scholarships - Per federal regulation, a student is not each student must first be evaluated against them. A dependent stu- permitted to be “overawarded.” That is, a student’s total amount of dent is someone who is younger than 24, is not a veteran, is not a scholarships, grants, loans, and work study may not exceed the stu- graduate or professional student, is not married, is not an orphan or dent’s calculated need. If a student would be overawarded due to an ward of the court, or does not have legal dependents. outside scholarship, we are required to adjust the other elements of An independent student is someone who is older than 24, a vet- the aid package to eliminate the overaward. We encourage students eran, a graduate or professional student, married, or has legal to seek outside scholarships, and will adjust institutional aid only if dependents. (See the FAFSA.) absolutely necessary. Federal and institutional policy is that the first responsibility for 5. The University may substitute other aid funds of equal college costs is the student’s and his/her family’s; thus appeals are amount and type at any point in the year at its discretion and rarely granted. without any notice. A student who wishes to be considered independent must write a letter of appeal to the Financial Aid Office. The letter must clearly Special Circumstances state the reasons for appealing the dependency status. The student will be required to document his/her means of support as well as Income Reduction other items. Please contact the Financial Aid Office for additional The FAFSA collects information about a family’s income and information. assets from the previous year (2003). For most people this informa- tion is a good predictor of the current year’s (2004) income, since Other Appeals most people do not experience wide swings in income from year The Financial Aid office cannot consider proposals based on any to year. circumstances other than those listed above. Regrettably, the If, however, a family’s income in the current year will be signifi- University cannot reconsider the financial aid award in response to cantly different (more than 10 percent) from last year’s, the family offers from competing institutions, or as a means of recognizing the should notify the Financial Aid Office in writing, including all student’s academic or artistic achievement. available documentation. Reductions in income that are caused by involuntary job loss, unusually high unreimbursed medical Academic Progress expenses, separation, divorce, death of a wage earner, or the like will Students who receive assistance in any form, which includes but be considered. is not limited to University grant, scholarship, State grant, Federal If a family’s circumstances meet these criteria, the University will Pell Grant, FSEOG, FWS, Federal Perkins Loan, Federal calculate the financial aid award based upon the estimated current PLUS/Stafford, etc., must maintain satisfactory academic progress year (2004) figures for the fall semester. At the end of the fall in their program of study in order to continue to receive those funds. semester the family will be required to provide documentation (such Satisfactory academic progress for students at the University is as final pay stub, or an estimated 2004 return) for evaluation of the defined as spring semester’s award. 1. earning between 12 and 18 credits each semester, and Unfortunately, the University is not able to consider reductions in 2. maintaining a minimum cumulative and semester grade-point income due to voluntary job changes, back taxes owed, high con- average (GPA) of at least 2.0 (“C” average). sumer debt, multiple mortgages, employment bonuses received in If a student’s semester or cumulative grade-point average is below the previous year, overtime, self-employment losses, fluctuations in 2.0 (“C” average), he or she is automatically placed on probation income from commission sales, or discretionary purchases. and required to attain at least a 2.0 cumulative grade-point average by the end of the next semester, and meet other requirements as Divorce or Separation specified by the dean’s office. When a married student or parent separates from or divorces Students may be required to maintain a GPA higher than 2.0 in his/her spouse subsequent to the filing of the financial aid applica- some departments or majors. Thus, it is possible to be placed on pro- tion, the custodial parent should notify the Financial Aid Office in bation at higher GPAs. writing. A student who does not meet the above-cited grade-point In the case of separation or divorce, the Financial Aid Office is average and credit load requirements will jeopardize his/her permitted to discuss the student’s record only with the custodial financial aid eligibility. parent. Students who have had two semesters of academic probation are not eligible to receive financial aid of any type during a third semester of academic probation.
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Students who are placed on Academic Probation will lose their demic difficulties. (Significant circumstances include events like University-sponsored scholarship, e.g.: Presidential, Promising major illness, severe injury, or family upheaval such as death or Artist, and Artist Grant. divorce.) Students are required to provide documentation of the cir- Students who have been dismissed from the University are not eli- cumstances upon which the appeal is based. gible for financial assistance of any kind during the first semester of In order to be considered, the appeal letter requesting reinstate- re-enrollment, when the first semester of re-enrollment is at least the ment of aid for a given semester must be received in the Financial student’s third semester of censure. Aid Office prior to the first day of classes for that semester. Students are cautioned that the committee that reviews financial aid appeals Insufficient Credit Accumulation meets on an as-needed basis and generally requires approximately In addition to the qualitative standard (GPA), students are also three weeks to respond to appeals. Appeals that are submitted close required to meet a quantitative measure of academic progress (rate of to the beginning of any semester are unlikely to be reviewed prior to credit accumulation). Students who receive merit- and/or need-based the start of classes. Thus, students should be prepared to pay their aid must earn sufficient credits each semester toward graduation. invoice in full. If the appeal is granted the student will be reimbursed Students who enroll for at least 12 credits during a given semester from any credit balance created by reinstated financial aid. must complete, with a grade of “D” or higher, at least 12 credits in The University does not have the authority to make exceptions to order to continue to receive financial assistance. federal financial aid policies and will not entertain any requests to Although 12 credits is the minimum per-semester credit accumu- do so. For example, federal law requires that students be enrolled on lation to maintain eligibility for financial assistance, the student will an at least half-time basis for Stafford loan eligibility. The NOT be on track to graduate in four years at this rate. Also, “D” University cannot and will not make exceptions to this and other grades will cause the student to fail the qualitative (GPA) progress federal regulations. standard. Students who have been placed on academic probation and wish Each student’s total credit accumulation is reviewed at the end of to appeal their probationary status should follow the guidelines each semester. Students who complete fewer than 24 credits per aca- under the Academic Review section in this catalog. demic year will be placed on FINANCIAL AID PROBATION for For those financial aid policies under which the University has the following semester. If, by the end of the probationary semester, discretionary authority to make exceptions, the Financial Aid Appeal the student has not earned at least 36 credits (for the three-semester Committee’s decisions are final and cannot be further appealed. period being reviewed), the student then loses his/her eligibility for financial assistance. Students may fail the quantitative standard PHEAA State Grant Appeals regardless of GPA. The University has no authority to make exceptions to PHEAA The student’s eligibility for financial assistance will be restored state grant policies. Students wishing to appeal the loss of state when the student has earned at least 36 credits and has met all other grants must write a letter of appeal to PHEAA. Appeal letters must academic progress requirements. include documentation of those significant events (major illness, severe injury, or family upheaval such as divorce or death) that PHEAA Grants impacted the student’s academic performance. Students wishing to The state grant agency requires that a student earn a minimum of appeal the loss of state grant eligibility are urged to do so as soon as 24 credits each academic year in order to continue to receive state such information is known, as the state requires several weeks (typi- grant assistance. Any student who earns fewer than 24 credits will cally 8-10) to respond to appeals. not be eligible for his/her state grant for the first semester of the fol- lowing year. Students who enroll for a single semester are required Change in Enrollment Status to earn at least 12 credits to retain their PHEAA Grant. The Unless specifically designated otherwise, all awards are issued University will not replace funds for which the students have lost based upon the student’s anticipated enrollment as a full-time under- eligibility. graduate (completing 12 credits or more per semester, in a degree-granting program). Financial Aid Academic Progress Students who become less than full-time or who enroll as “non- Appeals 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 University-Administered Financial Aid student who has failed to satisfy progress or enrollment require- The University reviews the academic standing of all students at ments as above. the conclusion of each semester. Students who have not met the aca- Students who are considering withdrawing (either from the demic progress standards required for continued financial aid University or from individual classes) are urged to meet with a eligibility have the following options for appealing loss of aid. financial aid counselor to discuss the impact of the withdrawal on Please note—under federal privacy guidelines we are only their eligibility for aid. Please read the information about refunds in permitted to discuss academic matters with the student. the “Tuition and Expenses” section of this Catalog. If the student wishes to appeal the loss of financial aid, except Students are reminded that withdrawing from their courses (either PHEAA state grant, he or she may do so in writing to the Financial in full or in part) may cause them to lose their eligibility for aid in Aid Office. (PHEAA state grant appeals must be addressed to current and future semesters. PHEAA). Appeals are reviewed by the Financial Aid Appeal To avoid unexpected balances, students must contact the Financial Committee. Appeal letters must be written by the student and must Aid Office with any questions pertaining to this subject. document significant, unusual circumstances that contributed to aca-
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Graduate Students also be eligible for University-sponsored aid. Students are not eli- gible to receive Pell, PHEAA, FSEOG, and Perkins. Graduate students are eligible to apply for Stafford loans and Students who have already borrowed the undergraduate maximum should refer to the section on student loans for further information. under the Stafford program are ineligible for continued Stafford Graduate students may also be eligible for assistantships or fellow- assistance while enrolled at the University. ships through the department in which they are enrolled. Contact the Those who are in default on a federal student loan are not eligible departmental office for additional information and application for aid of any type while enrolled at the University. instructions. Graduate students are required to maintain satisfactory academic progress in order to continue to receive financial aid as specified in Part-Time Students this catalog. Part-time students who are enrolled in degree programs may be Students who have attained a bachelor’s degree or its equivalent eligible for Pell, University, and PHEAA grants, as well as Stafford are not eligible to receive Pell, PHEAA, FSEOG, FWS, Perkins, and loans. most other forms of financial aid including institutional grants. Part-time students are subject to all requirements governing the Graduate students who are in default on a federal student loan are financial aid programs, except that they be enrolled full-time. not eligible to receive assistance of any type while enrolled at the Part-time students are not eligible for merit-based aid. University. Part-time students should follow application procedures as The following Web site is helpful for graduate students: detailed in this catalog. www.gradschools.com. Continuing Education Students Summer MFA Students Students who enroll through the Continuing Education program Students who enroll at least half-time (4.5 credits) in the Summer are eligible for a very limited selection of loan programs. MFA program may borrow under the Stafford Loan program. Continuing Education students are not eligible for any other type Students who matriculated as of June 2000 and follow the 12, 4.5, of financial aid. Contact the Financial Aid Office for additional 4.5 credit pattern are permitted to borrow during all semesters of information. enrollments and qualify for deferments; these students may borrow up to $18,500. International Students Students who matriculated prior to June 2000 and follow the Students who are neither U.S. citizens nor eligible noncitizens (as 10, 3, 3 credit pattern are not permitted to borrow during the fall confirmed by the Immigration and Naturalization Service) are not and spring semesters. Summer MFA students who are enrolled eligible to receive any form of Federal Title IV financial aid while less than half-time are not permitted to borrow and do not enrolled at The University of the Arts. qualify for deferments. International students will be reviewed for scholarships when For the summer of 2003, Summer MFA students who enroll for offered admission. Those students who demonstrate exceptional 10 credits may borrow up to $11,000, less any other aid. artistic ability in their portfolio review or audition will be considered for the University’s Scholarship Program. Transfer Students International students may be eligible to borrow money through a Transfer undergraduates are eligible for aid and should apply fol- very limited selection of loan programs. International students must lowing the same application procedures as other undergraduates have a U.S. citizen co-signer. Contact the Financial Aid Office for (with exceptions listed below). additional information. All transfer students may be required to submit a Financial Aid Useful website: www.edupass.org. Transcript (FAT) from each prior post-secondary institution attended in the current year, whether or not financial aid was received while Study Abroad and Off-Campus Study enrolled. This regulation applies to transfer students who enroll Students who wish to study abroad or at another U.S. school for beginning in January. It does not apply to transfer students who one or two semesters as part of the degree program at UArts will enroll beginning in September. need the advice and approval of their department chair, a written Transfer students who have borrowed the undergraduate max- agreement in advance of the courses, and a description of how they imum under the Stafford program are not eligible for continued will transfer back into the degree program. This off-campus study is Stafford assistance while enrolled at the University. normally best done in the junior year. Interested students should Any transfer student who is in default on a federal loan is ineli- begin by making an appointment in the Dean’s office to discuss their gible for financial aid of any type while enrolled at the University. plans at least six months before the program begins. Appointments Transfer students who enroll for the spring semester should be with the Registrar, Financial Aid, and Billing offices are also recom- aware that financial aid received for enrollment during the fall mended at that time. If the student has financial aid, he/she should semester at another institution is not transferable. Students must register during the normal registration period. While away, the stu- reapply for most forms of aid at the University. Contact the dent should keep the Financial Aid Office informed of any changes Financial Aid Office for additional information and instructions. in status. The following information should be used to assist in determining Bachelor’s Degree Holders if study abroad will be a viable option, and to help plan for the Students who have earned a bachelor’s degree or its equivalent financial responsibilities. and who enroll as undergraduates are eligible to apply for Stafford loans (with exceptions below). In some cases these students may
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Financial Aid that can be used abroad: Naturally, one’s own habits and personal spending patterns will dramatically influence these costs. Therefore, these are estimates 1. Federal Pell Grant only. 2. Federal SEOG These factors are used in formulating a student’s budget and 3. Federal Perkins Loan determining financial need. The Financial Aid Office will assign 4. PHEAA State Grant each student a budget depending on the information provided on the 5. Federal Stafford Loan FAFSA. If the budgets shown below differ significantly from the 6. Federal Plus Loan expenses you expect to incur, please inform the Financial Aid Office. These forms of aid are subject to reduction if costs for study While certain academic departments may recommend that stu- abroad programs are less than costs at The University of the Arts. dents have their own computers, the University’s students are not required to provide their own computers. Therefore, the University Financial Aid that cannot be used abroad includes all University- will not accept responsibility for the funding of student-owned sponsored aid, such as: machines. Students interested in purchasing computers are welcome to contact the Academic Computing Office for advice on hardware 1. Talent Scholarship and software selection, and information on the educational discounts 2. Presidential Scholarship available. For more information, please refer to the Academic 3. University Grant Computing section of this catalog. 4. Promising Artist Award 5. Artist Grant Estimated Expenses for 2004-2005 6. Named Scholarships These figures are intended for your use in estimating your costs 7. Graduate Grants, Scholarships, and Assistantships for the upcoming academic year.
Students who plan to study abroad should apply for financial aid Resident/ adhering to normal deadlines and procedures. Additionally, such stu- Commuter Off-Campus Graduate dents must provide The University of the Arts’ Financial Aid Office Tuition (12-18 credits) $22,060 $22,060 $22,060 with the following: General Fee 850 850 850 1. Contact person at coordinating university or college including Housing — 5,800 — their address, telephone, and fax numbers. Subtotal $22,910 $28,710 $22,910 2. Power of Attorney, duly executed (if documents will require your signature in your absence). Indirect Expenses 3. Consortium Agreement, completed (available from the Books & Supplies 2,000 2,000 2,000 Financial Aid Office). Housing 2,300 — 7,300 4. Contact Financial Aid Office before final departure. It will be Food 2,000 2,000 2,000 necessary to maintain close contact with our office to assure aid is Living Expenses 2,190 2,190 2,190 processed before you leave the country. Estimated Total $31,400 $34,900 $36,400 Reminders: 1. The study abroad program must be approved by both the aca- Commuters demic dean and the University’s Office of the Registrar. Contact Students who live within reasonable commuting distance of the those offices for additional information and procedures. University and reside with parents or relatives. 2. Students must begin all paperwork at least six months prior to the semester abroad. Resident/Off-Campus 3. In most countries students will not be permitted to earn wages, Students who reside in University-owned housing or who reside so they should be prepared to have sufficient spending money. in housing that is owned by neither the University nor their parents 4. Students may not use financial aid for unapproved programs or relatives. Students who live within commuting distance of the abroad. In order to be eligible for financial aid, the student must University will not be funded as residents, or as off-campus. enroll through a college or university that is approved for participa- tion in the Federal Title IV programs. Graduate Students 5. Students may not use the extended payment plan (TMS) to pay Most graduate students maintain their own homes and have corre- for tuition. spondingly higher living expenses. Graduate students who live with parents or relatives will be assigned a commuter budget. Budgets Educational costs include not only tuition and fees, but also indi- Part-Time Students rect costs such as room, food, books, supplies, and personal Budgets for part-time students are determined on an individual expenses. Direct costs reflect the actual amount a student will be basis. billed by the University. Indirect costs are what a typical student might expect for out-of-pocket expenses such as supplies, books, Tuition Tax Benefits clothing, food, medical expenses, personal items, and transportation The Taxpayer Relief Act of 1997 includes tax credits for educa- over a nine-month period. tion. The Hope Scholarship is a tax credit of up to $1,500 that covers
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100 percent of the first $1,000 in qualified tuition and related not appear on the FAFSA (the non-filing parent) without written expenses, and up to 50 percent of the second $1,000, required for permission from the student and the filing parent. enrollment during the first two years of college. 2. the student’s parent(s) or stepparent(s) whose information does The Hope tax credit is generally available for tuition and fees appear on the FAFSA when the parents have separated or divorced paid, less grants and scholarships, for classes that begin on or after and the other parent has been identified as the custodial parent, January 1, 1998. The credit is phased out for single taxpayers with without written permission from the student and the custodial adjusted gross income between $40,000 and $50,000 ($80,000 to parent. $100,000 for joint returns). Students who do not qualify for the 3. high school guidance counselors and teachers. Hope Scholarship may qualify for the Lifetime Learning Credit. 4. the student’s spouse. For specific information about how these tax credits may affect 5. interested relatives, neighbors, and friends. you, contact your tax professional. The Financial Aid Staff is not permitted to discuss or otherwise Confidentiality and Privacy of disclose academic information (which includes but is not limited to scholarship eligibility, financial aid eligibility, grades, grade-point Financial Aid Information average, academic standing, or probationary status) to anyone (except the federal and state agencies responsible for processing the FERPA (Family Educational Rights and Privacy student’s financial aid or having authority under FERPA to access Act of 1974) such information) other than the student (whether or not the student Under FERPA educational privacy and access rights accrue to the is dependent, whether or not the parent pays the invoice) without the student when she/he turns 18 OR enrolls in a post-secondary institu- student’s written authorization. tion. The University of the Arts is a post-secondary institution. Persons who have applied to but who have not attended the Disclosure Authorization University as an enrolled student are not covered under FERPA. When extraordinary circumstances exist that prevent the student Under institutional policy, applicants are extended the same privacy from accessing and understanding Financial Aid information the and access rights to their financial aid information as students. Financial Aid staff will discuss normally confidential information Applicants, students, and parents should be aware of the fol- with the individual(s) the student designates on the disclosure lowing institutional financial aid privacy policies. authorization form. Students may request a disclosure authorization The financial aid staff is permitted to discuss or otherwise dis- form from the Financial Aid Office. Students must complete and close a student’s financial aid information to the following parties: sign the disclosure authorization form in the Financial Aid Office in 1. the student. the presence of a Financial Aid staff member. Students can rescind 2. the student’s parent(s) whose information appears on the FAFSA. the disclosure authorization at any time. Due to the highly sensitive 3. other University officials having a legitimate educational nature of financial aid and academic information, facsimiles, photo- reason to know the student’s financial aid information (e.g. staff in copies or mailed disclosure authorization forms will not be the billing office so that they can manage the student’s account). accepted. 4. external agencies and organizations such as guarantors, lenders, state grant agencies, and auditors that have a legitimate reason to Rights and Responsibilities know the student’s financial aid information (i.e. staff at such agen- cies authorized to process loans and grants for the student). The receipt of financial aid is a privilege, which creates both 5. external federal agencies granted such rights under FERPA rights and responsibilities. (e.g. DOE, INS, CSPCA, et cetera). Under FERPA, institutions are Students have the right to know the method used to determine required to disclose a student’s information (sometimes without their need; the right to have access to information and records used notification to the student) in response to commands from the courts in determining need; and the right to be awarded aid as equitably as (typically subpoenas) and demands from specific federal agencies. funds permit. The Financial Aid staff will comply with all lawfully issued Students applying for financial aid are responsible for accurately demands for information from the entities identified in the FERPA portraying financial resources and circumstances and notifying the regulations and will (or will not) notify the student as required. Financial Aid Office of any changes in status; for applying in a Students and parents should be aware that their signatures on the timely manner; and for maintaining satisfactory academic progress FAFSA and other financial aid documents (e.g. loan applications) and good standing. authorize the release of their information to certain federal and state Students who fail to maintain adequate progress will be placed on agencies. Please read the FAFSA and other financial aid documents probation. Failure to correct academic deficiency will result in the for more information. loss of financial aid until the required credits and grade-point Depending upon the scope of the information requested by the average have been earned. student or other authorized parties, the Financial Aid Office may Students or parents who knowingly provide false information on require time to present the records requested. When the information any financial aid form (financial aid forms include but are not lim- requested cannot be produced immediately the Financial Aid Office ited to the FAFSA, verification forms, Work Study time cards and may require such time as is permitted under FERPA regulations to loan applications) will be denied financial aid and will be refused for retrieve and present the records requested. all subsequent years without the possibility of appeal. Additionally, The Financial Aid staff is not permitted to discuss or otherwise students so identified will be billed for all aid disbursed and may disclose a student’s Financial Aid information to others including face prosecution by the Department of Education, which may result but not limited to: in fine, imprisonment, or both. 1. the student’s parent(s) or stepparent(s) whose information does While the Financial Aid Office staff is available to assist students
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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 Services student receives notification that his/her FAFSA or loan application is incomplete, the student must determine what is necessary to com- R. Alan Leffers plete the application(s) and submit the required information. [email protected] An application for financial aid will have no effect on the decision Dean of Students concerning admission. The admission decision is made without Gershman Hall access to financial aid data. 401 South Broad Street, Room 309 215-717-6618 Application for 2004-2005 ¥ File the 2004-2005 Free Application for Federal Student Aid The Student Services Division consists of a group of profes- (FAFSA) by March 15, 2004. sionals committed to assisting students of the University in reaching ¥ Register for the Fall 2004 semester in April 2004. their goals. The division provides students with opportunities to develop the interpersonal, leadership, organizational, and communi- Additional Sources of Financial Aid cations skills that will serve them on a personal and professional A helpful way to begin the search for additional financial assis- level. The office of the Dean of Students administers and coordi- tance is on the Internet at www.fastweb.com. Additional financial nates student services and represents student concerns to campus aid Web sites are listed below. Students are cautioned not to pay for groups, faculty, staff, and administration. financial aid information; these are free Web sites. The Financial Aid Office also maintains a notebook of scholarships. www.pheaa.org Counseling Center www.fafsa.ed.gov Attending college can be a time of major adjustment for both www.finaid.org undergraduate and graduate students. There are times when students www.fastweb.com need support to help them work through this transition. The www.wiredscholar.com University of the Arts Counseling Center offers counseling and www.ed.gov workshops that can provide this support. www.usagroup.com If a student is seeing a psychiatrist at home, the University recom- www.cns.gov mends that he/she establish a relationship with a professional closer to the University. This will help monitor symptoms and medications in a more consistent way and provide a more immediate level of care For Additional Information should a crisis arise. Counseling and Health Services can help with Listed below are numbers to call if a student receives an incom- referrals to other professionals. plete notification or does not receive notification within six weeks of All counseling and medical issues are strictly confidential. application filing. As with medical emergencies, students are strongly encouraged to carry health insurance for psychological emergencies. To check the status of your FAFSA: Brian Hainstock, Director of Counseling 1-319-337-5665 215-717-6614 1-800-4-FEDAID Gershman Hall www.fafsa.ed.gov 401 South Broad Street, Room 308
PHEAA Grant Line PHEAA Loan Line 1-800-692-7435 1-800-692-7392 Health Services www.pheaa.org www.pheaa.org The University maintains a health office with a Registered Nurse from Monday through Friday during the academic year and for six The University of the Arts Office of Financial Aid weeks in the summer. First aid is rendered, minor illnesses treated, 1-800-616-ARTS 1-215-717-6170 and appropriate referrals to other health professionals are made. www.uarts.edu fax 1-215-717-6178 Health counseling is offered, emphasizing disease prevention, health [email protected] maintenance, stress control, and wellness activities. Medical services are offered to UArts students by contractual Inquiries and requests for application forms should be directed to: agreement with Jefferson Family Medicine Associates (JFMA), a group of physicians who specialize in Family Medicine Practice. The University of the Arts Students may use these doctors as they would use their family physi- Office of Financial Aid cian at home and need only a referral from the University’s nurse to 320 South Broad Street obtain an appointment. Besides treating acute and chronic illnesses, Philadelphia, PA 19102 there are services for drug abuse, sexually transmitted diseases, birth control, and mental health. University of the Arts students are not charged for these office visits. There will be charges for these serv- ices if specialists are called in, if X-ray or laboratory work is needed, and for emergency room visits. 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.
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Jefferson Family Medicine Associates Neila Douglas Telephone: 215-955-7190 Director of Disability Services JFMA is located at: 215.717.6616 833 Chestnut Street, Suite 301 [email protected] By appointment through Health Services JFMA hours: Student Activities/Special Events 9:00 a.m. to 5:00 p.m. Monday, Tuesday, Wednesday, Friday The Student Activities Office sponsors a variety of activities to 1:00 p.m. to 5:00 p.m. Thursday complement the academic programs. Annual events include a If an ambulance is necessary, the student will be billed for this Halloween party, a Fall Carnival, and the popular UArts Late Night service. The cost of the emergency room visit is the responsibility of Skate. Other events include Grocery Bingo, open mic nights, and the student. trips to New York and Washington, D.C. Because of the high cost of medical care, The University of the Students play a major role in determining the character of the stu- Arts strongly recommends that students have adequate health insur- dent life program. There are many opportunities for involvement and ance to cover unforeseen illness or accident. For those students not leadership. The University Student Council helps develop, plan, and enrolled in an insurance program of their parents and who need low- implement changes that benefit the student body. Students are wel- cost insurance, the University offers various insurance plans. comed and encouraged to join this organization, which acts as the Information and brochures may be obtained at the Health Office. voice of the student body in the University governance system. Student clubs and organizations also contribute to campus activi- Health Records ties, and students are encouraged to investigate the opportunities All entering students must have a physical exam, complete the these groups have to offer. Organizations include the African Student Health Form, and file it with the Office of Health Services. American Student Union, UArts Christian Fellowship, Fencing In addition, the Commonwealth of Pennsylvania insists that univer- Club, Green Team, Rainbow Connection, and Gallery One. sities screen for immunization deficiencies of all first-time students. To encourage participation in sports and physical fitness, the Students failing to meet these requirements will not be allowed to University offers partially subsidized membership in a local fitness attend classes. center. For more information about any of these opportunities, con- tact the Student Activities Office. Anne Whitehead, Director Anderson Hall Office: 215-717-6230 Sandra K. Tilford, Director of Student Activities 333 South Broad Street, Room M-36 215-717-6615 Gershman Hall Terra Building Office: 215-717-6232 401 South Broad Street, Room 313 211 South Broad Street, 4th floor, Room 401 Residential Life Disability Services The University of the Arts has made a strong commitment to pro- The University of the Arts is committed to achieving equal educa- viding a supportive living/learning environment. The University has tional opportunity and full participation for students with four residence halls on campus. All residence halls are furnished and disabilities. Our goal is to provide equal access to all programs, have separate bathroom and kitchen facilities in each apartment. opportunities, and activities. Our philosophy promotes self-aware- Each building has laundry facilities and 24-hour security and main- ness, self-determination, and self-advocacy. We assist students to tenance. All residence halls are “smoke-free.” maximize their potential while helping them develop and maintain Furness Hall is a historic remodeled building highlighted by its independence. high ceilings and tall windows. It is a four-story building with two Assurance of equal educational opportunity rests upon legal foun- separate wings and has large studio, and one- and two-bedroom dations established by Federal law, specifically Section 504 of the apartments, housing three to four residents. Rehabilitation Act of 1973, and the Americans with Disabilities Act The 1500 Pine Street Residence Hall is a 10-story building, which of 1990. Protection under these civil rights statutes is determined on has studio and one- and two-bedroom apartments, housing two a case-by-case basis. Documentation of a disability that currently to five residents. It features hardwood floors and a studious substantially limits a major life activity, including learning, must environment. be provided. The 1228 Spruce Street Residence Hall is a recently acquired Any student with a documented disability may be eligible to eight-story building with studio apartments housing two students. receive services from the Office of Disability Services. Students It features walk-in closets. who would like to access services must self-identify and provide The 311 Juniper Street Residence Hall is also a recently acquired appropriate verification of their disability. Eligibility for appropriate and newly renovated 12-story building with one- and two-bedroom and reasonable accommodations of either an academic or personal apartments housing two to four students. It features spacious nature will be determined on an individual basis. kitchens with built-in microwave ovens, air conditioning, wall-to- The University of the Arts follows the documentation guidelines wall carpeting, and Internet/cable hookups. established by the Educational Testing Service. When directed to All living environments are supervised by specially selected this link, please select the appropriate category, and carefully note Resident Assistants. RAs are upper-class students, trained in peer the specific requirements. advising and crisis intervention, who assist students in their adjust- If you would like further information about our services, please ment to college as well as to life in the city. The residence program contact: is supervised by the Director of Residential Life.
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It is important for residents to understand that they must abide by Intensive, receive tutoring and counseling during the semester, and the standards listed in the housing contract. Failure to do so makes attend a midsemester review to ensure their success the first two them subject to the penalties listed in the contract. years. To further assist these students, the University also awards an Students receive a housing packet outlining all facilities and AAP Grant to them so they will be less burdened by financial accommodations after they are admitted to the University. All new demands and can focus on their education. students are guaranteed housing if their housing deposits are For more information, contact the Academic Achievement Program. received by June 1. On-campus housing for students after their first Anita Lam, Director year is determined on a first-come first-served basis. 215-875-2262 The Residential Life Office assists students in finding off-campus 1500 Pine Street, Room 102 accommodations through its off-campus housing service. Early [email protected] inquiries regarding this information are strongly recommended. Glenn Smith, Director Learning Skills Specialist 215-875-2256 The University is committed to assuring equal educational oppor- 1500 Pine Street, Room 100 tunity for students with learning disabilities. The goal of the [email protected] Learning Skills Center is to assist students to maximize their poten- tial while maintaining their independence. Eligibility for services is Meals determined individually based on documented need. Services Almost all student residences feature separate kitchens within include direct instruction, monitoring, and consultation. The each apartment. Students prepare their own meals according to their Learning Skills Specialist acts as a liaison between students and fac- individual schedules and dietary preferences. In addition, the ulty. Academic accommodations and adjustments are provided when University maintains a cafe that serves breakfast and lunch, and has appropriate. This is a confidential service. an optional meal plan. Snack and beverage vending machines are For additional information, please contact: accessible at all times. Neila Douglas, Learning Skills Specialist [email protected] Academic Support Services 215-717-6616 Gershman Hall The Academic Support Services are available to all students as a 401 South Broad Street, Room 309C supplement to their classroom instruction. Tutors help students develop skills in reading, writing, and other academic and studio For assistance with any other type of disability, students should areas, including successful classroom strategies and improvement of contact the Dean of Students at 215-717-6618. study habits. Professional and peer tutoring are available to undergraduate stu- dents for general skills and for specific subjects or courses. International Student Services Computer-assisted academic instruction is also available. In an effort to meet the special needs of the international student, The International Student Advisor will also assist students from the University has developed a network of University personnel and abroad in securing support services. Although students may be offices to provide specialized services to students from abroad. referred to the services by their instructors, students are also wel- These services are provided through the Office of Admission, the come to avail themselves freely of these support services. International Student Advisor, the Director of Residential Life, and For more information, please contact: the Dean of Students. Anita Lam, Director The University has designated one member of the professional Academic Support Services staff as the International Student Advisor. In addition to serving as 215-875-2262 liaison for students from abroad, the International Student Advisor 1500 Pine Street, Room 102 will assist the student in securing necessary services provided [email protected] through the support areas of the University. Special programs designed to help international students include the following: ESL Academic Achievement/ACT 101 tutorial assistance for undergraduates, Immigration Service advise- ment, and Orientation. Program Students interested in participating in the Residential Life program The Academic Achievement/ACT 101 Program (AAP) is part of should contact the Office of Residential Life directly, as do all other the Higher Education Opportunity Act of the Commonwealth of entering students. While there is no distinct residential program for stu- Pennsylvania. At The University of the Arts, the purpose of the pro- dents from abroad, special efforts are made by the Office of Residential gram is to provide developmental maintenance and transition Life to consider the needs of the international student. services to students who need preparation in arts and academics. Likewise, the University Health Service, while meeting the Students selected to participate in the program must be Pennsylvania needs of all enrolled students, also considers the support needs of residents with financial and/or academic needs. With the extra sup- international students. All international students should take spe- port of the AAP, these students become a highly motivated, cohesive cial note of the University’s requirement that they maintain or group whose determination to succeed is reflected in their high secure appropriate medical insurance coverage, either through retention and success rates. their family or through the medical insurance plan offered through Each year, a small number of students receive conditional admis- the University. sion to the University under the Academic Achievement/ACT 101 All F-1 students are responsible for obtaining immigration Program. These students are mandated to attend the Summer Bridge information and following all the regulations in order to maintain
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status. Page 2 of the I-20 explains many of the obligations of an F-1 student. General Information When in need of assistance, students are advised to contact either the International Student Advisor, Anita Lam, at 1500 Pine Street, Room 102, 215-875-2262, [email protected], or the Office of the Campus Security Dean of Student Services at 215-717-6675. The University posts security personnel in all of its buildings to provide 24-hour protection. Every semester, identification cards are issued for all students, faculty, and employees and validated by the Career Services Public Safety Office. Public Safety officers may deny access to As students advance academically and artistically, it is important University facilities for anyone not carrying a validated identifica- for them to begin to develop a plan for their career in the arts. The tion card. Spot-checking of identification cards occurs throughout Career Services Office assists students by providing comprehensive the day. Complete identification checking occurs each weekday services and individual counseling tailored to their specific needs. from 7:15 p.m. until 8 a.m.; after 12 noon on Saturday until 8 a.m. Services for students include the following: career counseling; on Monday; and when classes are not in session. The general assistance with resume writing; interview techniques and job search campus area is patrolled on a regular basis. skills; career resource library and industry publications/periodicals; Campus Security also provides programs to develop student Career Connections monthly newsletter; internship listings; job list- awareness of safety and security concerns in an effort to diminish ings including freelance projects, part-time jobs, summer jobs, exposure to loss. The campus Security Department administers the audition opportunities, and full-time career opportunities; informa- University Safety Program to ensure the safety of all students, fac- tion on fellowships, grants, and contests; annual Futures Fair (Career ulty, and staff. Day); Web site including online resumes, job listings and career In the event of a family emergency about which it is necessary to links; graduate school information; and study-abroad information. contact students at the University, parents or guardians should call The professionally trained staff of the Career Services Office pro- 215-717-6401 at any time of the day. Security personnel will take vides assistance to both students and alumni of The University of the the necessary information, contact the appropriate offices to locate Arts. For additional information, please contact: the student, and deliver the message. Elisa Kurland, Director 215-717-6075 Escort Service 3rd Floor, Gershman Building Public Safety [email protected] 215-717-6400
The Escort Service provides safe transportation for any member of the University community to any address that falls in the area between 3rd and 23rd streets, bordered by Race and Federal streets. The Escort Service operates daily from 7 p.m. to 3 a.m., and picks up passengers every half hour from Anderson Hall, the Terra Building, and the 1228 Spruce Residence Hall. The service is in effect from the second week in September through the third week in May, with the exception of scheduled University holidays and closings. School Closings In the event of inclement weather, UArts emergency closings can be monitored through the following mechanisms: ¥ Call the University’s main number (215)-717-6000, and follow necessary prompts, dialing “5” to receive the latest closing information on a pre-recorded message. This is the most effec- tive option for additional news on weekend and/or evening closings. ¥ Tune to NBC-10 TV where school opening delays or closings are aired beginning at 5:00 a.m. and throughout morning pro- gramming. Information aired on NBC will be displayed on the bottom of the television screen by school name. You can also check school closing/delay information online by accessing http://www.nbc10.com/closings/. ¥ Tune to KYW-News Radio 1060AM, and listen for the UArts closing number Ð 116, which is announced twice every hour. In addition to this, information is listed online at: www.kyw1060.com. ¥ KYW-TV 3 also lists the schools by name across the bottom of the television screen during morning programming.
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Please refer to the Academic Calendar in the front of this catalog for scheduled school closings and holidays. Regularly observed hol- Code of Conduct idays include New Years Day, Martin Luther King Jr. Day, Memorial Day, the 4th of July, Labor Day, Thanksgiving and the following The University’s regulations governing nonacademic student con- day, and Christmas. duct safeguard the particular values and common welfare of the student body and promote the best possible environment for study. Automobiles Membership in the University is regarded as a privilege, and the stu- Students living in the University’s residence halls are not per- dent is expected to exercise self-discipline and good judgement. By mitted to maintain vehicles (except bicycles) on campus. Any registration, the student acknowledges the University’s authority to resident student found to be maintaining a vehicle (except a bicycle) define and enforce standards of acceptable conduct. Adjudication of on campus will be subject to disciplinary action by the Dean of alleged student misconduct is the responsibility of the Office of the Students. Such action may include dismissal from the residence Dean of Students. A committee on campus standards, representing halls. Students with disabilities may request an exemption from this the student body, faculty, and administration, serves in an advisory rule from the Dean of Students. capacity to the Dean. The Campus Standards Committee may rec- ommend suspension, dismissal, or expulsion for student conduct Veterans considered unacceptable at the University. As an accredited degree-granting institution, the University is A complete set of rules and procedures is contained in the current approved for the training of veterans. Information about education code for student rights, responsibilities, and conduct. This Student benefits may be obtained from any VA office. Code of Conduct may be found in both this Catalog and the Student Handbook. University policy provides that a student may be required to with- Student Assistance draw from the University for psychological/health reasons. A General Provisions student who is withdrawn under this policy is one whose behavior In accordance with the Higher Education Amendments of 1998, necessitates a leave from the University community. The University of the Arts has available, upon request, information regarding academic programs, financial assistance, and institutional Academic Dishonesty policies and statistics. This information may be found in the The University of the Arts does not condone any form of academic University’s catalog. dishonesty, including cheating on exams, plagiarism, or similar types The Student Assistance General Provisions report includes infor- of behavior. Lack of knowledge of citation procedures, for example, is mation on the following: an unacceptable explanation for plagiarism, as is having studied ¥ Accreditation, together for remarkably similar papers submitted by two students. ¥ Current degree programs including related facilities and faculty, Penalties for any form of academic dishonesty may include a repri- ¥ Tuition, fees, and other estimated expenses, mand, a failing grade or non-credit for a particular assignment, a ¥ Withdrawal and refund policies, failing grade in the course, disciplinary probation, suspension, dis- ¥ Description of financial aid programs, including eligibility, missal, and/or expulsion. award criteria, and application procedures, as well as students’ If a faculty member suspects a student of any form of plagiarism rights and responsibilities upon receiving financial assistance or academic dishonesty, the faculty member may address the issue (such as continued eligibility, exit counseling, and options for directly with the student. The faculty member shall determine an payment deferral), appropriate course of action after meeting with the student and may ¥ Requirements for the return of Title IV grant or loan assistance, impose penalties, which include repeating the project, resubmitting ¥ Services available for students with disabilities, the paper, failing the project or paper, or failing the course. The ¥ Graduation rate. department chair or director must be notified in writing when the student receives a failing grade in the course as a result of academic In addition, each October, the Public Safety Department publishes dishonesty on the student’s part. an annual report on the University’s security policies and crime sta- Both the faculty member and the student have the right to forward the tistics, which is available to all current and prospective students and case, in the form of a written complaint, to the chair or director of the employees. department. (If the instructor is also the chair or director of the depart- To request a copy of the Student Assistance General Provisions ment, the case goes directly to the Office of the Dean, and to the Provost report, please contact the Office of the Provost, The University of in the case of the Director of Liberal Arts.) If the faculty member con- the Arts, 320 South Broad Street, Philadelphia, Pennsylvania 19102. siders the act of dishonesty serious enough to warrant a more serious penalty, he/she must forward the case to the next level, i.e., the depart- ment chair or director, or the Dean of the College or the Provost. If the student or faculty member chooses to appeal the decision made by the chair or director, the student or instructor may forward the case to the Dean of the College. A request for such an appeal must be submitted in writing. The Dean has the right to assemble a committee to address the case, or when suspension or expulsion may result, to forward the case to the Dean of Students. If the student seeks a further appeal, the case may be brought to the Provost, who has the right to assemble a committee to review the
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case. Please note that the Provost’s decision is the final and binding Smoking Policy decision in such cases and no further appeal will be entertained. The University of the Arts maintains a smoke-free environment. Smoking is permitted only out of doors. Sexual Harassment and Other Prohibited Harassment Solicitation The University of the Arts is committed to maintaining an envi- In an effort to assure a productive and harmonious work environ- ronment in which students, faculty, and staff may pursue academic, ment, persons not employed by The University of the Arts may not artistic, and professional excellence. This environment can be make solicitations or distribute literature at the University at any secured only through mutual respect and unconstrained academic time for any purpose. and professional interchange among faculty, staff, and students. The University recognizes that students and alumni may have Faculty, staff, and students of the University are entitled to partici- interests in events and organizations outside the University. pate in and obtain the benefits of the University programs, activities, However, students and alumni may not make solicitations or dis- and employment without being discriminated against on the basis of tribute literature concerning these activities on the University their sex, race, religion, creed, age, ethnicity, national origin, preg- campus or by electronic mail. nancy, disability, sexual orientation, or military status. The University regards any act of sexual harassment or harass- Workplace Violence ment because of race, religion, creed, age, ethnicity, national origin, pregnancy, disability, sexual orientation, or military status to be a The University is committed to maintaining a safe working, violation of the standards of conduct required of all persons associ- learning, and living environment for all members of the University ated with the institution. The prohibition against sexual harassment community. and other forms of harassment applies to all interactions occurring Threats, acts of aggression, and violence are unacceptable in the on campus, in University facilities, or within the context of University community. Any such threat or violent act, regardless of University-related activities. intent, will be considered serious misconduct and may be the basis The rights defined by this policy apply to all University faculty, for disciplinary action, up to and including dismissal. students, and employees and the obligations are binding on all fac- In addition, the University prohibits the possession of firearms, ulty and staff as part of their employment regardless of tenure or explosives, and other dangerous weapons on campus and at years of service, and all students, regardless of academic status. University functions off-campus. Harassment constitutes a serious offense and the University will take all necessary disciplinary actions to eradicate it from the University. Those who commit harassment prohibited by this policy are subject to the full range of discipline, up to and including imme- diate dismissal from the University faculty or employment, or expulsion from the University, as appropriate. The prohibitions set forth in this policy include acts of retaliation against members of the University community who have filed com- plaints under this policy. Substance Abuse Policy The members of The University of the Arts community and their health and safety are of paramount concern. The University will not tolerate drug and alcohol abuse, as it imperils the health and well- being of its faculty, staff, and students, and threatens the operation of its educational programs. The use, possession, or distribution of illegal drugs and abuse of other controlled substances, in or out of class, or on University premises is inconsistent with law-abiding behavior expected of all students, and may result in discipline, up to and including expulsion. The University prohibits the illegal and/or unauthorized manufac- ture, sale, or delivery, holding, offering for sale, possession, or use of any controlled substance as defined under the Pennsylvania Controlled Substance, Drug, Device and Cosmetic Act, 35 P.S. Section 780-102, the Uniform Controlled Substances Act, the Uniform Narcotic Drug Act, or the Federal Food, Drug and Cosmetic Act, 21 U.S.C. Section 301 et seq., on University property. Such controlled substances for the purposes of this policy shall include but not be limited to alcoholic beverages, narcotics, hyp- notics, sedatives, tranquilizers, stimulants, hallucinogens, and other similar known or habit-forming drugs and/or chemicals as defined under the aforesaid laws.
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III. Campus Expression Student Code A. Discussion and expression of all views are permitted within the University, subject to requirements for the maintenance of order. Part One — Student Rights, Support for any cause by orderly means, which do not disrupt the operation of the University, is permitted. The University retains the Responsibilities, and Conduct right to act to protect the safety of individuals, the protection of property, and the continuity of the educational process. I. Definitions As used in this Code, the following terms shall have the following B. Students, student groups, and student organizations may invite meanings: and hear any speaker of their choosing, subject to the requirements set forth in Section V below, on the use of University facilities. A. “University” means The University of the Arts and, collec- tively, those responsible for its control and operation. C. All University students have the right to express their views, both individually and collectively, on issues relating to University B. “Student” means all persons whose primary relationship to the policy, through the Student Council. University is as a student, presently registered at the University, either full-time or part-time, pursuing undergraduate or graduate IV. Student Organizations studies, or continuing education courses. A. Student organizations may be established within the University for any legal purpose, upon recognition by the Office of Student C. “Instructor” means any person hired by the University to con- Activities. To apply for recognition, the proposed organization must duct classroom or studio activities. submit a list of its officers and a copy of its constitution and bylaws. Where a proposed student organization is affiliated with an extra- D. “Student organization” means a group of students who have mural organization, that organization’s constitution and bylaws must complied with the requirements of the University for formal recog- also be submitted to the Office of Student Activities. nition as set forth in Section IV of this Code. B. Any group that has been in existence for at least one academic E. “Group” means a number of students who have not complied year must apply for recognition as a student organization in order to with the requirements for formal recognition as a student organiza- continue to receive benefits from the University. tion. C. Recognition of a student organization by the University does F. “Student media” means either an organization whose primary not imply approval by the University of the aims or objectives of the purpose is to publish/prepare and distribute any publication/presen- organization. tation on the University campus or a regular publication of any student organization. D. After recognition, all amendments to a student organization’s constitution or bylaws must be submitted to the Office of Student G. “Custodian” means the administrative officer of the University Activities four weeks prior to the effective date. with applicable supervisory authority. E. Any organization that engages in illegal activities on or off H. “Shall” is used in the imperative sense. campus shall have sanctions imposed upon it, including withdrawal of University recognition. I. “May” is used in the permissive sense. F. Membership in all campus organizations shall be open, within J. All other terms have their natural meaning unless the context the limits of their facilities, to any member of the University com- dictates otherwise. munity who is willing to subscribe to the stated aims and objectives of the organization and to meet its stated obligations. II. Student Rights A. This Code recognizes that the students of the University, as G. Discrimination by any student organization on the basis of members of an academic community, are entitled to the rights set gender, religion, race, creed, national origin, disability, or sexual forth herein, including, to the extent provided by applicable law, the preference is prohibited. right to be free from discrimination and harassment based on gender, religion, race, national origin, creed, disability, or sexual preference. V. University Facilities University facilities may be assigned to organizations, groups, B. The University reserves the right to change the provisions of and individuals within the University community for regular busi- this Code as it deems necessary. In addition, except to the extent ness meetings, for social programs, and for programs open to the expressly provided herein, the Code is not intended to deal with aca- public. demic issues, financial obligations, or residence assignments: the University retains its traditional powers in these and all other areas A. The Office of Facilities Management shall have the responsi- of campus life. bility for assigning University space to campus organizations, groups, and individuals.
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B. Any individual, group, or organization requesting space must A. The right to review educational records that are maintained by inform the University of the general purpose of the function so that the University. These records generally include all records of a per- the University may schedule an appropriate location. sonally identifiable nature; however, they exclude the financial records of parents and confidential letters and statements of recom- C. Allocation of space shall be based on the demonstrated needs mendation received prior to June 1, 1975. of the organization, group, or individual, as determined by the Office of Facilities Management. B. Records that have been created or maintained by a physician, psychiatrist, psychologist, or other recognized professional or para- D. Preference may be given to programs designed for audiences professional while an individual has been a student at the University consisting primarily of members of the University community. are not available for review; however, the student does have the right to select a physician or other appropriate professional, at personal E. Conditions may be imposed to regulate the timeliness of the expense, to review these records on the student’s behalf. requests, to determine the appropriateness of the space assigned, to regulate time and use, and to ensure proper maintenance. C. University educational records are maintained by the following: 1. Office of the Registrar F. Charges may be imposed for any special services required in 2. Office of the Dean of Students connection with the event. 3. Financial Aid Office 4. Finance Office G. Physical abuse of assigned facilities will require restitution for 5. Office of Continuing Studies all damages and may result in limitation on future allocations of 6. Some educational records may also be maintained by the Dean space to offending parties. of the College, academic major departments, and the Academic Support Services Office. VI. Student Rights and Residence Halls A. Resident students can have a representative voice in making D. The University may not generally release any information out- recommendations with respect to the policies of the University’s res- side the University that is maintained in educational records without idence program. prior consent or waiver. However, the University does have the right to release the following information: B. The University shall, to the extent set forth herein, respect each 1. Name resident student’s right to privacy. The University may conduct room 2. Address searches of resident students in good standing only 1) with the con- 3. Email address sent of the student; 2) in conjunction with legal authorities who have 4. Telephone listing obtained a search warrant; or 3) to ensure compliance with 5. Date and place of birth University regulations, as reflected in the Residence Contract. 6. Major field of study University personnel’s entrance to rooms, unless for an emergency, 7. Participation in officially recognized activities apparent breach of University regulations, or conditions beyond the 8. Dates of attendance control of the University, shall be announced 24 hours in advance. If 9. Degrees and awards received the University determines that a danger to the safety of the 10. The most recent previous educational institution attended by University, the residents, or the community exists, consent to enter the student. and search a room will be considered implicit. If a student does not wish any of this information made public, either in a directory of students or in any other manner, the student C. When a resident student requests maintenance service for must inform the Office of the Registrar no later than the end of his/her room, consent to enter shall be considered implicit. Such the third week of classes each semester of the information not service calls will be arranged 24 hours in advance whenever possible. to be released. VII. Access to Student Records– Family E. The permanent record maintained by the University will con- Educational Rights and Privacy Act (FERPA) sist of: In 1974, the Congress of the United States enacted the Family 1. Directory information as noted above Educational Rights and Privacy Act, Public Law 93-380, as amended, 2. Application for admission setting out requirements designed to protect the privacy of students. 3. Applicant’s secondary school records Specifically, the statute governs 1) access to records maintained by cer- 4. Cumulative University of the Arts records of grades, credits, tain educational institutions and agencies, and 2) the release of such grade-point average, and academic actions records. In brief, the statute provides that such institutions must pro- 5. Correspondence (or copies thereof) re: admission, enrollment, vide students access to official records directly related to themselves registration, probation and an opportunity for a hearing to challenge such records; that institu- 6. Student petitions tions must obtain the written consent of the student before releasing 7. Disciplinary actions personally identifiable data from records to other than specified excep- 8. Departmental appraisals and evaluations of student progress tions; and that students must be notified of these rights. As such, all students of The University of the Arts have the F. The permanent records of the University do not include: following rights with regard to educational records maintained 1. Parents’ and students’ confidential financial documents by the University: 2. Counseling psychologists’ files 3. Health Office files
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4. Faculty and staff memoranda/files retained for students who have long been deceased will be evaluated by the personal/professional use University based on legitimate educational interest.
G. Requests to inspect and review records may be made by com- VIII. Violation of University Standards pleting an “Access Request for Educational Records,” which is The University reserves the right to impose discipline for any mis- available in the Office of the Registrar. Upon receipt of a request an conduct that adversely affects the pursuit of the University’s stated appointment will be made to review records within 45 days. purposes and objectives by the University community. In addition, the specific types of misconduct listed below may subject a student H. If a student believes any information in the file is inaccurate or to disciplinary action by the University: misleading, that individual may request, in writing, the custodian of the record to amend, delete, or otherwise modify the objectionable A. Cheating or plagiarism in connection with an academic pro- material. If said request is denied, the student may request that a gram at the University; hearing be held to further pursue the request. At this hearing, the stu- dent may be represented by a person of his or her choice, if so B. Furnishing false information to the University with the intent desired. If after the hearing the request to amend is again denied by to deceive; the University, the student has the right to place in the file a state- ment or other explanatory document, provided that such statements C. Unauthorized use or misuse, including mutilation and/or or documents relate solely to the disputed information. defacing, of educational materials, University records, or University property; I. If a student believes that any of his or her rights hereunder have been violated by the University, he or she should make such facts D. Forgery, alteration, unauthorized use or misuse of any official known to the Dean of Students in writing. If the Dean of Students University document, name, symbol, record, or student or faculty does not resolve the matter and the student still feels that his or her identification card; rights have been violated, he or she may so inform the Department of Education in writing. E. Theft, misappropriation, vandalism, grossly negligent damage, or arson to any University property or private property of any J. Release of information from permanent records to outside par- member of the University community or any other person on ties requires the student’s explicit consent. Those exceptions, which University property; do not require the student’s consent, are: 1. Compilation of general enrollment data for reports required by F. Threat of, or actual infliction of, bodily harm or physical abuse U.S. Government and Commonwealth of Pennsylvania or injury to any member of the University community or any other authorities person on University property; 2. Participatory information-sharing with educational service associations such as the College Scholarship Service and the G. Physical obstruction or verbal disruption of teaching, research, American Council on Education disciplinary proceedings, or authorized University programs, events, 3. Information about an individual student in the event of a per- functions, or activities; sonal emergency that is judged to threaten the health and/or safety of that student H. Obstructing access to any University building or other facility; 4. Compliance with judicial orders and lawfully issued subpoenas unauthorized use or occupation of any University meeting facility, 5. Response to inquiries by parents of dependent students (see classroom, common indoor or outdoor area, faculty office, or any section K) other component of the University physical plant or property; 6. Reference by appropriate University of the Arts faculty and professional staff I. Use, possession, distribution, transfer, or sale of illegal nar- Any release of information as outlined above that identifies an cotics, hallucinogenic agents, or drugs anywhere on University individual student and requires that student’s consent will be logged property; in his or her permanent record. J. Construction of or actual possession of firearms or other inher- K. As provided by the Act, the Office of the Registrar will ently dangerous weapons or explosive materials, including respond to valid requests by parents of dependent students for fireworks; grades and related cumulative information. Although the student’s consent is not required, he or she will be informed that such a K. Violation of any criminal statutes of the United States or the request has been made. Commonwealth of Pennsylvania, or ordinances of the City of A dependent student is defined as one who is declared a Philadelphia, which occurs on University property or which directly dependent by his or her parents for income-tax purposes. The affects the University community; University, however, will continue to mail semester grade reports and actual transcripts of records directly to the student at his/her per- L. Resisting campus security guards acting in the proper perform- manent address. ance of their duties on University property;
L. Requests for the records of a deceased student must be accom- M. Failing to repay, by agreed deadlines, monies borrowed from panied by a notarized statement from the executor of the estate of official student loan funds; the deceased approving the release of records. Requests concerning
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N. Failure by a resident student to abide by the University misconduct. Upon termination of the period of suspension, the stu- Residence Hall Contract and any other rules and regulations of the dent shall be considered for readmission in compliance with University applicable to resident students; academic standards then in effect, provided that the student is aca- demically eligible for re-admission. Suspension is recorded in a O. Failing, after a warning, to wear clothing or foot covering disciplinary file in the Office of the Dean of Students. while attending classes or utilizing any University facility; F. Dismissal: Dismissal is the termination of student status and P. Smoking on campus property, except in designated areas; separation from the University. Dismissal means the loss of all rights and privileges normally accompanying student status. Dismissal is Q. Consuming food or beverages in areas designated “No Food or imposed in instances of more serious misconduct. Upon imposition Beverages;” of this action, the student shall be issued terms for re-admission, including, but not limited to, the first date by which the student is R. Unauthorized consumption, possession, distribution, transfer, eligible to reapply for admission and conditions related to the cause or sale of alcoholic beverages anywhere on University property; of dismissal; the student must also be in compliance with academic standards in effect at the time of re-application. If denied re-admis- S. Failing to comply with the directions or instructions of sion, the student may re-apply after one year, although terms issued University officials relating to the provisions of this Code or other at the time of dismissal remain in effect. The imposition of this regulations that the University may adopt; and action is recorded as dismissal from the University on the transcript. Dismissal is recorded in a disciplinary file in the Office of the Dean T. Soliciting or assisting another student to do any act that could of Students. A grade of “W” for administrative withdrawal shall be subject him/her to discipline for violation of University standards or received for each course for which the student is enrolled at the time regulations. the dismissal is issued.
IX. Disciplinary Actions G. Expulsion: Expulsion is a permanent termination of student The University may impose discipline on a student for a violation status and permanent separation from the University. Expulsion is of any University standard according to the procedures set forth in imposed in instances of the most serious misconduct or in instances Part Two of this Code. The penalties for a violation are set forth of continued serious misconduct usually, though not necessarily, fol- below. One or more of the listed penalties may be imposed at the lowing the imposition of probation or suspension. This action is discretion of the University. The maximum penalty is expulsion recorded as expulsion from the University on the transcript. from the University. Expulsion is recorded in a disciplinary file in the Office of the Dean of Students. A grade of “W” for administrative withdrawal shall be A. Warning: A notice to the student orally or in writing that con- received for each course for which the student is enrolled at the time tinuation or repetition of conduct found to be a violation may be expulsion is issued. cause for additional disciplinary action. A copy of a written warning is retained by the Office of the Dean of Students until the student Part Two—The Hearing Process leaves the University; it does not become a part of the student’s file. I. Initiation of Disciplinary Proceedings B. Fine: A money penalty, intended as a deterrent, to cover the A. Charges of a violation of the Code may be filed against a stu- costs of replacing physical property of the University damaged or dent, student group, or student organization by any member of the stolen by the student. The payment of any fine by a student shall in University community. When a complaint is filed against a student no way limit the right of the University to seek complete restitution organization, the appropriate officers shall act as representatives in through civil proceedings. the disciplinary proceedings. C. Other: The assignment of appropriate tasks for the purpose of B. The charges shall be filed in writing with the Office of the restitution and/or exclusion from participation in privileged or Dean of Students. Upon such filing, the Office of the Dean of extracurricular activities for a period not to exceed one year. Students shall notify the student in writing (to be hand-delivered) of the charges and of the procedures to be followed. D. Disciplinary Probation: Disciplinary probation is an official written notice to a student that violations of University regulations C. The Office of the Dean of Students shall make a preliminary or policies, or patterns of behavior contrary to University standards investigation of all charges including an interview with the student/s or expectations will not be tolerated. Repeated offenses will result in so charged. In cases where the charges could result in dismissal from more severe action, including possible suspension or expulsion from the Residence Halls or University, a member of the community, the University. Disciplinary Probation lasts for a stated period of appointed by the Provost, will serve as a neutral third party, and will time and a copy of the probation notice is maintained in a discipli- attend the interview with the student. If the Dean determines that nary file in the Office of the Dean of Students until a student leaves there is no substance to the charges, they will be dropped. The the University. person charged and the complainant will be so informed. E. Suspension: Suspension is the termination of student status and D. If the Dean’s preliminary investigation indicates that the separation from the University until a specified date. Suspension charges warrant a warning, fine, disciplinary probation, or other means the loss of all rights and privileges normally accompanying location as described in Part One, Section IX, the Dean of Students student status. Suspension is imposed in instances of serious
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or his/her designee shall meet with the student to discuss the charges C. At the hearing, the student shall have the right: and issue the imposed penalty. The issuance of such penalty shall 1. to be present; terminate the complaint procedure. 2. to be informed of the evidence against him/her; The student shall have the right to appeal the decision of the Dean 3. to present evidence on his/her behalf; of Students or his/her designee to the Campus Standards Committee 4. to have adequate opportunity to respond to the evidence; and c/o the Dean of Student Services Office, or if the Campus Standards 5. to have the assistance of an advisor of his/her choice who is a committee is not in session, to the Provost within 10 calendar days member of the University community. of notice of the imposition of discipline. The appeal shall be in writing and shall be a reasonable expression of the student’s desire D. If, after the administrative hearing, the Dean of Students or to appeal the decision. A hearing will proceed as described in Part his/her designee determines that the student warrants only a Two, Section II, in which instance the Provost will serve as the Dean warning, the warning will be given by the Dean and the matter shall of Students’ designee, and Section III. The decision of the Campus be deemed closed. Standards Committee or Provost is final. No further appeal may be taken. E. If, after the administrative hearing, the Dean of Students or his/her designee determines that the violation warrants censure, pro- E. If the Dean’s preliminary investigation indicates sufficient evi- bation, suspension, the levying of a fine, or expulsion, such dence to warrant penalties that may include suspension, dismissal, discipline shall be applied, and the student shall be informed in or expulsion, the Dean of Students or his/her designee shall prepare writing of such discipline. and serve on the student a written complaint setting forth the nature, time, and place of the hearing. F. If, after the administrative hearing, the Dean of Students or his/her designee determines that the student has not violated a stan- F. Service of the complaint shall be hand-delivered to the student dard or regulation, he/she will inform the student and the or by certified mail, return receipt requested, on the student, with complainant, and the matter shall be deemed closed. date, time, and place of hearing set out. III. The Campus Standards Committee G. The student shall have the right to file countercharges against The Campus Standards Committee is in session as of the first day the party who filed the charges against him/her. of classes through the last day of classes during the fall and spring semesters. H. If more than one charge arises from the same incident, all such charges shall be heard at the same time. A. Power: The power to review complaints or charges against stu- dents, student groups, or student organizations by a member of the I. The student shall be given the opportunity of defending his/her University community is vested primarily in the Campus Standards conduct before the Campus Standards Committee within two aca- Committee. This committee serves as a recommending body to the demic weeks of receipt of the complaint OR of having the charge Dean of Students. resolved in an administrative hearing within one academic week of receipt of the complaint, unless the Dean determines that the com- B. Membership: The Campus Standards Committee shall be com- plaint must be handled by the Campus Standards Committee. If the posed of eight members: Campus Standards Committee is not in session at the time or during 1. four students the two weeks after a complaint has been filed, an administrative 2. two administrative staff hearing will be conducted. 3. two faculty members
II. Administrative Hearings C. Chairperson: The Chairperson shall be chosen by the Dean of A. If a student wishes to acknowledge that he/she has violated a Students. The Chairperson shall serve as an ex-officio member, standard or regulation as charged, thereby waiving his/her right to a voting only in the event of a tie. formal hearing before the Campus Standards Committee, he/she must sign a waiver to that effect. Upon the presentation of this D. Jurisdiction: waiver to the Dean of Students or his/her designee the Dean shall 1. The Campus Standards Committee shall be the principal body determine the appropriate disciplinary action and impose it. to hear charges of student misconduct or noncompliance with the Code. B. If a student wishes to deny that he/she has violated a standard 2. The Campus Standards Committee shall have the authority to or regulation as charged, but waives his/her right to a formal hearing prescribe supplementary rules of procedure consistent with before the Campus Standards Committee, he/she must sign a written requirements contained herein. waiver to that effect. Upon presentation of this waiver to the Dean of 3. The Campus Standards Committee shall have the authority to Students or his/her designee the Dean and a staff member to be des- develop and recommend to the Dean of Students appropriate ignated by the Dean shall hear the evidence by and against policies, statements, and revisions to the Code and to any other the student. official University document that pertains to student welfare. Also, in cases in which the Campus Standards Committee is not in session at the time or during the two weeks after a complaint has E. Hearings: been filed, the Dean or his/her designee shall hear the evidence by 1. An action before the Campus Standards Committee shall com- and against the student. mence by notification from the Office of the Dean of Students to the Chairperson of the Committee.
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2. In order to conduct a hearing, there must be a quorum, which Committee’s recommended action to the Dean of Students. consists of 50 percent of the membership of the Committee. 7. Within three academic days of receipt of the Committee’s rec- Majority, as used in this Code, means a majority of a quorum. ommendation, the Dean of Students shall notify the charged 3. If, after proper notice of the complaint and the date, time, and student by letter, delivered in person or by certified mail, 1) place of hearing, the charged student fails to appear, and the whether he/she accepts the Committee’s recommendation and majority of the Campus Standards Committee is satisfied that the discipline recommended, if any, and 2) if the student is the student had adequate notice and no valid excuse for his/her found guilty of the charges, the discipline, if any, that will be nonappearance, the Committee may then hold the hearing imposed by the Dean of Students. The Dean shall also inform without the student. the Committee of his/her decision. 4. The student charged may be assisted or represented during the 8. A written copy of the Committee’s findings and recommenda- proceedings by an advisor of his/her choice from within the tion and the Dean’s decision shall be placed in the student’s file, University community. and shall remain there for the period of the student’s enrollment 5. Prior to each hearing, any member of the Committee who has a plus one year. particular bias, ethical conflict, or personal relationship with or animosity against the charged student or complainant that IV. Appeal he/she believes would prevent him/her from rendering an objec- A. The student shall have the right to appeal the decision and/or tive recommendation shall excuse him/herself from the discipline imposed by the Dean of Students or his/her designee participating in that hearing. to the Office of the Provost within 10 calendar days of the receipt of 6. The hearing shall be conducted in a manner to do substantial notice of the imposition of discipline. justice and shall not be unduly restricted by legal rules of proce- dure or evidence. The Chairperson shall take notes of the B. The appeal shall be in writing and shall be a reasonable expres- evidence and testimony presented. The charged student, or sion of the student’s desire to appeal the decision. his/her advisor, may take written notes of the evidence and testi- mony presented. C. Upon receipt of such notice of appeal, the Provost shall advise 7. Only Committee members, the charged students, their advisors, the Dean of Students or his/her designee that such an appeal has complainants and witnesses, if any, and the Dean of Students, been filed. The Dean or his/her designee shall then make the record shall be allowed to attend the hearing. of the proceedings available to the Provost. 8. If two or more students are charged within the same complaint, D. In his/her discretion, the Provost may give the student an individual hearings shall be permitted when requested by any of opportunity to present additional information and his/her reasons for them. appeal, and may request additional information from the Dean of 9. The Chairperson shall open the hearing by stating the charges Students or his/her designee. Unless otherwise requested by the and the procedures to be followed. Provost, all information must be submitted in writing only. 10. The Chairperson shall ask the student whether or not he/she has violated each standard or regulation charged. E. Upon consideration of the record and any additional informa- 11. The complainant shall present his/her evidence first, including tion requested, the Provost shall make a final decision and instruct any witnesses he/she may have. the Dean of Students to impose appropriate discipline, if any. 12. The charged student shall then present his/her evidence, including witnesses, if any. F. The decision of the Provost is final. No further appeals 13. Witnesses shall not be sworn. Any witness may be questioned may be taken. by any party to the action and by any member of the Committee. 14. The complainant and the charged student (or his/her advisor, if Note: 1) The University and the student may both retain an desired) may offer summations. attorney at his/her own expense and have that attorney present pro- vided that a) an in-person proceeding is permitted by the Provost F. Committee Deliberations and Recommendations: pursuant to subparagraph D; and b) neither attorney assumes an 1. At the completion of the testimony, the members of the active role in the conference. Committee shall retire to another room or clear the hearing Note: 2) In cases in which the Provost is appointed the Dean of room in order to deliberate. Students’ designee, the President will substitute for the Provost in 2. No evidence other than that received at the hearing and that the appeal process. contained in the student’s file shall be considered by the Committee. V. Administrative Suspension 3. Confidentiality shall be maintained by all participants. Cases A. If a charge has been filed against a student, the status of the shall be discussed only while the Committee is in session. charged student within the University shall not be altered prior to a 4. Recommendations in all cases shall be determined by a simple hearing and action by the Dean unless 1) the continued presence of majority vote. the student on the University campus shall be found by the Dean of 5. Within three academic days after the conclusion of the hearing, Students in his/her judgement to constitute a serious threat to the the Committee shall prepare in writing findings of fact and con- student or the community; or 2) the off-campus conduct of the stu- clusions as to the validity of the charges, and a recommendation dent is deemed by the Dean of Students to be deleterious to the for appropriate action, and transmit that information to the Dean student’s welfare or to that of the University community. of Students. 6. Within that same time, the Committee shall notify the charged B. Where the Dean of Students concludes that either of such situ- student by letter delivered in person or by certified mail of the ations exists, he/she may, in his discretion, place the student on
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probation or suspension pending final disposition of the charges against him/her. Academic Computing C. The administrative suspension and probation recognized in this Ken Kramar Section are in addition to the University’s right to impose the emer- gency removal from the University’s campus and community of a [email protected] student. The Dean of Students shall have the sole discretion to deter- Director of Academic Computing mine whether to substitute the procedures of emergency withdrawal 215-717-6020 for the procedures of this Code for student misconduct. The Department of Academic Computing is dedicated to the sup- port and integration of appropriate digital technology within the University’s academic programs. The department maintains 26 sepa- rate computer labs equipped with industry-standard software located throughout the campus, including additional facilities in our new, state-of-the-art Terra Building. In addition to word-processing labs and multiple high-end graphics labs using enhanced Power Macintosh G5s, three music labs, and an animation lab, the University hosts a New Media Center comprising of four dual-platform digital laborato- ries that enable the integration of animation, graphics, text, music, and sound. The University is proud to be a member of the New Media Centers, a group of the nation’s leading academic institutions and technology corporations dedicated to the advancement of technology in education. Open access to the computer labs is available daily to facilitate indi- vidual exploration and to ensure adequate time outside of class for independent work. Students are not required to bring personal com- puters, but may find it beneficial to have their own depending on their major, individual schedule, and needs. Students interested in purchasing their own computers are welcome to contact the Academic Computing office for advice on hardware and software selection and information on the educational discounts avail- able. The University does not accept responsibility for the installation, maintenance, repair, or security of student-owned computers.
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• Misrepresenting one’s own identity, role, or the identity of any University Guidelines for other person in any type of electronic communication. Responsible Computing ¥ Intentionally or negligently revealing passwords or permitting another to use one’s personal account. (Acceptable Use) ¥ Altering, or destroying communications, or intentionally com- promising the security of electronic information passing through the UArts network. The University of the Arts provides access to computing and infor- ¥ Misrepresenting or implying that the content of a personal home mation resources for students, faculty, staff, and other authorized users page constitutes the views or policies of the University, or altering in support of the University’s mission of teaching, creative exploration, the University’s official Web site or related pages without prior research, and public service. Computing resources include host com- authorization in writing. puter systems, University-sponsored computers and workstations, ¥ Misusing the University’s computing resources so as to reduce peripherals, software, electronic files, the UArts network, email serv- their efficiency or to affect access to the detriment of other users. ices and the My UArts portal. Proper use demonstrates respect for ¥ Producing chain letters or broadcasting messages to individuals intellectual property, ownership of data, systems security mechanisms, or lists of users, or producing any communication that interferes and each individual’s rights to privacy and to freedom from intimida- with the work of others. tion, harassment, and unwanted annoyance. ¥ Breaching or attempting to breach computer security systems, Under the auspices of the Provost’s Office, all University com- puter systems, including user files, may be monitored and/or with or without malicious intent. confiscated at any time should any portion of the system be threat- ¥ Engaging in any activity that might be harmful to systems, the ened, or its integrity, security, or proper use be in question, or for network or to any stored information such as creating or propagating any reason, at the sole discretion of the Provost’s Office. Members viruses, worms, Trojan horses, or other rogue programs, disrupting of the University community should understand that all computer services, or damaging files. files and communications are subject to review, and should not ¥Wasting system resources or overloading the UArts network with expect such files and communications to be private. extra data. All users of the University’s information and technology ¥ Violating copyright and/or software license agreements. resources are expected: ¥ Using computing resources for commercial or profit-making 1) to respect the rights of others and not use such resources to purposes without the written authorization of the University. threaten, endanger, harass, intimidate or insult others, or to engage ¥ Downloading or posting to University computers, or trans- in unlawful, defamatory, or obscene activity; porting across University networks, material that is illegal, 2) to abide by all applicable licenses, copyrights, patents, intellec- proprietary, in violation of University contractual agreements, or in tual property rights, contracts, security agreements, University violation of University policy. policies, and other restrictions; and ¥ Violating local, state or federal laws. 3) to use such resources solely for University-related activities The University considers any violation of these regulations to be a and purposes; serious offense. Violations may result in revocation or restriction of 4) to behave responsibly with respect to these resources at all computer privileges; disciplinary action as outlined in the Code of times, respecting the integrity and security of these resources; Student Conduct, the Faculty and Staff Handbooks, and other 5) to respect the rights and property of others, including the right University policies and procedures; or a referral to local, state, of privacy and confidentiality, the freedom of thought, inquiry and and/or federal authorities. The above policies supplement the University’s Code of Conduct expression. and all existing policies. The University reserves the right to restrict or rescind computing privileges, or the use of any other University facilities or resources, in accordance with this and other applicable University policies University Computers, Telephones, when the user has exhibited inappropriate behavior in the use of Equipment, and Resources such resources. Other discipline and remedial measures may be The University of the Arts provides access to computing and appropriate, as set forth in other applicable University policies. information resources, telephones and other equipment and The same policies and laws that govern faculty and student publica- resources for students, faculty, and staff to support the University’s tions in traditional media are applicable to publications in computer media. With few exceptions, Web pages, electronic mail, and electronic mission of teaching, creative exploration, research, and public files may not contain copyrighted material without the approval of the service. Recognizing the value of such resources to our education owner of the copyright. Likewise, theft or misuse of private and artistic mission, the University has made substantial investment propertyÐwhether it be tangible or intellectual propertyÐis prohibited. in such resources and equipment and expects them to be used for University purposes only, in accordance with University rules, poli- cies, and directives. No University resources or equipment may be Examples of Inappropriate Behavior used improperly by any faculty, student, or staff member, or for per- This policy covers all types of inappropriate behavior. The fol- sonal gain or profit. lowing types of activities are selected examples of behaviors that are unethical, unlawful, and/or inappropriate. ¥ Attempting to alter system, hardware, software, or account con- University of the Arts Email Policy figuration. This policy applies to all members of The University of the Arts ¥ Accessing or monitoring another individual’s accounts, files, community and refers to all electronic mail resources at the software, electronic mail, or computer resources without the permis- University. Any person who uses the University’s electronic mail sion of the owner. facilities consents to all of the provisions of this policy and agrees to
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comply with all of its terms and conditions and with all applicable state and federal laws and regulations. Violations may result in revo- Continuing Studies cation or restriction of computer privileges; disciplinary action as Programs outlined in the Code of Student Conduct, the Faculty and Staff Handbooks, and other University policies and procedures; or may be referred to local, state, and/or federal authorities. The Center for Continuing Studies General Use 215-717-6095 9th floor, Terra Building The primary purpose of email accounts is to facilitate communi- cation between users. The Center for Continuing Studies at The University of the Arts is Email must be used in accordance with the responsible use provi- dedicated to providing adult learners with diverse continuing and sion contained in this policy. professional education opportunities. Credit and noncredit contin- Users shall not, under any circumstances, give their passwords for uing education courses in fine arts, crafts, digital media including any email system to an unauthorized person nor shall they obtain digital video and digital photography, e-music, design, creative any other individual’s password by any unauthorized means whatso- writing, photography, interior design, book arts, theater, illustration, ever. No user shall use the University’s email systems or services for multimedia, writing for film and television, recording engineering, the purpose of transmitting fraudulent, defamatory, harassing, arts education, and arts administration are available year-round, in obscene, or threatening messages, or for the promotion of non-uni- convenient evening and weekend classes. The Center also offers spe- versity-authorized goods, services or personnel, or for any other cialized certificate programs, as well as customized training communications that are prohibited by law. solutions for corporate and organizational clients. The Center for Continuing Studies is home of the University’s Privacy and Email Professional Institute for Educators, founded in 1973 to serve the Both the nature of email and the character of The University of continuing education and certification compliance needs of profes- the Arts environment make email less private than users may antici- sionals in the field of education. A full program of non-matriculated pate. The privacy of email messages may be compromised by the credit courses is offered for teachers interested in continuing their fact they must routinely pass through numerous computers and are education. Most classes meet during weekends throughout the year. sometimes seen by system administrators in the course of main- Catalog brochures are available for all of the Center’s program taining these systems, redirecting lost mail, or by assistants routinely offerings. Please refer to these for specific listings and registration screening colleagues’ mail. procedures. Please note that the degree programs at the University Email Monitoring and Disclosure have specific course and curriculum requirements. Courses taken in the Continuing Studies program are rarely accepted by the The University of the Arts does not routinely monitor or inspect University’s degree programs to fulfill degree requirements, and email. Nonetheless, email is subject to a number of laws, policies, may not exceed a total of six (CS) credits. However, persons seeking and practices that apply to the disclosure and protection of The admission to a degree program can apply to have these credits evalu- University of the Arts’ records. Examples include but are not limited ated at the time of admission to determine if they may be accepted to the Federal Family Educational Rights and Privacy Act; for degree transfer credit. University personnel policies; disclosure pursuant to litigation; and other provisions of The University Guidelines for Responsible For additional information about the programs of the Center for Computing. Continuing Studies, please visit our Web site at www.uarts.edu, or The University of the Arts may access email accounts to satisfy a contact: legal obligation or to ensure proper operation of the electronic mail facilities, and it reserves the right to take appropriate investigatory Continuing Education and/or disciplinary action. 215-717-6095 Professional Institute for Educators Student Email 215-717-6092 Students are responsible for regularly reading and responding to email sent by the University faculty, staff, and administration to the students’ UArts email accounts. Each student is assigned an email account upon enrolling, and is responsible for activating their account by the first day of classes of their first semester of atten- dance. In order to activate the account students must either go to Room 250, Hamilton Hall or contact Network Services at 215-717-6997 or via email at [email protected]. Students are also expected to regularly check the MY UArts Portal for University-related announcements and notifications. The portal is the primary source for student information, which includes grades, class schedules, transcripts, degree audits, and GPAs. Please note that information such as this is no longer mailed to stu- dents via U.S. mail, except upon request. Access to the portal, including student email, is available in the open computer labs on campus.
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The University of the Arts
Administration
Miguel Angel Corzo President, CEO
Neil Kleinman Dean, College of Media and Communication
Richard J. Lawn Dean, College of Performing Arts
Peter Stambler Director, Division of Liberal Arts
Stephen Tarantal Dean, College of Art and Design
Lynn Dougherty Registrar
Barbara Elliott Director of Admission
Carol Graney Director of University Libraries
Amy Hooper Director of Financial Aid
R. Alan Leffers Dean of Students
John Trojan Chief Financial Officer
Laura J. Zarrow Assistant Provost for Academic Affairs
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Board of Trustees 2004-2005
Ronald J. Naples, Chairman Life Trustees Miguel Angel Corzo, President Dorrance H. Hamilton, Chairman Emerita George A. Beach ‘58 Sam S. McKeel Sigrid Berwind Irvin J. Borowsky Emeritus Trustees Mary Louise Beitzel ‘51 Ira Brind Anne F. Elder Ronald L. Caplan Thomas V. Lefevre Paul Curci Sondra Myers Karen Daroff Eleanor L. Davis Emeritus Faculty Deanna S. DeCherney ‘66 Edna Andrade Jill R. Felix Jane Bedno Melissa Heller Morris Berd Glenn K. Holck William Daley, Stephen R. Holstad University Distinguished Professor Richard P. Jaffe, Esq. Albert Gold William G. Krebs ‘66 Kenneth Hiebert Al Paul Lefton, Jr. Nathan Knobler Elaine Levitt Robert F. McGovern Jeff Lotman Richard Stetser Karen Lotman Seymour G. Mandell President Emeritus Noel Mayo ‘60 Peter Solmssen Francis J. Mirabello, Esq. Adolf A. Paier Lawrence S. Reichlin Jerry J. Siano ‘57 Judith F. Terra Kenneth I. Truyillo, Esq. James P. Vesey Harriet G. Weiss William Wilson Albert E. Wolf
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C E Faculty Index Campbell, Mark 37, 38 Ebbenga, Eric 102, 134 Carbone, Denise 44 El-Omami, Anne 68, 79 A Carlano, John J. 54 Ellis, Mark 91 Ceneri, Thomas 27 Embree, Nick 134 Adkins, Paul 100, 116 Chaloner, Thea 102 Enright, Mike 54 Adorno, Paul 60, 68 Chant, Bohn, Donald 27 Episcopo, Dominic 54 Agudelo, Juan Sebastian 27 Childs, Jennifer 102, 134 Allemann, Hans 48 Chittum, Donald 101, 116 Allen, Carl 100, 116, 128 F Chorpash, Rama 52 Almquist, Jan 48 Fambrough, Charles 101, 116, 128 Church, Sharon 39 Andrade, Edna 38 Fanning, Douglas 77 Citron, Harvey 46 Antinoff, Steven 27 Farnum, Richard 27 Clarke-Plumb, Susan 79 Arthur, Susan 54 Farr, Chris 101, 115, 116, 128 Clark-Schock, Karen 62 Farrell, Russell 50 Clearfield, Andrea 101, 115 B Fedchock, John 101, 116 Cleighton, Karen 102, 105, 134 Felton, Richard 48 Bach, Laurence 48, 54 Clifton, Meg 101, 116 Baguskas, Eugene 42 Fielder, Mari 102, 134 Cohen, Raye 60, 68 Finn, Kevin 27 Baird, Irene 102, 134 Coleman, Connie 54 Baird, Lisa 38 Fischbeck, Manfred 100, 102, 105, 134 Colton, Kali 134 Fish, Alida 54, 56 Baker, John 27 Columbus, John 54 Balson, Yana 27 Fishman, Janet 27 Copeland, Colette 54 Flanagan, Eileen 27 Barkat, Jonathan 50 Comberg, David 52, 77 Barrick, Rick 54 Floyd, Cheryl 27 Connolly, John 48 Fogel, Harris 54 Barton, Carol 44 Conwell, Charles 102, 134 Beacher, Katherine 79 Fortunato, June 134 Cooper, Charles 38 Foster, Laura 79 Bears-Bailey, Kim 100, 105 Cordell, Linda 39 Bedno, Ed 79 Foulks, Renee 50 Cotton, Kali Lela 102 Fox, Lisa 100 Bedno, Jane 79 Courtney, Matthew 38 Bell, Larissa 105 Foxman, Diane 60, 68 Cress, Richard 79 Frazure, Laura 46 Bell, Richard 54 Cromie, Aaron 102 Beresin, Ann Richman 27 Fuiano, Louis 91 Crowley, Maegan 39 Fuld, Rachel 39 Berg, Stephen 27 Csaszar, Tom 75, 79 Berger, David V. 38 Funderwhite, Dorothy 48 Berkheiser, Megan 50 D Bernstein, Jennifer 48 G Daley, William 39 Bertini, Peter 100, 105 Gallagher, Matt 106, 116, 128 Darway, Christopher 39 Beskrone, Steve 100, 116, 128 Garton, William 101, 116, 127 Davenport, Nancy 29 Bevenour, Jay 50 Garvin, Chris 91 David, Norman 101, 116 Billings, Krista 134 Genovese, Richard 101, 127, 128 David, Wayne 100 Biggs, Brian 50 Gerber, Nancy 62 Davis, Sandra 44 Binford, Jennifer 100, 105 Germer, Mark 116 Deneen, David 54 Blake, John 100, 116, 128 Giacabetti, Thomas 101, 115, 128 DeWitt, Jack 27 Blank, Rande 60, 68 Giguere, Ralph 50 Dicciani, Marc 101, 105, 116, 127, 128 Bohn, Donald Chant 27 Gilbert, Charles 102, 134 Didier, Mary Ellen 27 Boman, Hans 105 Gilbert, Nan 128, 134 DiMasi, Geoff 91 Boston, Lowell 30, 54 Gilbert, William 38 DiMedio, Annette 101, 105, 115, 116, 127 Bova, Cory 134 Gist, Linda 50 Dockery, Samuel 101, 115, 128 Breeze, Karen 39 Glanden, Don 101, 115, 116, 128 Dommert, Alice A. 79 Brent, Tim 100, 116, 128 Glazer, Susan B. 100, 104, 105 Donahue, Larry 38, 39 Brill, James 102 Gold, Maddy 38 Dornfeld, Barry 79, 91 Brooks, Spier, Lola 39 Goldberg, Marjorie 101, 116, 127 Drodvillo, Debra 48 Brosh, Robert 100, 116, 128 Goldblatt, Aaron 79 Druckrey, Inge 48 Brown, Bill 38 Goldensohn, Marty 91 Duff, DeAngela 91 Brown, Brian 100 Goltz, Janice 101, 116, 127 Dulik, John 101 Brown, David 91 Goodsell, Steven 101, 115, 116, 128 Duncan-Tessmer, Zachary 39 Brown, Gerard 27, 54, 75, 79 Gostin, Arlene 60, 68 Dupree, James 44 Bruno, Jimmy 100, 115, 128 Graham, David 54 Durso, Robert 101, 128 Burnette, Allegra 79 Graney, Carol 9 Durso, Samuel 27 Byrd, Robert 50 Granger, Randy 60, 68 Grant-Kennedy, Mary Ellen 103, 134 Greco, Marie 48
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Green, James 44, 73 K M Greenland, Theresa 100, 103, 105, 134 Kamien, Janet 79 MacConnell, Kevin 101, 116, 128 Grigg, Gail 134 Kanter, Ron 91 Madara, Jay 105, 134 Grothusen, Michael 38 Kantor, Gabrielle 39 Maeshsima, Sumi 75 Guido, Anthony 52, 77 Kantra, Nancy 100, 103, 105, 134 Magee, Chris 54 Gury, Al 50 Karmatz, Anne 27 Makins, James 39 Karros, Alec 39 Marino, Tony 102, 116, 128 H Kaye-Huntington, Susan 62 Martin, Mary 37 Haddad, Orlando 101, 116, 128 Keating, Nicole Marie 91 Martino, Pat 102, 115, 128 Hagans, Tim 101, 116, 128 Kennedy, Michael 101, 115, 116, 127, 128 Masi, William 50 Hall, DeShawn 79 Kerber, Ronald 101, 115, 116, 127 Mauté, Christopher 102, 127 Hall, Rick 101, 115 Kern, Jeffrey 101, 115, 116, 127 Mazzeo, Frank 102, 116, 128 Hamilton Sperr, Portia 79 Kery, Peter 48 McAllister, Michael 52 Hartl, Dave 91, 101, 115, 116 Kettner, David 42 McClendon, Forrest 103, 134 Hartley, Neill 103, 134 Kim, Wook 39 McCormick, Rod 39 Harmon, James 39 King, Dee 134 McDaniel, Drucie 103, 134 Haworth, Curt 100, 108 King, Paul 50 McGovern, Robert 38 Hayes, Clyde Michael 105 Klauber, Bruce 101, 116, 128 McKenna-Cress, Polly 79 Haykin, Asya 105 Kleinman, Neil 91 McSorley-Kery, Deborah 48 Heller, Nancy 27, 100 Knebl, John 101, 116, 127 Meashey, Kelly 102, 116, 128 Henderson, Linda 103 Knobler, Nathan 44 Mele, Marianne 98 Henriques, Rex 103, 134 Kohler, Lucartha 39 Meneghini, Tammy 103 Herdman, Gerald 38, 42 Kopervas, Gary 91 Miceli, Tony 102, 115, 116, 128 Hiebert, Kenneth 48 Koppe, Connie 103, 134 Milder, Jonas 52, 77 Hobbs, Jr., Johnnie 103, 134 Koresh, Ronen 100, 105 Milekic, Slavko 27, 60, 68, 77, 91 Hollerbush, Matthew 54 Koval-Bauer, K. Lynne 91 Misgalla, Molly 100, 105 Horvath, Sharon 42 Kruty, Peter 73 Mitchell, Wm. Frank 79, 80 Hotchkiss, Richard 101, 116 Kyle, Hedi 73 Mitnick, Larry 38 Housner, Luke 101 Moore, Carol 64, 68, 73, 75, 79 Howard, Sabin 50 L Motzer, Tim 105 Howey, David 103, 134 Lam, Anita 27 Muller, Daniel 102, 116, 128 Hunt, Jamer 27, 52, 77, 79 Larimore, Jack 39 Murnighan, Jack 91 Larson, Cris 27 Myers, Chris 27, 48 I Lawn, Richard J. 98, 101, 115, 127, 128 Iannacone, Richard 105 Lee, Mi-Kyoung 39 N Ireland, Damon 101, 115 Lefevre, Sharon 27, 91 Nakashima, Mashiko 46 Levin,Robert 54 Neff, Brie 100 J Levis, John 105 Neff, Eileen 42, 75 Jackett, Steven 54 Lewandowski, Niles 38 Nero, Joseph 102, 116, 128 Jacobsohn, Ilan 54 Lewis, Earl 50 Netsky, Stewart 27 Jacobson, Susan 91 Lisak, Rebecca 103, 134 Newer, David 103, 134 Jaffe, Jeanne 42, 46, 75 Lister, Peter 44 Nichols, Gerald 42, 75 Jaffe, Steven 38, 42 Loebell, Larry 91 Nocella, Steve 46 Jakubowski, Pete 134 Losso, Ernest 103, 134 Nolan, Paul 27 Janish, James 52 Lowery, Tom 105 Norman, Janis 60, 68 Jarvis, Jeff 101, 116, 128 Lunsford, Donald 100, 105 Novelli, Martin 27 Jay, Stephen 100, 105 Lynn, Jenny 54 Jernigan, John 27 Lyons, Robert 54 O Johnson, Edward 134 O’Brien, Tim 50 Johnson, Elsa 38, 46 O’Reilly, Michael 54 Johnson, Lois M. 44, 73 O’Shia, Troy Martin 103, 134 Jones, Jamar 101, 115, 128 Oldham, Anna Michelle 134 Jones, Micah 101, 115, 116, 128 Olshin, Benjamin 27 Jones, Patrick 101, 115, 116, 127 Orlandi, Janice 134 Jovovitch, Scott 100, 134 Osayande, R. Jeanine 100, 105 Julian, June 60, 68 Juska, Elise 27
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P S T Paglia, Camille A. 91 Sachs, Sid 28 Tarantal, Stephen 30, 50 Pap, Andrew 100, 104 Saler, Karen 38 Taylor, Denise 103, 134 Parker, Barry 46 Salicondro, Anthony 102, 128 Terruso, Gene 103, 128, 134 Pawl, Pam 39 Sanders, Brian 100, 105, 116 Thomas, Craig 102, 115, 116, 128 Paxson, James 102, 116, 128 Saylor, Steven 91 Thomas, David 102, 105, 116 Pearce, Jeannie 55 Schaechter, Judith 39 Tinker, Amanda 55 Pedretti, Michael 103, 134 Schaefer, Anne 39 Tocchet, Mark 50 Pennacchio, Charles F. 27 Schaeffer, Pearl 68, 100, 105 Tracy, Neal 103, 134 Pepe, Diane 37, 38 Schwass-Drew, Laurel 44 Treacy, Tricia 55 Petto, Andrew 27 Sciolla, Anne 102, 116, 128 Tropea, Elise 100, 105 Phelan, Mary 44, 73 Seelig, Warren 39 Twiss, Joan 103, 134 Phillips, John 46, 55, 91 Sergeev, Mikhail 28 Pindell, Reginald 102, 116, 128 Serpentelli, John 55 U Pitts, Trudy 102, 115, 128 Shanker, Jennie 46, 75 Ulitsky, Fabian 28 Plant, William 79 Sharman, Clint 116, 128 Urrutia, Maria 103 Posner, Aaron 103, 134 Shaver, Mark 38 Proud, Barbara 55 Shephard, Mark 79 V Pryor, Peter 103, 134 Sherman, Jon 100, 104 Van Horn, Rick 102, 116, 128 Purves-Smith, Phyllis 50 Shetty, Anula 55 Van Keuren, Sarah 44 Pusey, Bill 102 Shockley, Ed 103, 134 Vandarakis, Connie 100, 105 Putterman, Boris 38, 42 Siembora, Patricia 39 Vanderstar, Pippa 28 Simon, Marlon 102, 116, 128 Vassallo, Judith 28 Q Sklaroff, Carole 100, 104 Veasley, Gerald 102, 116, 128 Quaile, Michael 102, 115, 128 Slater, Kiernan 28 Vida, Vida 55 Quaile, Robert 102, 116, 127 Slenn, Suzanne 100, 104 Viguers, Susan T. 28, 74 Slutsky, Valentina 105 Villain, Pierre 28 R Smiley, Leigh 103 Villafranca, Elio 102, 115, 116, 128 Rabbai, George 102, 116, 128 Smith, Jessica 39 Radolan, Winnie 44 Smith, Patricia M. 44, 73, 74 W Smull, Mary 39 Raine, Patricia 103, 116, 134 Walsh, Diane 91 Snizek, Suzanne 102 Rankin III, David 50 Walton, Gia 102, 116 Snow, Faye 100, 105 Reeder, Rosae 44 Ward, Stanley 28 Snyder, Edward 134 Reeder, Steve 28 Wasko, Dennis 102, 116, 127, 128 Solot, Evan 102, 115, 116, 128 Rice, Robin 28, 75 Watson, Faith 28 Sorlien, Sandy 55 Richman Beresin, Ann 27 Webb, D’Arcy 103, 134 Spencer, Lori 44, 74 Robbins, Owen 103, 134 Weinberg, Carla 28 Sperr, Portia Hamilton 79 Robert, Catherine 28, 100, 105 Weinberg, Wendy 55 Spier, Lola Brooks 39 Robinson, LaVaughn 100, 105 Weiss, Burton 28 Spolum, David 28 Robinson, Leo 38 Wellenreiter, Michael 91 Spring, Noah Brodie 28 Rodriguez, Maria 55 White, Susan 44, 74 St. David, Wayne 105 Rodriguez, Susan 60, 68 Williams, Kristie 48 Stalek, Adrienne 30 Rosati, Anthony 44 Wolper, Jeffery 91 Stambler, Peter 28 Rose, Dina 55 Woodin, John 55 Stasis, Patricia 102, 116 Rose, Peter 55, 57 Wright, JoAnn 60, 68 Rossman, Michael 38 Staven, Karl 55, 58 Roth, Barent 52, 77, 91 Stein, Robert 50 Y Stetser, Richard 38 Roth, Roger 50 Yanoviak, Ken 55 Rudolph, Thomas 102, 115, 116, 127, 128 Stewart, Lizbeth 39 Stewart, Patricia 28 Rudolph, William 28 Z Rubio, Anna 100, 105 Stiefel, Art 91 Stoppleworth, Rick 103, 134 Zaccagni, Bill 102, 116, 127, 128 Sukol, Dena 28 Zelinsky, Chris 48 Superior, Roy 39 Zergani, Mira 79 Suplee, Barbara 60, 68, 70 Zimmerman, Walter 39 Sures, Lynne 74 Zinman, Toby 28 Swana, John 102, 115, 116, 128 Zizka, Jiri 103, 134 Szabo, Eva 100, 104
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Advisors 117, 132 Borowsky Center for Publication Arts 32 Index AICAD 36 Budgets 234 Albert M. Greenfield Library 9 Alcoholic Beverages 243 C A Alumni Discount 226 Café 240 Abroad, Study 16 Amendment of Student Records 10 Calendar, Academic 4 Absence 14, 17, 64, 117 American Association of Museums 82 Call Boards, School of Theater Arts 132 Academic Achievement/ACT 101 Program 221, Anderson Hall 31 Campus Expression 244 240 Animation 58 Campus Map 263 Academic Advising 11, 33 Computer Animation Lab 32 Campus Security 241 Academic Calendar 4 Course Descriptions 195 Campus Standards Committee 248 Academic Censure 19 Animation Minor 34 Cancellation Academic Computing 250 Appeals 19, 249 Class/Lessons 18 Academic Credentials Evaluation Institute (ACEI) Academic Progress 233 Career Services 241 222 PHEAA State Grant 230 Cars - See Automobiles Academic Dishonesty/Integrity Policy 242 Application 218, 223, 226 CEEB Advanced Placement Program (AP) 221 Academic Grievance Procedure 18 Application Deadlines, Graduate Programs 223 Censure, Academic 19 Academic Policies and Procedures 10 Application Notification 220 Center for Continuing Studies 252 Academic Progress 106, 132, 233 Applied Theater Arts Program 130, 131, 133, 134, Ceramics, Master of Fine Arts in, Summer Program Academic Regulations 60 136 75 School of Dance 105 Course Descriptions 207 Ceramics, Painting or Sculpture School of Music 117 See also - School of Theater Arts MFA Faculty 75 See also - Specific College, Department, or Applied Workshops, School of Music 118 Summer Residency Program 75 Program Art Education Ceramics/Sculpture Gallery 31 Academic Review 18 Concentration in Educational Media 70 Certificate in Dance 104, 112 Academic Support Services 240 Course Descriptions 140 Certificate in Music 114, 125 Academic Warning 133 Faculty 60 Certification of Finances 222 Acceptable Use 251 Master of Arts in 68, 224 Certification, Teaching 60, 66 Acceptance, Notification 220 Masters of Arts in Teaching in Visual Arts Class Size and Structure 30 Access to Student Records 10, 243 71 Course Descriptions 139 Accreditation 7 Pre-Certification in 35, 68, 224 Change in Enrollment Status 234 ACT 101 Program 221, 240 Articulation Agreements 220 Change of Address 11 Acting Program 130 Artistic Presentation 219 Change of Grade 18 Course Descriptions 207 Artists, Visiting 37, 42, 44, 50, 57, 73, 75 Change of Major/Degree Program/College 13 See also - School of Theater Arts Arts Bank 113, 130 Change of Major Teacher, School of Music 117 Activities, Student 239 Art Therapy 62 Change of Name 11 Additional Information, Financial Aid 238 Concentration 35, 62 Change of Schedule 13 Address, Change of 11 Course Descriptions 142 Changing Graduate Programs 65 Administration 253 Faculty 62 Citation of Text 23 Admission 218 Assistantships 235 Class/Lesson Cancellations or Lateness of Advanced Placement 221 Association of Independent Colleges of Art and Instructor 18 Advanced Standing 219 Design (AICAD) Mobility Program Class Status 12 Application Notification 220 36 CLEP 219 Audition, Credit by 222 Attendance, Absence 17, 18 Closings, School 241 Conditional Admission 221 Audiovisual Resources 9 Clubs, Student 239 Crafts Studio Post-Baccalaureate Auditing a Course 16 Code, Student 244 Certificate 224 Audition Code of Conduct 242 Credit by Portfolio/Audition 222 Admission Requirements 218 Collections Agency 225 Deferred Admission 221 Credit by 222 College Level Examination Program (CLEP) 221 Early Admission 221 Graduate 224 College of Art and Design 8, 30, 64, 219 Graduate Admission 223 Automobiles 242 College of Media and Communication 8, 86, 218 Graduate Application Requirements 223 Award Letter Deadlines 228 Faculty 91 Housing Deposits/Fees 226 Award Notification 232 College of Performing Arts 8, 98, 220 International Baccalaureate 222 Awards 227 Faculty 100 International Students 222 College-Level Coursework 222 Midyear 37 B College Transcripts 223 Portfolio, Credit by 222 Bachelor’s Degree Holders, Financial Aid 235 Communication 8, 92 Post-Baccalaureate Programs 223 Bad Check Penalty 226 Course Descriptions 142 Readmission 14 Ballet 104, 108 Commencement 19 Residency Requirements 219 See also - School of Dance Common Core 22, 23 Transfer Applicants 219 BFA in Theater Design and Technology 131, 138 Commuters 236 Transfer of Credit 12, 23, 219, 223 Board of Trustees 254 Composition 114, 121, 124 Tuition Deposits 220, 226 Books and Supplies, Expenses 236 Course Descriptions 186 Administrative Suspension 249 Book Arts Minor 34 See also - School of Music Advanced Placement 221 Book Arts/Printmaking 44, 45, 73, 74 Computer-Aided Design Center 82 Advanced Standing 219 Faculty 44, 73 Computer Animation Lab 32 Advertising Concentration 93 Course Descriptions 199 Computers Advising 11, 33
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Educational Discounts 236 Corporate Training Solutions 252 Degree Programs 8 Labs 250 Course Substitutions 13 Degree Requirements 19, 22 Selection Advice 236 Course Withdrawal 13 Dependency Override, Financial Aid 233 Computing Crafts 39 Deposits Academic 250 Course Descriptions 145 Damage 221, 226 Examples of Inappropriate Behavior 251 Faculty 39 Housing 221, 225, 226 Guidelines for Responsible 251 Crafts Core Studio Projects Courses 41 Tuition 220 Concentrations 15, 34, 41, 60, 62 Crafts Studio Certificate Program 66 Designers, Visiting 52 Conditional Admission 221 Crafts Studio Post-Baccalaureate Certificate 66, Digital 3D Scanning and printing Equipment 31 Conduct, Code of 242 224 Digital Audio Sound Studios 32 Confidentiality and Privacy of Financial Aid Credit Card Acceptance 226 Digital Fine Arts Concentration 8, 35, 42 Information 237 Credit, Insufficient Accumulation 232 Digital Imaging Lab 32 Continuing Education Programs 252 Credit, Transfer of 21, 63, 219, 223 Digital Journalism Concentration 93 Continuing Education Students, Financial Aid 235 Credit by Portfolio/Audition 222 Digital Technology/Electronic Media 31, 154 Controlled Substances 243 Credit Distribution 33 Diploma, Conferral of 19 Cooperative Program with Philadelphia University Credit Duplication 65 Diploma Program in Music 114 36 Credit from Nonaccredited Institutions 222 Directory Information 11 Costs, Indirect 236 Credit Load/Overloads 12 Disability Services 239 Counseling Center 238 Credit-Hour Ratio 23, 30, 98 Disabilities 240 Course, Auditing a 16 Crew Assignments 132 Disciplinary Actions 17, 247 Course Descriptions Critique 30 Disciplinary Proceedings, Initiation of 247 Animation 195 Crit - See Critique Discipline History Courses 22 Art Education 140 Cross-College Elective Options and Prerequisites Discount, Tuition 226 Art Therapy 142 16 Dishonesty 242 Ceramics, MFA Summer 150 Curriculum - See Specific Department, Program, or Dismissal 19, 65 Ceramics, Painting or Sculpture, Summer School Divorce/Separation 233 MFA in 156 Documentary Production Concentration 93 Communication 142 D Documentary Video Minor 8, 86, 88 Crafts 145 Dance 104 Dorrance Hamilton Hall 31 Dance 150 Certificate in 104, 112 Dorrance Hamilton Hall Galleries 31 Dance Courses for Dance and Non-Dance Course Descriptions 151 Double Degree Policies, Graduate 13 Digital Video 195 See also - School of Dance Drop/Add 13 Majors 154 Education Drugs, Illegal 243 Electronic Media 154 Dance Theater 99 Dual Concentration 41 Ensembles 54, 191 Deadlines Duration of Eligibility, Financial Aid 229 Film 195 Application to Graduate Programs 223 Fine Arts 155 Change of Grade 18 E Foundation 158 Change of Major 13 Early Admission 221 Graduate Seminars 162 Clearing Incomplete Grades 17 Education Graphic Design 160 Course Withdrawal 13 Dance Education, Bachelor of Fine Arts Illustration 178 Deferred Admission 221 104, 111 Industrial Design 175 Financial Aid 228 Master of Arts in Teaching in Visual Arts Internships 180 Financial Aid, Graduate 224 (MAT) 71 Liberal Arts 162 Guaranteed Housing 240 Master of Arts in Art Education 68 Master of Arts in Teaching in Music Housing Deposit 221 Concentration in Educational Media Education 190 Leave of Absence 14 70 Master of Industrial Design 177 PHEAA Filing 229 Museum Education, Master of Arts 81 Master of Music in Jazz Studies 191 PLUS Loan Application 232 Music Education - Undergraduate and Media Arts 195 Priority Admission 221 Graduate Studies 126 Multimedia 181 Readmission 15 Music Education, Master of Arts in Museum Studies 183 Reaffirmation of Intent to Enroll 221 Teaching (MAT) 114, 127 Music 186 Refund of Tuition Deposit 220 Music Education, Course Descriptions, Music Education 192 Registration 12 Master of Arts in Teaching 190 Music Ensembles 192 Stafford Loan Application 231 Pre-Certification Concentration in Art Painting, Summer MFA in 205 Tuition Deposit 220 Education 35, 60 Painting/Drawing 203 Tuition Payments 225 Educational Media, Concentration in, Master of Photography 195 University Withdrawal 14 Arts in Art Education 70 Printmaking/Book Arts 199 Dean of Students 238 Electives 16, 22, 33 Printmaking/Book Arts, Master of Arts 202 Dean’s List 17 Electronic Application, Financial Aid 229 Private Lessons 16 Darkroom 31 Electronic Media 31 Sculpture 205 Death of Parent or Spouse 233 Course Descriptions 154 Sculpture, Summer MFA in 206 Declaration of Major, School of Dance 104 Electronic Reference Tools 9 Theater Arts 207 Declining Financial Aid 229 Eligibility, Financial Aid 228 Video 195 Deferred Admission 221 ELS Language Centers 224 Writing for Film and Television 214 Deficiency, Notice of 17 Email 11, 252 Cooperative Program with Philadelphia University Degree Candidacy and Completion 19, 65 Emergency 36 Degree Program, Change of 13 Family 241 Core Studio Projects Course 41 Degree Program, Return 30 Medical 238
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Employment, Student 232 Fee Waiver 218 G E-Music Minor 8, 15, 86, 88, 99, 114 Fellowships 235 G1 12 English Language Proficiency 218, 222, 224 FERPA - See Family Educational Rights and G2 12 English Language Program 222, 224 Privacy Act Galleries 31 Enrollment, Verification of 11 Field Trips 33, 37, 44, 46 Ceramics/Sculpture Gallery 31 Ensembles 106, 113 Figurative Illustration Minor 34 Dorrance Hamilton Hall Galleries 31 Entrance Interview 218, 219, 224 Film and Television, Writing for 96 Mednick Gallery in Media Arts 31 E-Publishing Minor 8, 86, 88 Course Descriptions 214 Printing/Drawing Gallery 31 Equipment 251 Film/Animation 58, 195 Printmaking Gallery 31 ESL Tutorial Assistance 240 Film/Digital Video 57 Richard C. von Hess Illustration Essay, Course Descriptions 195 Gallery 31 Undergraduate Admission 219 Film/Video Minor 34 Rosenwald-Wolf Gallery 31 Graduate Admission 224 Finances, Certification of 222 Solmssen Court Gallery 31 Exchange, Graduate Study, Vermont Studio Center Financial Aid 228 Window on Broad 31 75 and Academic Censure 19 Game Design Minor 8, 86, 88 Exchange Students 36 Academic Progress Appeals 234 (General Education Development Test) 218 Exhibition Program 31 Academic Progress Requirements 233 General Information 217 Master of Fine Arts 31 Additional Information 238 General Student Fee 225 3129 Additional Sources 238 Gershman Y 130 Student Scholarship 31 Application Procedure 229 GPA 17 Exit Requirements for the Master of Music in Jazz Bachelor’s Degree Holders 235 Grades Studies 118 Change in Enrollment Status 234 Change of 18 Exit Requirements for the MAT in Music Confidentiality and Privacy of Information Cumulative Average Education 118 237 Minimum for Graduate Students 19 Expected Family Contribution (EFC) 228, 231, Continuing Education Students 235 Minimum for Undergraduate Students 232 Deadlines for Application 228 19 Expenses 236 Declining 229 Grade-Point Average (GPA) Computing Expulsion 247 Duration of Eligibility 229 17 Extracurricular Activities 106, 113 FAFSA 219, 224, 228, 229, 230, 231, 232, Minimum for Transfer 217 233, 236, 237 Minimum in Major Courses 33 F Financial Aid Transcript 235 Grading Policies 17, 62 F1 Visa 222 Graduate 223, 235 Grading System 17 Facilities 31, 35, 44, 73, 77, 82, 113 International Students 223 Incomplete (“I”), Grade of 17 Faculty Advisors 117, 132 Minimum Cumulative Average 234 IP 64 Faculty - See Specific College, Department, or Minimum Grade-Point Average 234 Pass/Fail 17 Program Off-Campus Students 235 Graduate Index 255 Part-Time Students 228 Admission Requirements 223 FAFSA (Free Application for Federal Student Aid) PHEAA State Grant Appeals 234 Application Requirements 223 219, 224, 228, 229, 230, 231, 232, 233, 236, Probation 234 Audition 224 237 Rights and Responsibilities 237 College of Art and Design Graduate Family Educational Rights and Privacy Act Special Circumstances 233 Programs 8, 64 (FERPA) 10, 237, 245 Study Abroad 235 College of Performing Arts, Graduate Family Medicine 238 Summer MFA Students 235 Programs 8, 98, 115, 118 Federal Grant Programs 238 Transcripts 222 Credit for Undergraduates 16 Federal Loans 230 Transfer Students 235 Credit, Transfer of 65, 223 Federal Perkins Loan (Perkins) 225, 226, 229, 230, Financial Holds 235 Degree Candidacy and Completion 19, 65 233, 234 Fine, Bad Checks 226 Double Degree Policies 65 Federal Stafford Student Loan (Stafford) 224, 227, Fine Arts 42 Electives Policy, Summer 65 228, 230, 232, 235, 236 Course Descriptions 156 Graduate Degree Candidacy and Federal Supplemental Educational Opportunity Digital Concentration 35 Completion 19, 65 Grant (FSEOG) 227, 229, 230, 233, 235, 236 Faculty 42 International Candidates 222 Federal Title IV Program Funds 227, 235 Firearms 243 Graduate Students, Expenses 236 Federal Work Study (FWS) 232 First Aid 238 Graduate Students, Financial Aid 235 Federal/State Grants 230 “First Wednesday” 118 Graduates Enrolled in an Undergraduate Fees Fitness Center Membership 239 Course 16 Application 218 Foreign and Summer Study Programs 16, 36 Leave of Absence 14, 64 General Student 225 Foreign Students 222 Portfolio 224 Graduate Application 223 Foundation Program 33, 37 Probation and Dismissal Policies 19, 65 Graduate Thesis Continuation 64 Course Descriptions 158 Recital/Showcase 117 Housing 225 Faculty 38 Seminars 83 International Graduate Application 223 Foundation Shop 37 Special Requirements for Applicants 223 Late Payment 226 Free Electives 22 Student Classification and Course Load Late Registration 12, 226 Freshman Common Core 22, 23 64 Media Arts Equipment 54 Freshman Transfers 219 Summer Electives Policy 65 PLUS/Stafford Loans 232 FSEOG - See Federal Supplemental Educational Thesis Continuation Fee 64 Readmission 13, 225 Opportunity Grant Thesis Grading 64 Reapplication 224 Full-Time Credit Load 12 Thesis/Project 64 Transcript Request 10, 227 Thesis Requirements 64
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Transfer of Credit 65, 223 Scholarships 223 MATPREP 114 Tuition and Fees 225 Internships 15, 35 Matriculated Students 12 Graduation, Conferral of Degrees and Diplomas 19 Interview Meals 240 Graduation Requirements 19, 118, Entrance 219, 224 Media Arts 54 Diplomas 19 Graduate Admission 224 Course Descriptions 195 Music 118 Undergraduate Admission 219 Faculty 54 Graduation with Honors 19 ISLP (International Student Loan Program) 223 Internships 54 Grants 227, 228, 229, 230, 231, 232 Studios 31 Graphic Design 48 J Media-Specific Course Offerings 40 Course Descriptions 160 January Admission 37 Medical Insurance 239 Faculty 48 Jazz Studies Mednick Gallery in Media Arts 31 Greenfield Library 9 Composition 114, 121, 124 Merriam Theater 104, 113, 130 Grievance Procedures 18 Diploma, 114, 122, 123 Middle States Association of Colleges and Schools Instrumental Performance 114, 119, 122 7 H Vocal Performance 114, 123, 125 Midyear Admission 37 Hahnemann University, Art Therapy 62 Jazz Studies, Master of Music in 98, 115, 128 18, 19, 3317, 18, 31 Harassment 243 Faculty 128 Minors/Concentrations 8, 15, 34, 41, 86, 87, 98, 99 Health Records 239 Jazz - See Instrumental Performance or Misconduct 242 Health Services 238 Composition under School of Music Mission Statement, UArts 7 Hearing Process 247 Jazz/Theater Dance 104, 109 Mission Statement, School of Music 113 Hearings, Administrative 248 See also - School of Dance Mobility Program (AICAD) 36 High School Records 218 Jefferson Family Medical Associates 239 Modern Dance 104, 105, 110 History of The University of the Arts 7 Journalism, Digital Journalism Concentration 93 See also - School of Dance Home-Schooled Applicants 216 Jury Examinations 117 Monthly Payment Option 226 Honors, Graduation with 19 Jury Recital Requirements 117 Multimedia 94 Hope Scholarship Tax Credit 236 Course Descriptions 181 Housing L Minor 8, 86, 89, 94 Deposits/Fees 221, 225, 226 Labs Multiple Media Concentration 41 Expenses 221 Computer Animation 32 Museum Communication, Master of Arts 80 Student Rights 245 Digital Imaging 31 Museum Education, Master of Arts 81 The Nature Lab (Visual Resource Center) Museum Exhibition Planning and Design, Master I 35 of Arts 82 I-20 Form 222 Typography/Imaging 37 Museum Studies 79 Identification Cards 241 Language Proficiency 218, 222, 224 Course Descriptions 183 Illustration 50 Late Payment 226 Internships 79 Course Descriptions 178 Late Registration 12, 226 Museum Communication, Master of Arts 80 Faculty 50 Lateness of Instructor 18 Museum Education, Master of Arts 81 Imaging Lab 31 Late Payment Fee 226 Museum Exhibition Planning and Design, Master Immigration Service Advisement 240 Laundry Facilities 239 of Arts 82 Immunization Requirements 239 Learning Disabilities 240 Music - See School of Music Inclement Weather 241 Learning Skills Specialist 240 Music Education 126 Income Reduction 233 Leave of Absence 14, 64 Course Descriptions 192 Incomplete, Grade of 17 Lesson Cancellation 18 Preparatory Program for MA in Teaching Independent Student 233 Lessons, Attendance at 117 114, 126 Independent Study 15 Lessons, Private 16 Master of Arts in Teaching 127 Index 258 Letter of Recommendation 219 Music Education Minor 99, 115, 126 Faculty Index 253 Graduate Admission 223 Music Library 9 Industrial Design 52 Liberal Arts 22, 23 Musical Theater Program 130, 131, 137 Course Descriptions 175 Common Core 22, 23 Course Descriptions 207 Faculty 52 Course Descriptions 162 See also - School of Theater Arts Master’s Program Faculty 77 Faculty 27 Industrial Design, Master of 77 Libraries - See University Libraries N Course Descriptions 177 Lifetime Learning Credit 237 Name, Change of 11 Industrial Designers’ Society of America 7 Loan Programs, Student 231 Narrative Video Minor 8, 86, 89 Information Architecture Minor 8, 86, 87, 89 Low Residency Program 75 National Association for Museum Exhibition 82 Information Session 218 National Association of Schools of Music 7 Initiation of Disciplinary Proceedings 247 M National Association of the Schools of Art and In Progress (IP) Grade 64 M.C.P. Hahnemann University 62 Design 7 Institutional Scholarships and Grants 227, 229 Major - See Specific College, Department, New Media Center 87 Insufficient Credit Accumulation 234 Program, or School New Students, Financial Aid 228 Insurance, Medical 239 Major, Change of 13 NJ Class Loan 231 International Baccalaureate 222 Major Areas of Study 30, 98 Nonaccredited Institutions, Credit from 222 International Student Advisor 222, 240 Major Program Requirements 31 Nondiscrimination Policy 2 International Student Services 240 See also - Specific College, Department, Non-Federal Work Study (NFWS) 230 International Students Program, or School Non-Matriculated Students 12 Advanced Standing 222 Map, Campus 263 Notice of Deficiency 17 Financial Aid 223, 235 MARS (MIDI and Recording Studios) 113 Nurse, University 238 Medical Coverage 239 Master Promissory Note (MPN) 230
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O Probation and Dismissal Policies 19, 65, 247 Responsibilities 106 Off-Campus Study Professional Engagement Form 106 Senior Dance Concert 106 Expenses 236 Programs of Study - See Specific College, Student Evaluations 106 Financial Aid 235 Department, Program, or School School of Music 98, 113, 185 Office of the Registrar 11 Public Safety Office 241 Academic Progress 117 Overload, Credit 12 Applied Workshops 118 R Attendance 117 P Readmission 14 Attendance at Lessons 117 Painting/Drawing Gallery 31, 42 Recommendation - See Letter of Recommendation Certificate in Music 114, 125 Painting, Master of Fine Arts in, Summer Program Recording Studios 113 Change of Major Teacher 117 75 Records Composition in Jazz Studies, Bachelor of Course Descriptions 205 Health 239 Music 114, 121 Painting/Drawing 42 High School 218 Composition in Jazz Studies, Diploma Course Descriptions 203 Student 10, 245 Program 114, 124 Paradigm Lecture Series 56, 57 Refund Policy 227 Course Descriptions 186 Parent Plus Loan for Undergraduate Students Registering for Other Categories of Study 15 Diploma Program 114, 124 (PLUS) 228, 230, 232 Registrar 10 Ensembles 113, 191 Part-Time Students, Expenses 236 Registration 12 Exit Requirements 118 Part-Time Students, Financial Aid 235 Registration, Late 12, 226 Facilities 113 Pass/Fail Option 17 Research Papers, Text Citation 23 Faculty 115 Payment Methods 225 Residence Halls 239 Faculty Advisors 117 Payment Plans 225 Furness Hall 239 “First Wednesday” 118 Pell Grant 227, 230, 232 1500 Pine Street 239 Graduate Programs 115, 129 Perkins Loan 227, 228, 231, 232, 235, 236 1228 Spruce Street 239 Graduation Requirements 118 Personal Statement, 311 Juniper Street 239 Instrumental Performance in Jazz Studies, Undergraduate Admission 219 Resident Assistants 239 Bachelor of Music 114, 119 Graduate Admission 224 Residency Requirements 219 Jazz Studies, Master of Music 128 Petition for Award of Degree 19 Residential Life 239 Jury Examinations 117 PHEAA Grant 229, 230, 234 Resident/Off-Campus, Expenses 236 Jury Recital Requirements 117 PHEAA State Grant Deadlines - All Students 230 Responsibilities and Conduct, Student Rights 245 Major Areas of Concentration 114 Philadelphia College of Art 2,7 Responsibility, Student 11 Master of Arts in Teaching - Corequisite Diploma Graduates 30 Retention of Federal Title IV Program Funds 227 Program 114 Philadelphia College of Performing Arts 2, 7 Retention of University Scholarships, 227 Master of Arts in Teaching in Music Philadelphia Dance Academy 7 Return Degree Program 30 Education (MAT) 115, 127 Philadelphia Museum of Art, Print Study Seminar Review, Academic 18 Master of Music in Jazz Studies 128 44 Richard C. von Hess Illustration Gallery 31 MATPREP 114, 126 Philadelphia Stage Combat Workshop 131 Rights and Responsibilities, Financial Aid 237 Mission Statement 113 Philadelphia University, Cooperative Program 36 Rosenwald-Wolf Gallery 31 Music Education 126 Photography 35, 54, 56, 194 Overview 113 Paradigm Lecture Series 56 S Performance Opportunities/ Ensembles 113 Visiting Photographers 56 SAT 218 Professional Standards and Behavior 118 Photography Minor 35 Scanning and Printing Equipment 31 Programs of Study 114 Place Holders 12 Schedule Revision 13 Regulations/Requirements 117 Plagiarism 23, 242 Scholarships 223, 227, 229, 230 Undergraduate Programs 114 PLUS Loan 227, 228, 231, 232 International Students 223 Vocal Performance in Jazz Studies, Policies and Procedures 10 School Closings 241 Bachelor of Music 114, 120 Portfolio School of Dance 104 School of Theater Arts 98, 130 Admission Requirements 219 Absences 105 Absences 130 Credit by 220 Academic Progress 106 Academic Progress 132 Graduate 222 Ballet 104, 108 Acting Program 130 Post-Baccalaureate Programs Certificate in Dance 104 Advisors 132 Admission Requirements 223 Course Descriptions 150 Applied Theater Arts 130, 131, 133, 135 Crafts Certificate 66, 224 Curriculum 107 Call Boards 132 Teacher Program 66 Dance Education 111 Course Descriptions 207 Practicum 33 Ensemble Electives 106 Crew Assignments 132 PRAXIS Series, National Teachers Exam 58, 66, Ensemble Requirements 106 Curriculum 131 71 Evaluation 106 Evaluations 133 Pre-Certification Concentration in Art Education Extracurricular Activities 106 Extracurricular Activities 132 35, 60, 224 Facilities 104 Facilities 130 PREP (Pre-Freshman Enrichment Program) 219 Faculty 105 Faculty 134 Printmaking/Book Arts 44, 73 Jazz/Theater Dance 104, 109 Leave of Absence 132 Course Descriptions 199 Leave of Absence 105 Musical Theater Program 130, 133, 137 Faculty 44 Modern Dance 104, 105, 110 Physical Demands of the Program 132 Gallery 31 Performance Requirements 106 Production Season 131 Print Study Seminar 44 Physical Demands of the Program 105 Professional Standards and Behavior 132 Priority Admission 220 Professional Standards and Behavior 106 Programs of Study 130 Professional Institute for Educators 252 Programs of Study 104 Stage Combat Program 131 Private Lessons 16 Regulations/Requirements 105 Warnings 133
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Screenwriting Minor 8, 86, 89, 96 Summer Program, Ceramics, Painting, or U3 12 Sculpture 46 Sculpture, Master of Fine Arts in 75 U4 12 Course Descriptions 206 Course Descriptions 156 U5 12 Faculty 46 Summer Study Programs 16, 36, 75 Undergraduate Curriculum - See Specific Sculpture, Master of Fine Arts in Suspension 247, 249 Department or School Course Descriptions 266 Undergraduate Degree Requirements 22 Summer Program 75 T Undergraduate Programs 33 Secondary School Records 218 Tax Benefits/Credits 236 Undergraduates Enrolled for Graduate Credit 16 Security 241 Teaching Undergraduate Tuition and Expenses 225 Seminars, Graduate 83, 162 Certification Program 60, 66, 224 University Computers, Telephones, Equipment, and Senior or Graduate Recital/Showcase 117 Master of Arts in Teaching, Visual Arts Resources 251 SEOG Grants - See FSEOG (MAT) 71 University Facilities, Student Rights 244 Sexual Harassment and Other Prohibited Master of Arts in Teaching, Music University Libraries 9 Harassment 243 Education (MAT) 115, 127 Albert M. Greenfield Library 9 Shop, The 37 Course Descriptions 190 Music Library 9 Showcase, Senior or Graduate 117 Master of Arts with a Concentration in Visual Resources/Slide Collection 9 Sibling Discount 226 Educational Media 70 Single Medium Concentration 41 MATPREP 114, 126 V Slide Collection 9 Pre-Certification in Art Education 35, 61, 224 Vermont Studio Center Smoking Policy 243 See also - Education Foreign and Summer Study Programs 36, 75 Society of American Fight Directors 131 Technology Competencies 70 Graduate Study Exchange 75 Solicitation 243 Telephones 251 Veterans 242 Solmssen Court Gallery 31 Terra Building 31, 104, 130 Video - See Film/Animation; Film/Digital Video Sound Studios 32 Theater Dance 104, 105, 109 Violation of University Standards 246 Special Charges and Fees 226 See also School of Dance Visa, F1 222 Special Circumstances, Financial Aid (Income Theater Design and Technology 131, 134, 138 Visual Arts Reduction, Divorce or Separation, Death) 233 Thesis Continuation Fee 64 Master of Arts in Teaching 71 Special Events 239 Thesis Grading 64 Visual Resource Center - See Nature Lab Spousal Discount 226 Thesis/Project 64 Stafford Loans 224, 227, 228, 230, 231, 232, 233, Three-Year Transfers 219 W 235, 236 Title IV Code 227, 236 Warning, Academic 221 Stage Combat Program 131 TOEFL 218, 222 Warnings 191 Standardized Test Scores 218 Training, Corporate 252 Weapons 243 Standards Committee 240, 248 Transcript Fee 10, 227 Weather, Inclement 241 State Grant Information 229 Transcripts 18 Web Design Minor 8, 86, 90 Strategic Advertising Minor 8, 86, 90, 92 College 223 Web Drama Minor 8, 86, 90, 92 Student Activities 239 High School 218 Web Site, UArts 9 Student Aid Report 232 International Students 222 “Wednesday, First” 118 Student Assistance General Provisions 242 Secondary School 218 Window on Broad 31 Student Classification Translation of 222 Wire Transfer 225 Graduate 64 UArts 227 Withdrawal from a Course 13 Undergraduate 12 Transfer Withdrawal from the University 14 Student Clubs/Organizations 239 Advanced Standing 219 Workshops Student Code 244 Applicants 219 Philadelphia Stage Combat 131 Student Council 239 Application Requirements 219 School of Music 118 Student E-mail 252 Credit Evaluation 219 Work Study 232 Student Employment 232 Credit Policy and Requirements 23, 65, 219, Workplace Violence 243 Student Exchange 36 223 World Music 116 Student Loan Programs 230 Freshman 219 Writing for Film and Television 96 Student Organizations 239, 244 Students, Financial Aid 235 Course Descriptions 214 Student Records, Access to 9, 245 Three-Year Transfers 219 Writing Proficiency Exam 60, 66 Student Responsibility 11 Trustees, Board of 254 Writing Standards 23 Student Rights 244 Tuition and Expenses 225, 236 Student Rights and Residence Halls 245 Deposit 220 Student Services 238 Discounts 226 Student Show 31 Payments and Financial Responsibility 225 Student Teacher Program, Post-Baccalaureate 61 Refund Policy and Procedures 227 Studio Electives 33 Remission 226 Studio Photography Minor 35 Tuition Tax Benefits 236 Studios and Facilities 31, 37, 44, 73, 77, 82, 113, Tuition Management Systems (TMS) 225 130 Tuition Payment Plans 225 Study Abroad and Off-Campus Study, Financial Tutoring 239 Aid 235 Typography Minor 35 Substance Abuse Policy 243 Typography/Imaging Lab 31 Summer Graduate Electives Policy 65 Summer MFA Students, Financial Aid 235 U Summer Pre-Freshman Enrichment Program U1 12 (PREP) 221 U2 12
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Campus Map Juniper Street 13th Street 15th Street Broad Street
Walnut Street
6
Locust Street
5
Spruce Street 12 1 Cypress Street Cypress Street 7 3 4 11 8 Pine Street
2 9
Lombard Street 1UArts Dance Theater 21500 Pine Residence 3 Furness Residence 4 Hamilton Hall 5 Merriam Theater 6Terra Building 7 Chambers-Wylie Church South Street 8 Anderson Hall 9 Gershman Hall 10 Philadelphia Arts Bank 10 11 311 Juniper Residence 12 1228 Spruce Residence
264 The University of the Arts Undergraduate and Graduate Course Catalog 2004/2005