S.92-1

SIMON FRASER UNIVERSITY

Office of the Vice-President Academic ?

Memorandum

TO: Senate

SUBJECT: Undergraduate Curriculum

Revisions - School for the

Contemporary Arts

FROM: ?

J. Munro, Chair

Senate Committee

on Academic Planning

DATE: ?

December 11, 1991

.

Action undertaken by the Senate Committee on Undergraduate Studies (SCUS

Reference 91-39) and the Senate Committee on Academic Planning (SCAP

Reference 91-36a), gives rise to the following motion:

MOTION: "that Senate approve and recommend approval to

the Board of Governors, as set forth in S.92-1

undergraduate curriculum changes in the School for

the Contemporary Arts"

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rllm

School for the Contemporary Arts

?

Curriculum Revisions

SCUS Reference:

?

SCUS 91-39

SCAP Reference:

?

SCAP 91-36a

New Programs in the Bachelor of Arts Program

Major - Critical Studies in the Arts

Calendar description, schedule of studies, and curriculum revisions

including New Courses:

EPA 211-3 Introduction to Contemporary Theatre in the Arts

FPA 216-3 Introduction to the Fine and Performing Arts in Canada

FPA 411-3 Selected Topics in Contemporary Theory

EPA 412-3 Senior Seminar in Critical Studies

EPA

and

Deletion

267-2 Introduction

of:

to Critical Theory in Visual Art

Minor - Film and Video Studies

Calendar description and schedule of studies

Extended Minor - Dance

Calendar Description and schedule of studies

Extended Minor - Music

Calendar description and schedule of studies

Extended Minor - Visual Art

Calendar description, schedule of studies, and curriculum revisions

including

New Courses:

EPA 164-2

Visual Art Techniques: Photography, Video

EPA 165-2

Visual Art Techniques: Painting, Sculpture

EPA 168-3

History of Art: 20th Century

EPA 262-3

Drawing I

EPA 362-3

Drawing II

EPA 263-3

Painting I

EPA 363-3

Painting II

EPA 264-3

Sculpture I

EPA 364-3

Sculpture H

EPA 265-3

Photography I

EPA 365-3

Photography U

and

Deletion

of:

. ?

EPA 162-2 Introduction to Drawing

EPA 262-3 Specialized Studio Techniques I

EPA 263-3 Specialized Studio Techniques H

EPA 264-3 Specialized Studio Techniques Ill

---

J- _ i

FPA 265-3 Specialized Studio

Techniques

N

New Degree: Bachelor of Fine Arts

Major in Music

Calendar description and schedule of studies, and curriculum revisions

including New Courses:

FPA 145-3 Introduction to Music Composition and Theory

FPA 242-3 Western Music in the 17th through 19th Centuries

FPA 244-3 Theory of Contemporary Music

FPA 247-3 Electroacoustic Music I

FPA 341-3 World Music

FPA 443-3 Gamelan Ill

FPA 445-3 Music Composition V

FPA 44-3 Music Composition VI

and

Deletion

oft

FPA 143-3 History of Musical Style

Major in Theatre

Calendar description and schedule of studies

Major in Visual Art

Calendar description and schedule of studies

(Utilizes new courses detailed above in the proposal for the Extended

Minor in Visual Art)

Deleted Programs from the Bachelor of Arts Program

Dance Concentration

Music Concentration

Theatre Concentration

Visual Art Concentration

Major in Visual Art

r

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1

• ?

Overview of New Program Structure in the

School for the Contemporary Arts

The School for the Contemporary Arts wishes to regularize its

degree offerings into a clearer and more comprehensive structure

than presently exists. This process is the result of detailed

curricular planning which has taken place over the last two years

within the School. The result of this overview will be a more

intelligible series of programs which will integrate readily into the

SFU degree structure and the general pattern of fine arts programs

in Canadian universities. Throughout our planning, we have

maintained the philosophy and fundamental nature of our curriculum,

while discovering better and more straightforward ways to achieve

these objectives. As a result, as new programs are introduced,

those programs made redundant will be dropped.

The Bachelor of Fine Arts will become the studio-oriented degree of

the School. The more academically-oriented degree will be the

Bachelor of Arts 'Critical Studies in the Arts' major. We will also

bring forward extended minor programs in particular art disciplines.

The very succesful FPA minor program will be continued. We do not

anticipate further minor programs unless a focussed subject area

can be established that is not already served by another program. A

case in point is the proposed Minor in Film and Video Studies.

The programs made redundant are the B.A. FPA major and the

disciplinary concentrations. These concentrations will be dropped

when the relevant BFA and extended minor programs are introduced.

In addition, the disciplinary major programs now in place (dance,

film, visual art) will be dropped when BFA programs are introduced.

The combination of comprehensive studio degrees at the BFA level

and a distinctive academic degree at the B.A. level (the Critical

Studies in the Arts major) is a strong pairing that is common

practice in fine arts programs. The extended minor programs

integrate well with the new B.A. General degree in the Faculty of

Arts and will also serve students who wish to teach in the

elementary and secondary school system. We consider the new

proposed structure to be a considerable improvement over the hybrid

collection of programs that are currently in existence.

---

104

It should be stressed that all necessary resources are in place to

offer these new programs. A new appointment beginning this fall in

the interdisciplinary area and a new appOintment to commence

September 1992 in the visual art area enhance our faculty resources.

In addition, our course offerings are considerably more streamlined

than they might appear at first glance. Seven courses are being

deleted at this time, and seven of the new courses do not require

additional faculty loading as they are offered concurrently with

other courses. There are therefore nine new courses that require

new faculty loading. Within each new program, a detailed rationale

of new courses is given.

At this time. the following changes are being made:

Added Programs:

B.A. - Major in Critical Studies in the Arts

Minor in Film and Video Studies

Extended Minor in Dance

Extended Minor in Music

Extended Minor in Visual Art

BFA - Major in Music

BFA - Major in Theatre

BFA - Major in Visual Art

Dropped Programs:

(contingent upon adding the above)

Dance

Concentration

Music

Concentration

Theatre

Concentration

Visual

Art Concentration

B.A. -

Major in

?

Visual Art

Students currently enrolled in these programs will be able to

complete their degrees under the old requirements if they so choose.

.

9.

---

3

0

?

Eventual Programs:

We expect that all disciplines will eventually have BFA programs.

At the time that such programs are in place, other redundant

programs will be dropped: a BFA in Dance will replace a B.A. Dance

major, a BFA in Film would replace a B.A. Film Major and the F.P.A.

Major and Film Concentration. A BFA in Interdisciplinary Studio and

extended minors in film and theatre are also under consideration.

34

---

Critical Studies in the Arts Major Program

?

Rationale

The School for the Contemporary Arts proposes the introductidn of a

new major program in Critical Studies in the Arts, leading to the degree of

Bachelor of Arts.

Since its establishment in 1976, the School for the Contemporary

Arts has offered a number of courses that undertake the critical and

historical investigation of the arts in an interdisciplinary context. These

courses, which include the "Arts in Context" series and a few other

courses, have provided interdisciplinary core requirements in all the arts

disciplines within the School. They have also proved attractive to a

number of students outside the School who have no direct connection with

an art practice but who wish some grounding in the study of artistic

culture. In addition to the regularly offered courses, special topics and

directed studies courses have provided opportunities for the occasional

investigation of historical and critical issues of particular interest to

faculty and itudents.

A number of considerations suggest that it is now appropriate for

the School to build upon its collective experience in interdisciplinary

approaches to the arts in order to develop a small and coherent program

in Critical Studies. Taking advantage of its location among the various art

practices within the School and the disciplinary literacies these provide,

and also utilizing related courses from other departments, the program

will encourage critical engagement across a wide spectrum of the arts,

with an emphasis on contemporary approaches to the study of art in

society.

One strong reason to undertake this development is that Simon

Fraser's interdisciplinary approach to the arts is part of a gathering trend

in the study of culture to understand art disciplines from theoretical

perspectives that are not limited to any one of them. While

acknowledging that the arts are highly specialized cultural practices with

their own materials, techniques and traditions, scholars have increasingly

recognized that they can usefully be studied in relation to each other and

to other forms of culture, and that many of the intricacies of culture are

well studied through the arts. Fairly recently, a number of academic

centres have been established, mostly at the graduate level, in which the

arts are studied from perspectives afforded by contemporary cultural

theory. With the recent addition of a new faculty member from one of the

most distinguished of such institutions, the School for the Contemporary

Arts is prepared to build upon one of its current strengths to provide an

opportunity for students that is unique in Western Canada.

^4-

---

r

A second and more pragmatic set of reasons for introducing this

program at this time has to do with the internal reorganization of the

School's curriculum. The introduction of BFA degrees in most of the

disciplines represented in the School will clearly delineate the disciplinary

majors as having a strong studio orientation. These programs will

continue to require significant interdisciplinary and critical components,

but we also expect that some of the students who begin a studio program

as well as others with a more general interest in the arts will discover that

their most compelling academic interest lies in critical studies. The School.

is not structured so as to be able to offer full programs in art history, or

musicology, or histories of the other arts we teach. In any event, these

fields are fairly well represented in the other provincial universities.

What we can do, and do well, is to offer a program of critical studies that

emphasizes interdisciplinary approaches and contemporary theory. The

rich possibilities for interchange created by its location within a school

primarily devoted to artistic practice will make this program unique in

Canada. It is timely to introduce this curricular stream simultaneously

with first BFA programs and the curtailment of the old FPA major

programs, so that prospective students can be fully informed about the

range of studies the School can provide.

Fortunately, the resources are now available to introduce this

program. With one new faculty member, recently appointed, and the

introduction of four new courses, no alteration in the frequency of current

course offerings will be necessary, although the range of teaching

opportunities for faculty will be significantly enhanced. We have taken

advantage of course offerings that presently exist within the disciplinary

areas of the School and elsewhere in the University. We have kept new

courses and other changes to a minimum, in the expectation that as the

program matures, as the new faculty member becomes more conversant

with the situation, and as new possibilities for interdisciplinary

collaboration arise within the School, some further tailoring of the

program will prove desirable. As now proposed, however, we believe the

program is both innovative and coherent, that it will be attractive to

students, and that it will occupy an important place within the School and

the University.

1

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Critical Studies in the Arts Major Program ?

Proposed Calendar Entry

The major program in Critical Studies in the Arts, leading to the

Bachelor of Arts degree, provides an interdisciplinary grounding in the

study of the fine and performing arts, with an emphasis on contemporary

approaches.

The core of the program consists of a series of lecture and

seminar courses that address important historical, critical, and theoretical

issues across the arts. Beyond the core requirements, the program

permits substantial flexibility in course selection, both within and outside

of the School for the Contemporary Arts, in order to encourage students to

shape programs that accord with their particular interests. Although the

program is not oriented toward artistic practice, it requires some exposure

to practical art making, as well as to the history of individual art forms.

Lower Division Requirements --

24 credit hours, as follows:

A.

Interdisciplinary Theory Core

?

9 hours

All of

FPA. 111-3 Issues in the Fine and Performing Arts

FPA. 211-3 [new] Introduction to Contemporary Theory in the

Arts

FPA 216-3 [new] Introduction to the Fine and Performing Arts

in Canada

B.

Disciplinary History Courses

?

6 hours

Two of

FPA. 127-3, 136-3, 137-3, 140-3, 242-3,

150-3,

166-3, 167-3,

168-3

C.

Studio Courses ?

6 hours

Two of

FPA. 120-3, 121-3, 129-3, 104-3, 141-3, 145-3, 151-3, 152-3,

160-3, 161-3, 163-3, 170-3, 171-3, 230-3, 231-3.

NOTE: By permission, other studio courses may be substituted for

those listed here (e.g. 122 for 120)

D.

Additional Theory Course

?

3 hours

One additional 200-level course from among the following:

• FPA. 2793* Selected Topics in the Fine and Performing Arts

FPA. 2293* Selected Topics in Dance I

FPA. 236-3 Cinema in Canada

FPA. 237-3 Selected Topics in Film and Video Studies

FPA. 244-3 Theory of Contemporary Music

S

.

10,

---

FPA.

2493*

Selected Topics in Music I

FPA.

2593*

Selected Topics in Theatre I

FPA.

2693*

Selected Topics in Visual Art I

CMNS 259-3 Acoustic Dimensions of Communication

PHIL 242-3 Philosophy of Art

* These courses may be offered with either a practical (studio) or a

theoretical orientation, or a combination of the two. They may only

count toward this requirement when they have a strong theoretical

component.

NOTE: Students should be aware that some of the courses listed in this

group have prerequisites beyond those that can be applied to the

major requirements.

NOTE: By permission of the School, other courses that are germane to the

student's critical studies program may count toward this

requirement.

Upper Division Requirements: --

31 hours, as follows:

A. ?

Interdisciplinary Theory

Core

16 ?

hours

2 courses from the

"Arts

in

Context"

series,

FPA.

310-5

The Arts in Context:

The Renaissance

FPA. 312-5 The Arts in Context:

Baroque and Enlightenment

FPA. 313-5 The Arts in Context:

Romanticism

FPA.

314-5

The Arts in Context: Modernism

FPA. 315-5 The Arts in Context: The Contemporary Period

plus both of

FPA. 411-3 [new] Selected Topics in Contemporary Theory

FPA. 412-3 [new] Senior Seminar in Critical Studies

B.

Additional Critical Studies Courses

?

15 hours

At least 6 credit hours drawn from the following:

FPA. 382-3 Aesthetics of Performance

FPA. 384-3 Criticism of Performance

FPA. 3793* Selected Topics in FPA. [credit hour change]

FPA.

3883*

Directed Studies in FPA.

FPA. 328-3 History of Dance: The Twentieth Century

FPA. 426-3 Dance/Movement Analysis

FPA. 429-5 Directed Studies in Dance Research

FPA. 335-3 Introduction to Film Theory

• ?

FPA. 337-3 Intermediate Selected Topics in Film and Video

Studies

FPA 4365 Advanced Seminar in Film and Video Studies

---

FPA.

FPA.

341-3

World Music

FPA.

344-3

3493*

Con

temporary Music Criticism and Analysis

Selected Topics in

FPA.

3593*

Music II

Selected Topics in TheatreII

FPA.

FPA.

456-3

366-2

Conceptual

A

pproaches to' Drama

Seminar in

FPA.

367-3

Visual Art I

Seminar in Visual Art II

FPA.

or additional

3693*

Selected Topics in Visual Art II

courses from the "Arts in Context" series

* These courses may be offered with either a practical (studio) or a

Component

count

theoretical

toward

orientation

this

req

uirement

or a

c

ombination

when they

of

have

the two.

a strong

They

theoretical

may only

The additional 9 hours under this

r

equirement may be drawn from any

of the above courses, or from approved -courses in other

departments,

which may include any of the following:

ARCH 301-3

Pr

ehistoric and Primitive Art

CMNS

ARCH

321-4

336-3

The

Special

Cultural

Topics

Production

in

P

rehistoric

of Popular

and Primitive

Music

Art

CMNS 334-4 Cultural Policy

CMNS 422-4 Media and Ideology

ENGL 310-4 Elizabethan and Jacobean Drama

ENGL 312-4 Shakespeare

ENGL 364-4 History and Principles of Literary Criticism

ENGL 368-4 Studies in Drama

G.S. 304-3 Richard Wagner: Ring of the Nibelung

HIST 303-3 Museum Methods and Uses

HIST 385-3 Canadian and B.C. Art

PHIL 325-3 Philosophy of Art II

S.A. 416-4 Sociology of Art Forms

NOTE:

req

Other courses outside the School may be appropriate for this

uirement by reason of specific materials they address or the

direction of a student's

i

nterests. Students who wish to apply such a

Course toward the critical studies major should seek approval from

the School before enrolling in the course. Students should be aware

that many upper division Courses in other departments,

including

studies

the

have

several

major

substantial

majors

of those

requ

irements;

can

listed

pr

erequisites

only

several

be

waiver

made

of

beyond

the

of

by

any

Courses

the

those

pr

department

erequisites

that

listed

can

in

offering

be

this

for

applied

critical

group

to

the

course.

LI

.

0

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S

SENATE COMMITFEE ON UNDERGRADUATE STUDIES

?

NEW COURSE PROPOSAL FORM

Calendar Information ?

(Department: School for the Contemporary Arts)

Abbreviation Code: FPA

Course number: ?

211-3

Credit hours:

?

3

Vector: ?

4-1-0

Title of Course: ?

Introduction to Contemporary Theory in the Arts

1. Calendar Description of Course

This course extends the interdisciplinary study of the arts begun in FPA.

111 by introducing some of the basic terms and concepts of contemporary

cultural theory. Problems in the interpretation of specific works, selected

from across the fine and performing arts, will be approached through

concepts

?

derived ?

from ?

semiotics, ?

structuralism,

?

poststructuralism,

psychoanalysis and feminist theory.

Nature of Course: Lecture/demonstration and

Prerequisites or Special Instructions: ?

FPA. 111

What course, if any is being dropped from the

approved? FPA. 267-2

2.

Scheduling

tutorial

Calendar if this course is

L

How frequently will the course be offered?

?

Once a year.

Semester in which course will first be offered: Spring, 1993.

Which of your present faculty would be available to make the proposed

offering available?

?

Alderson, Dawkins, Zapf

3.

Objectives of the Course

1) To provide critical studies majors and other students with a basic

introduction to terms and concepts from cultural theory that are widely used

in critical discussion of the arts; 2) to increase students' awareness of various

art forms and of the interdisciplinary approach to study of the arts through a

theoretically informed examination of various art works.

4. Bud g

etar

y

and Space Requirements

What additional resources will be required in the following areas:

Faculty: None. Partial TAship required.

?

Audio Visual: None.

Staff: ?

None ?

Space: ?

None.

Library: None. ?

Equipment: None.

6. Approval

Date: ?

.0 "k ?

Am\

Dept. Chair

?

Dean ?

Chair, SCUS

---

Additional Calendar Change

Change of credit hours only:

From : EPA.

379-5

Selected Topics in Fine and Performing Arts

To: FPA. 379-3 Selected Topics in Fine and Performing Arts

Rationale:

The reduction in credit hours is appropriate for the place this course

now occupies in the curriculum, providing an opportunity for occasional

offerings in the Interdisciplinary area, and permitting trial offerings of

course topics that may eventually become regular courses. As at present, the

vector for this course may vary from time to time, depending upon the course

topic, but will always involve at least 3 hours of class time per week.

.

I

lcL

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SENATE COMMITTEE ON UNDERGRADUATE STUDIES

W ?

NEW COURSE PROPOSAL FORM

Calendar Information ?

(Department: School for the Contemporary Arts)

Abbreviation Code: FPA

Course number: ?

216-3

Credit hours: ?

3

Vector: ?

4-1-0

Title of Course:

?

Introduction to the Fine and

Performing Arts

in

Canada

1-Calendar Description of Course

This course introduces a repertoire of Canadian dance, film, music,

theatre and visual art within a context of historical, theoretical, and

institutional issues particular to the Canadian context.

?

It will include aspects

of Canadian history, institutions and society that inform the arts in Canada. It

will also consider contemporary Canadian art practice in relation to

theoretical issues and debates around modernism, the avant-garde and post-

modernism.

Nature of Course:

Lecture/demonstration

and tutorial

Prerequisites or Special Instructions:

?

FPA. 111

What course, if any is being dropped from the Calendar if this course is

approved? None

2.

Scheduling

How frequently will the course be offered?

Once a year.

Semester in which course will first be offered:

Fall, 1992.

Which of your present faculty would be available to make the proposed

offering available? Alderson,

Dawkins, Zapf,

with faculty from

various art areas and

guest artists

3.

Objectives of the Course

1) to provide critical studies majors and other students with an

introduction to social, political and theoretical issues associated with the fine

and performing arts within the Canadian cultural context.

2) to introduce students to a repertoire of Canadian art works drawn from

across the arts.

4.

Budgetary and Space Requirements

What additional resources will be required in the following areas:

Faculty: None. Partial TAship required.

?

Equipment: None.

Staff:

?

Honoraria for visitors (c. $1000 per annum)

?

Audio Visual: None.

Library: Continued acqusition of Canadian art materials Space: None

6. Approval

Date:

DCJ1.

'J'I

Dept. Chair

?

air, SCUS

---

I

SENATE COMMITFEE ON UNDERGRADUATE STUDIES

NEW COURSE PROPOSAL FORM

?

0

Calendar Information ?

(Department: School for the Contemporary Arts)

Abbreviation Code: FPA

Course number:

?

411-3

Credit hours: ?

3

Vector: ?

0-4-0

Title of Course: ?

Selected Topics in Contemporary Theory

I.Calendar Description of Course

This course will provide an in-depth investigation of a selected

theoretical topic associated with the fine and performing arts. The

investigation will include attention to specific works of art. Topics will vary

from semester to semester.

Nature of Course:

Se

minar

Prerequisites or Special Instructions: At least 45 credit hours, including

FPA 211 plus one Arts in Context Course.

What course, if any is being dropped from the Calendar if this course is

approved? ?

None

2. Scheduling

How frequently will the course be offered? Once a year.

Semester in which course will first be offered: ?

Fall, 1993.

Which of your present faculty would be available to make the proposed

offering available? ?

Alderson, Dawkins, Zapf, and other faculty

3.

Objectives of the Course

1) to give critical studies majors and other students the opportunity to

engage a theoretical topic extensively and at a level of considerable

sophistication; 2) to provide students with a paradigmatic example of an

intense investigation into a theoretical topic; 3) to further the investigation of

the complex problematic, central to Critical Studies in the Arts Program, of the

relationship of theoretical systems and methodologies to art practice within

different art disciplines.

4. Budgetar y and Space Ri

What additional resoi

Faculty: ?

None.

Staff: ?

None.

Library: ?

None.

6. Approval

Date:

Dept. Chair

quirements

irces will be required in the following areas:

Audio Visual: ?

None.

Space: ?

None.

Equipment: ?

None.

-

>Zq

I_O2/Qt

Dean ?

Chair, SCUS

"Is.

---

.

SENATE COMMITFEE ON UNDERGRADUATE STUDIES ?

NEW COURSE PROPOSAL FORM

(Department: School for the Contemporary Arts)

Abbreviation Code: FPA

Course number:

?

412-3

Credit hours: ?

3

Vector: ?

0-4-0

Title of Course: ?

Senior Seminar in Critical Studies

1.

Calendar Description of Course

The senior seminar in the Critical Studies Major Program will consider

questions of culture and a selected range of art works within a defined

historical and geographical frame. ?

The course will use various theoretical

approaches in the consideration of art works and their relationship to their

social and historical context. Topics will vary from semester to semester.

Nature of Course: Seminar

Prerequisites or Special Instructions: At least 45 credit hours, including

FPA 211 plus one Arts in Context Course.

What course, if any is being dropped from the Calendar if this course is

approved?

?

None

2.

Scheduling

r

?

How frequently will the course be offered? Once a year.

Semester in which course will first be offered:

?

Spring, 1994.

Which of your present

*

faculty would be available to make the proposed

offering available? ?

Alderson, Dawkins, Zapf, and other faculty

3.

Objectives of the Course

The senior seminar is intended to allow students the opportunity to

engage the theoretical and historical knowledge which they have developed

during their tenure within the Critical Studies Major Program in the

discussion and analysis of a selected historical case study of the fine and

performing arts. As a culmination of the program, it will provide a

methodology for the historical and critical investigation of the arts which

students can further develop in independant research and academic work.

4. Budgetar y

and Space Requirements

What additional resources will be required in the following areas:

Faculty:

?

None. ?

Audio Visual: ?

None.

Staff:

?

None. ?

Space: ?

None.

Library:

?

None. ?

Equipment: None.

6. Approval

frA1

Date:

_____

-^..

VCAt-N

.

?

Dept. Chair

',,.

---

1

A MINOR IN FILM AND VIDEO STUDIES

?

I*

Summary of the Proposed Minor

The Film Area in the School for the Contemporary Arts offers a

Film Major and a Concentration in Film within a Fine and Performing

Arts Major. Requirements for both programs include courses in film

production, video production, film• studies (history, critical studies

and theory) and Lower Division breadth requirements within the

School for the Contemporary Arts. Both programs are production-

oriented.

When we created our Film Major two years ago, new courses in

film and video studies were added. As of September, 1990, approved

course offerings in this discipline are now sufficient to provide for a

Minor in film and video studies comparable in terms of credit hours

to existing Minor programs in the Faculty of Arts.

We propose a Minor in Film and Video Studies which would

concentrate on the theoretical, analytical, historical and critical

aspects of film and video. The Minor will be made up of Film and

Video Studies courses already being offered by the Film Area and

will require no added resources or personnel.

Students have expressed interest in a Film and Video Studies

program which could be designated as such on their transcripts and

diplomas. These students are typically from the School for the

Contemporary Arts (excluding the Film Area), the English and the

Communications departments. At first, we expect students from

these areas to make up the majority of those enrolled.

A Film and Video Studies Minor will attract, in time, students

from throughout the University, and we welcome their participation

in the Film Area. This may well lead to higher enrollments for our

courses and production students will benefit, particularly in Upper

Level courses, from contact with students schooled in history,

literature, political science, philosophy, communications, etc.

LI

---

Each year, students not enrolled in the Film Program inquire

about the possibility of taking one or two production-oriented

courses. Unfortunately our production classes are restricted by

limited space and equipment to our own students. The Film and

Video Minor will make it possible, however, for students showing an

aptitude to enroll in our screenwriting courses.

Screenwriting is an area of expertise in the Film Program,

supported by the professionally-oriented activities of the Praxis Film

Development Workshop and the presence of three faculty members

skilled in this aspect of production. And while a solid background in

film is an asset, a student need not be familiar with the technical

aspects of film or video production to be a good screenwriter. We feel

that the Film and Video Minor with its practical .screenwriting

component will provide a good grounding for students wishing to

write for cinema and television.

Although the existing FPA Minor may at first glance appear to

be an appropriate vehicle for the critical and theoretical study of film

•., ?

and video, it is generally

,

agreed that it's not sufficiently specialized

for those seeking a solid Minor in Film and Video Studies.

Resources

No additional faculty or staff will be required to introduce the

Minor in Film and Video Studies as no new courses are being

proposed. As well, there will be no additional rental costs for films

and videos as these are already included in each course budget.

0

2

/

---

3

Film and Video Studies Minor Requirements

Lower Division: 12 credits

Required:

FPA 136-3 ?

The History & Aesthetics of Cinema I

FPA 137-3 ?

The History & Aesthetics of Cinema II

Two of:

FPA 236-3 ?

Cinema in Canada

FPA

2373*

Selected Topics in Film and Video Studies

FPA 238-3 ?

Introduction to Screenwrithg

Upper Division: 17-19 credits

One of:

FPA

3

10-5

The

Arts

in Context:

The Renaissance

FPA

312-5

The

Arts

in Context:

Baroque & Enlightenment

FPA

313-5

The

Arts

in Context:

Romanticism

FPA

3145**

The

Arts

in Context:

Modernism

FPA

3155**

The

Arts

in Context:

The Contemporary Period

Plus a minimum of 12 hours from among:

FPA

3353**

Introduction to Film Theory

FPA

3373* ?

Intermediate Selected Topics in Film and

Video Studies

FPA 338-3 ?

Advanced Screenwriting

FPA

4365*

Advanced Seminar in Film Studies

NOTE. Other areas in the School for the Contemporary Arts and

within the University, such as Women's Studies, offer

courses

devoted to a film or video topic from time to time. With prior

permission, students may substitute one or more of these courses to

fulfill their requirements to a maximum of 6 credit hours.

* These courses include studies in film and video analysis, national

cinemas, genre, political cinema, etc., and may be repeated for credit

when a different topic is offered.

** Recommended.

TOTAL: 29 - 31 credits

?

0

'(p.

---

1

EXTENDED MINOR IN DANCE PROPOSAL

?

Revised 9/25/91

CALENDAR ENTRY:

The Extended Minor in Dance is intended primarily for students

pursuing a B.A. General Degree with a view to teaching Dance in the

public schools, but may be also used in combination with other

academic interests. The Program is balanced with dance technique,

composition, and theory, and some work in a relevant art discipline

other than Dance.

Lower Division Requirements:

Mininimum 27 semester hours in Dance:

L

All of:

FPA. 122-4..

123-4.

127-3.

129-2.

220-4.

221-4.

224-3.

..Contemporary Dance 1

Contemporary Dance II

History of Dance: Origins

Fundamental Integration o

Contemporary Dance Ill

Contemporary Dance IV

Dance Composition 1

to the 20th Century

Human Movement

One of:

FPA. 104-3. F

111-3.

140-3.

141-3.

151-3.

170-3.

usic Fundamentals

Issues in Fine and Performing Arts

Music in the Twentieth Century

Introduction to Music Performance

Introduction to Acting

Introduction to Technical Theatre

Upper Division Requirements:

Minimum: 16 semester hours in Dance

All of:

EPA. 320-5.

321-5.

328-3.

426-3.

Contemporary Dance V

Contemporary Dance VI

History of Dance: 20th Century

Dance/Movement Analysis

---

Rationale;

?

.

This grouping of courses would provide a solid foundation for

students interested in teaching in the public schools. The Year 2000

Report has given more emphasis to Dance as part of the Fine and

Performing Arts in the public school system, and this Extended

Minor addresses the need for training qualified teachers who will

have an Extended Minor(s) in at least one other discipline.. There is

a balance between technique, composition, and theoretical work

included in the Program of study. At present the Dance Area has an

association with the public schools through the

lecture/demonstration/workshop touring of the "Off-Centre Dance

Company", comprised of advanced dance students. In addition, we

have sponsored dance workhops for high school students on campus.

The Extended Minor in Dance will be available for students who are

not interested in teaching, but desire a focus in Dance.

.

L

---

.

9/25/91 ?

Extended Minor in Music

Calendar Entry

Those students who wish to obtain a B.A. General degree through

obtaining two extended minors are directed to the Extended Minor in

Music. A balanced introduction to music composition,

,

theory, history

and performance is supplied at the lower level. A less concentrated

program at the upper level allows students to gain experience in a

particular area. Students may use this minor for the purpose of

teaching in the schools.

Lower Level

Minimum 27 hours, including:

All of:

FPA

140-3

Music in the Twentieth

Century

FPA

141-3

Introduction to

Music Performance

FPA

145-3

Introduction to

Music Composition and Theory

FPA

147-3

Introduction to

Electroacoustic Music

FPA

242-3

Western Music

in the

?

17th throughl9th Centuries

Plus three of:

FPA 240-3

FPA 243-3

FPA 244-3

FPA 245-3

FPA 246-3

FPA 247-3

FPA 249-3

Contemporary Music Performance I

Gamelan I

Theory of Contemporary Music

Music Composition I

Music Composition II

Electroacoustic Music I

Selected Topics in Music I

.

Plus one of:

FPA

111-3

Issues in the Fine and Performing Arts

FPA

127-3

History of Dance: Origins to the 20th Century

FPA

136-3

The History and Aesthetics of Cinema I

FPA

137-3 The

'

History and Aesthetics of Cinema II

FPA 150-3 Basics of Theatre

FPA

166-3

History of Art: Ancient to Renaissance

FPA 167-3

History of Art: Renaissance to 'Modern

FPA

168-3

History of Art: Twentieth Century

^q.

---

.0

Upper' Level

Minimum 17 hours, including:

Three of:

FPA 340-3

Contemporary Music Performance II

'FPA 341-3

World Music

FPA

343-3 Gamelan II.

FPA

344-3

Contemporary Music Criticism and Analysis

FPA 345-3

Music Composition III

FPA 346-3

Music Composition IV

FPA

347-3

Electroacoustic Music II

FPA 349-3

Selected Topics in Music II

FPA 443-3 Gamelan III

FPA

445-3

Music Composition V

FPA 447-3

Computer Music Composition

Plus one of:

FPA 310-5 The

Arts

in Context:

The Renaissance

FPA

312-5

The

Arts

in Context:

Baroque and Enlightenment

FPA

313-5

The

Arts

in Context:

Romanticism

FPA 314-5 The

Arts

in Context: Modernism

FPA

3

15-5

The Arts

in Context:

The Contemporary Period

Plus three additional semester hours in an upper level FPA course.

An additional music course may be used to fulfill this requirement.

0

---

I

Extended Minor in Visual Art

?

6

.

?

Calendar Entry:

Those students who wish to obtain a B.A. General degree through obtaining two extended

minors are directed to the Extended Minor in Visual Art. This program offers a balanced

selection of studio, history and theory courses in the Visual Art area., offering students a

good introduction to contemporary art issues and practices. Students may use this minor

for the purpose of teaching in the schools.

Requirements for the Extended Minor in Visual Art

Total of 48 credit hours

Lower Level

Minimum 31 hours

.

All of:

FPA ?

111-3

160-3

161-3

164-2

165-2

211-3

260-3

One of:

FPA 166-3

167-3

168-3

Two of:

Issues in Fine and Performing Arts

Introductory Studio in Visual Art I

Introductory Studio in Visual Art II

Visual Art Techniques: Photography, Video

Visual Art Techniques: Painting, Sculpture

Introduction to Contemporary Theory in the Arts

Studio in Visual Art I

History of Art: Ancient to Renaissance

History of Art: Renaissance to Modern

History of Art: 20th Century

EPA ?

262-3

Drawing I

263-3

Painting I

264-3

Sculpture I

265-3

Photography I

Plus one additional course from the area

Upper Level

Minimum 17 hours

Three of:

FPA 362-3

363-3

364-3

365-3

369-3

390-5

One of:

Drawing II

Painting II

Sculpture II

Photography II

Selected Topics in Visual Art II

Introduction to Video Production

.

EPA ?

310-5

The Arts in Context: The Renaissance

312-5

The Arts in Context: Baroque and Enlightenment

313-5-

The Arts in Context: Romanticism

314-5 The Arts in Context: Modernism

315-5

The Arts in Context: The Contemporary Period

Plus one additional upper level FPA course. An additional visual art course may be used

to fulfill this requirement.

?

Dj .

---

New Courses and Deletions

?

4

Summary Listing

New Courses:

FPA ?

164-2

Visual Art

Techniques: ?

Photography, ?

Video

165-2

Visual

Art

Techniques: ?

Painting,

?

Sculpture

168-3

History

of

Art: 20th Century

262/362-3

Drawing ?

I/I!

263/363-3

Painting ?

I/Il

264/364-3

Sculpture ?

I/il

265/365-3

Photography ?

I/I!

FPA ?

162-2

Introductory ?

Drawing

267-2

Introduction

to ?

Critical Theory

?

in Visual ?

Art

262-3

Specialized

Studio ?

Techniques ?

I

263-3

Specialized

Studio ?

Techniques ?

II

264-3

Specialized

Studio ?

Techniques ?

III

265-3 Specialized

Studio Techniques IV

Rationale

New ?

Courses:

FPA

?

164-2, ?

165-2

We feel it is essential to introduce two new skills intensive courses which

concentrate on the acquisition of fundamental working knowledge of

• the

disciplines offered and their application to contemporary problems in the arts.

The integral relation between technique and meaning will be a consistent

component of these courses. At present such knowledge is not universally

shared by all students in the lower division which has lead to problems in the

development of later projects. These introductory workshops will give each

student a common background in the four disciplines the area considers basic

to current art production: video, photography, painting and sculpture.

Students must have a working familiarity with these processes to better

understand the material possibilities open to them for their own work. These

courses will complement the FPA 160 and 161 sequence in which students are

encouraged to understand their projects from the point of view of technical

and material requirements and the implications these media have for meaning

in the work.

FPA 168-3

Given the School's concentration on issues concerning contemporary art, we

feel that a course in the art of the present century is essential. It will

complement but not duplicate the current art history courses and FPA 315-5

Arts in Context: The Contemporary Period, as well as the two seminar courses,

FPA 366-3 and 367-3 and the other history courses in the School. We feel it will

be a course of broad general interest which can attract a large enrollment.

The introduction of 168 as a required course is accomplished by alternating

the sequence of the other two art history. courses, FPA 166-3 Art History:

---

a

Ancient to

?

Renaissance, ?

and

FPA

?

167-3,

Art History, Renaissance

?

to ?

Modem,

?

5

during

?

subsequent

?

spring ?

semesters.

FPA

?

262/362-3, ?

263/363-3,

?

264/364-3

and ?

265/365-3

The four courses currently numbered 262,

263, 264 and

265 ?

are the Specialized

Studio ?

Techniques

?

courses ?

now ?

offered

through ?

ECCAD.

?

They

?

are ?

being

considered new courses because they will

now be

?

taught by

?

our faculty,

?

and

have ?

particular ?

art ?

disciplines ?

attached ?

to

them.

?

Our intention ?

is ?

to

?

offer both

• ?

upper and lower levels of these courses simultaneously; 262 with 362, 263 with

363, 264 with 364 and 265 with

365.

This constitutes ?

in effect four rather than

eight ?

courses.

The ?

addition of a fourth faculty member

will

?

cover the

?

teaching

?

requirements

resulting ?

from ?

these ?

courses.

Deleted ?

Courses:

FPA 162-2

This course is being replaced by the new course, FPA 262-3 Drawing I.

FPA 267-2

This course is being replaced by the new Interdisciplinary course, FPA 211-3

Introduction to Contemporary Theory in the Arts.

FPA 262-3, 263-3, 264-3,

265-3

These courses, previously offered through ECCAD, will now be taught as

disciplinary courses by Visual Art faculty (see above).

r

g5-

---

SENATE COMMITTEE ON UNDERGRADUATE STUDIES

?

7

NEW COURSE PROPOSAL FORM

Calendar Information

?

(Department: School for the Contemporary Arts)

Abbreviation Code: FPA

Course number:

?

164

Credit hours:

?

2

Vector: ?

0-0-4

Title of Course: ?

Visual Art Techniques: Photography, Video

This course offers a fundamental introduction to the methods, materials and

practice of photography and video. Each discipline is presented as a discrete

unit of six weeks. The relation between the acquisition of skills and their

functional application to problems in the production of art will be emphasized.

Nature of Course:

Lab

Prerequisites ?

or

Special

Instructions: ?

This ?

course ?

is ?

primarily ?

intended

for ?

visual ?

art

majors

and ?

students

in

?

the ?

extended ?

minor. ?

It ?

must

be

?

taken

?

concurrently

with ?

either

FPA ?

160

?

or

?

FPA ?

161. ?

Prior

approval ?

and

?

a

laboratory

fee ?

are

required.

What

?

course, ?

if

any ?

is being ?

dropped

from ?

the

?

Calendar ?

if ?

this ?

course ?

is

approved?

?

None

2.

Scheduling

How frequently will the course be offered? Once a year.

Semester in which course will first be offered:

?

Fall 1992.

Which of your present faculty would be available to make the proposed

offering available? ?

Anne Ramsden, Greg Snider

3.

Objectives of the Course

To give students practical hands-on training in the materials, processes and

procedures of photography and video, so that students have a working

knowledge of the rudiments of these disciplines.

4.

Budgetar y

and Space Requirements

What additional resources will be required in the following areas:

Faculty:

None.

Audio

Visual: ?

None.

Staff:

None.

Space:

None.

Library:

None.

Equipment: ?

Some ?

additional

video ?

equipment ?

will ?

be ?

necessary to ?

meet the ?

increased ?

demand. ?

As ?

this

course ?

is not ?

production-oriented, ?

the

increase

in ?

equipment

?

is ?

slight ?

and ?

will

be made

up ?

through

?

capital ?

requests.

5.Rationale:

We feel the introduction of skills intensive courses which concentrate on the

acquisition of fundamental working knowledge of the disciplines offered and

their application to problems in the arts are essential. These introductory

workshops will give each student in the lower division a common background

in the four disciplines the area considers basic to current art production:

video, photography, painting and sculpture. Students must have a working

familiarity with these processes to better understand the material possibilities

open to them for their own work. These courses will confirm the FPA 160 and

161 developmental curriculum in which students are encouraged to

---

understand their project from the point of view of its technical and material

?

8

• requirements and the implications these media have for meaning in their

work. As a regular part of ongoing teaching technique will be discussed in

relation to the role of these media in contemporary and historic practice.

6. Approval

Date:

-4--

Dept. Chair

?

Dean ?

m

.

L

---

SENATE

COMIS41TFEE

ON UNDERGRADUATE STUDIES

?

11

NEW COURSE PROPOSAL FORM

Calendar Information ?

(Department: School for the Contemporary Arts)

Abbreviation Code: FPA

Course number: ?

165

Credit hours:

?

2

Vector: ?

0-0-4

Title of Course:

?

Visual Art Techniques: Painting, Sculpture

This course offers a fundamental. introduction to the methods, materials and

practice of painting and sculpture. Each discipline is presented as a discrete

unit of six weeks. The relation between the acquisition • of skills and their

functional application to problems in the production of art will be emphasized.

Nature of Course:

Lab

Prerequisites ?

or

Special

Instructions: ?

This ?

course ?

is ?

primarily ?

intended

for ?

visual ?

art

majors

and

?

students in

?

the

?

extended ?

minor. ?

It

?

must

be ?

taken ?

concurrently with

?

either

FPA ?

160 ?

or ?

FPA ?

161. ?

Prior

approval ?

and

?

a laboratory fee

?

are required.

What ?

course, ?

if

any

?

is being ?

dropped from ?

the ?

Calendar

?

if

?

this

?

course

?

is

approved?

None

How frequently will the course be offered? ?

Once a year.

Semester in which course will first be offered: ?

Spring 1993.

Which of your present faculty would be available to make the proposed

offering available? ?

Allyson Clay, Greg Snider

ives of the Cour

To give students practical hands-on training in the materials, processes and

procedures of painting and Sculpture, so that students have a working

knowledge of the rudiments of these discipline.

4. Bud g etar

y

and Space Requirements

What additional resources will be required in the following areas:

Faculty:

?

None. ?

Audio Visual:

?

None.

Staff: ?

None. ?

Space: ?

None.

Library: ?

None.

?

Equipment: ?

None.

5.Rationale:

We feel the introduction of skills intensive courses which concentrate on the

acquisition of fundamental working knowledge of the disciplines offered and

their application to problems in the arts are essential. These introductory

workshops will give each student in the lower division a common background

in the four disciplines the area considers basic to current art production:

video, photography, painting and sculpture. Students must have a working

familiarity with these processes to better understand the material possibilities

open to them for their own work. These courses will confirm the FPA 160 and

161 developmental curriculum in which students are encouraged to

understand their project from the point of view of its technical and material

requirements and the implications these media have for meaning in their

---

.

work. As a regular part of ongoing teaching technique will be discussed in

relation to the role of these media in contemporary and historic practice.

6. Approval

Date:

sfi

f ?

7' ?

Oct ')('4(

I

12

T -

^el^

O<VL^

Dept. Chair

7,1

Dean

Chair, SCUS

---

SENATE COMMITTEE ON UNDERGRADUATE STUDIES

?

14

NEW COURSE PROPOSAL FORM

Calendar Information

?

(Department: School for the Contemporary Arts)

Abbreviation Code: FPA

Course number:

?

168

Credit hours:

?

3

Vector: ?

4-0-0

Title of Course: ?

History of Art: 20th Century

This course covers Western art of the twentieth century with attention to the

important artists, artworks, ideologies and debates of this period. Works of art

will be considered in the context of their artistic and aesthetic programs,

manifestoes, exhibitions and institutions. Debates around modernism,

postmodernity, feminism and the avant-garde will be systematically explored

in relation to these factors.

Nature of Course: Lecture

Corequisites or Special Instructions: None

What course, if any is being dropped from the Calendar if this course is

approved? None

2.

Scheduling

How frequently will the course be offered?

?

Once a year

Semester in which course will first be offered:

?

Fall 1992

Which of your present faculty would be available to make the proposed

offering available?

Allyson Clay, Anne Ramsden, Greg Snider,

Sessional ?

Instructor

3.

Objectives of the Course

To give students a comprehensive overview of the artistic developments

in the art of the 20th Century, through lectures, slides and essays.

4.

Budgetary and Space Requirements

What additional resources will be required in the following areas:

Faculty: ?

None

?

Audio Visual:

?

None

Staff: ?

None ?

Space: ?

None

Library: ?

None ?

Equipment: ?

None

5.

Rationale

Given the School's concentration on issues concerning contemporary art, we

feel that a course in the art of the present century is essential. It will

compliment but not duplicate the current FPA 315-5 Arts in Context: The

Contemporary Period, as well as the two seminar courses, FPA 366-2 and 367-2

and the other history courses in the School. We feel it will be a course of broad

general interest which can attract a large audience.

6. Approval

Date:

OCL

3J ?

________

pt.Chair ?

Dean

?

Chair, SCUS

---

Dean

SENATE COMMITTEE ON UNDERGRADUATE STUDIES

?

NEW COURSE PROPOSAL FORM

0 ?

Calendar Information ?

(Department: School for the Contemporary Arts)

Abbreviation Code: FPA

Course number:

?

262

Credit hours:

?

3

Vector: ?

0-0-6

Title of Course: ?

Drawing

l.Calendar Description of Course

This studio course introduces basic drawing skills, media and techniques.

Drawing is taught in the context of its functions in contemporary art. Basic

skills, approaches and techniques are practised both to develop student's

physical abilities and their capacities to use drawing as a creative and

imaginative method in all artistic work.

Nature of Course: Studio

Prerequisites or Special Instructions:

FPA 161 and prior approval

What course, if any is being dropped from the Calendar if this course is

approved?

FPA 162-2 Introduction to Drawing, FPA

262-3 Specialized

Studio Techniques I

2.

Scheduling

How frequently will the course be offered?

?

Once a year

S ?

Semester in which course will first be offered:

?

Fall 1992

Which of your present faculty would be available to make the proposed

offering available?

?

Allyson Clay, Anne Ramsden, Greg Snider

3.

Objectives of the Course

To introduce students to the basic materials and methods of drawing, to

develop their fundamental skills in two dimensional representation, and to

give them an understanding of the possible uses of drawing in relation to

artistic problems.

4.

Budgetary and Space Requirements

What additional resources will be required in the following areas:

Faculty:

?

None

?

Audio Visual:

?

None

Staff: ?

None ?

Space:

?

None

Library: ?

None ?

Equipment: ?

None

5.

Rationale

This course is basically the same as the deleted course, 162, with the

addition of more intensive work on experimental problems of drawing.

17

6. Approval

Date: ___

.

?

?

Vc,oco

Dept. Chair

'1

---

SENATE COMMLTFEE ON UNDERGRADUATE STUDIES ?

NEW COURSE PROPOSAL FORM

Calendar Information ?

(Department: School for the Contemporary Arts)

Abbreviation Code: FPA

Course number: ?

362

Credit hours:

?

3

Vector: ?

0-0-6

Title of Course:

?

Drawing II

MIA. ?

ffi

A studio course in advanced drawing skills, media and techniques.

Drawing is taught in the context of its functions in contemporary art.

Advanced skills, approaches and techniques are practised both to develop

student's physical abilities and their capacities to use drawing as a creative

and imaginative method in all artistic work.

Nature of Course:

Studio

Corequisites or Special Instructions:

FPA 262 and prior approval

What course, if any is being dropped from the Calendar if this course is

approved? None

How frequently will the course be offered?

?

Once a year

Semester in which course will first be offered:

?

Fall 1992

Which of your present faculty would be available to make the proposed

offering available?Allyson

Clay, Anne Ramsden, Greg Snider, New

Faculty

3. Objectives of the Course

To introduce students to the advanced materials and methods of drawing,

to develop their skills in two dimensional representation, and to give them a

developed understanding of the possible uses of drawing in relation to artistic

problems.

4. Budgetar y

and Space Requirements

What additional resources will be required in the following areas:

Faculty: ?

None ?

Audio Visual: ?

None

Staff: ?

None ?

Space: ?

None

Library: ?

None ?

Equipment:

?

None

5. Rationale

This course is an advanced studio in drawing, building on the previous

course, FPA 262-3 Drawing I, with the addition of more intensive work on

experimental problems of drawing and technique and their relation to current

artistic practice.

18

6. Approval

Date: ?

3JQj

Dept. Chair

t9t13h

-------

Dean

r

---

SENATE COMMITTEE ON UNDERGRADUATE STUDIES

?

NEW COURSE PROPOSAL FORM

0 ?

Calendar Information ?

(Department: School for the Contemporary Arts)

Abbreviation ?

Code:

FPA

Course ?

number:

263

Credit ?

hours:

3

Vector:

0-0-6

Title of Course:

Painting

1.Calendar DescriDtion of Course

This course introduces students to painting as an art form, through the

acquisition and application of skills and concepts relevant to the practice of

the medium in a contemporary context. Students will work through problems

and projects assigned by the instructor to develop their technical abilities in

relation to subjects and content.

Nature of Course: Studio

Prerequisites or Special Instructions:

?

FPA 165 and prior approval

What course, if any is being dropped from the Calendar if this course is

approved?

FPA 263-3 Specialized Studio Techniques II

2.

Scheduling

How frequently will the course be offered?

?

Once a year

. ?

Semester in which course will first be offered:

?

Fall 1992

Which of your present faculty would be available to make the proposed

offering available?

?

Allyson Clay, Greg Snider

3.

Objectives of the Course

To introduce students to the basic materials and methods of painting, to

develop their fundamental skills in paint and colour, and to give them an

understanding of the possible uses of painting in relation to contemporary

artistic problems.

4. Budgetar

y

and Space Requirements

What additional resources will be required in the following areas:

Faculty: ?

None

?

Audio Visual: ?

None

Staff: ?

None ?

Space: ?

None

Library: ?

None ?

Equipment: ?

None

5.

Rationale

This course is one of a series of fundamental disciplinary skills course

the area has developed to afford the student a range of options in pursuit of

their own artistic goals, and to introduce them to the possibilities that exist for

the medium in a contemporary context.

20

RJEW0#1

8

7 M.

Date:

?

h)

Dept. Chair

Dean

/W

• 0th\

---

SENATE COMMITIEE ON UNDERGRADUATE STUDIES

?

21

NEW COURSE PROPOSAL FORM

Calendar Information ?

(Department: School for the Contemporary Arts)

Abbreviation Code: FPA

Course number:

?

363

Credit hours:

?

3

Vector: ?

0-0-6

Title of Course: ?

Painting II

This is an advanced course in contemporary problems of painting

emphasizing the acquisition and application of skills and concepts relevant to

the practice of the medium in a contemporary context. Students will work

through problems and projects assigned by the instructor to develop their

technical abilities in relation to subjects and content.

Nature of Course: Studio

Prerequisites or Special Instructions:

FPA

263 and prior approval

What course, if any is being dropped from the Calendar if this course is

approved? None

2.

Scheduling

How frequently will the course be offered?

?

Once a year

Semester in which course will first be offered:

?

Fall 1992

Which of your present faculty would be available to make the proposed

offering available?

?

Allyson Clay, Greg Snider

3.

Objectives of the Course

To introduce students to advanced materials and methods of painting, to

continue to develop their skills in paint and colour, and to give them an

understanding of the possible uses of painting in relation to contemporary

artistic problems.

What additional resources will be required in the following areas:

Faculty:

?

None ?

Audio Visual:

?

None

Staff: ?

None ?

Space: ?

None

Library: ?

None ?

Equipment: ?

None

5.

Rationale

This course is one of a series of advanced disciplinary skills course the

area has developed to afford the student a range of options in pursuit of their

own artistic goals, and to develop the possibilities that exist for the medium in

a contemporary context.

6.

Approval

Date:

?

Dept. Chair

?

Dean ?

Chair,

SCUS

5^-

---

23

SENATE COMMIITEE ON UNDERGRADUATE STUDIES

?

NEW COURSE PROPOSAL FORM

ndar Information ?

(Department: School for the Contemporary Arts)

Abbreviation Code: FPA

Course number:

?

264

Credit hours:

?

3

Vector: ?

0-0-6

Title of Course:

?

Sculpture I

I .Calendar Description of Course

This course introduces students to sculpture as an art form, through the

acquisition and application of skills and concepts relevant to the practice of

the medium in a contemporary context. Students will work through problems

and projects assigned by the instructor to develop their technical abilities in

relation to subjects and content.

Nature of Course: Studio

Prerequisites or Special Instructions:

FPA 165-3 and prior approval

What course, if any is being dropped from the Calendar if this course is

approved?

FPA 264-3 Specialized Studio Techniques III

2.

Scheduling

How frequently will the course be offered?

?

Once a year

Ô

?

Semester in which course will first be offered:

?

Spring 1993

Which of your present faculty would be available to make the proposed

offering available?

?

Greg Snider, Anne Ramsden

3.

Objectives of the Course

To introduce students to the basic materials and methods of sculpture, to

develop their fundamental skills in material handling and construction, and to

give them an understanding of the possible uses of sculpture in relation to

contemporary artistic problems.

4. Budetarv and SoaceRepuiremen

What additional resources will be required in

Faculty:

?

None

Staff: ?

None

Library: ?

None

additional shop equipment will be necessary.

the following areas:

Audio Visual: ?

None

Space: ?

None

Equipment: ?

Some

5.

Rationale

This course is one of a series of fundamental disciplinary skills course

the area has developed to afford the student a range of options in pursuit of

their own artistic goals, and to introduce them to the possibilities that exist for

the medium in a contemporary context.

6. Approval

• ?

Date:

Dept. Chair

Dean

C7,Icx

/ Chair, SCUS

---

Dean

SENATE COMMIFEE ON

UNDERGRADUATE STUDIES

?

NEW COURSE PROPOSAL FORM

Calendar Information ?

(Department: School for the Contemporary Arts)

Abbreviation Code: FPA

Course number: ?

364

Credit hours: ?

3

Vector: ?

0-0-6

Title of Course: ?

Sculpture II

This is an advanced studio course in the development of sculpture as an

art form, through the acquisition and application of skills and concepts

relevant to the practice of the medium in a contemporary context. Students

will work through problems and projects assigned by the instructor to develop

their technical abilities in relation to subjects and content.

Nature of Course: Studio

Prerequisites or Special Instructions: FPA 264-3 and prior approval

What course, if any is being dropped from the Calendar if this course is

approved? None

2.

Scheduling.

How frequently will the course be offered?

?

Once a year

Semester in which course will first be offered:

?

Spring 1993

Which of your present faculty would be available to make the proposed

offering available?

?

Greg

Snider,

Anne Ramsden

3.

Objectives of the Course

To introduce students to advanced materials and methods of sculpture, to

develop their skills in material handling and construction, and to give them

an understanding of the possible uses of sculpture in relation to contemporary

artistic problems.

What additional resources will be required in the following areas:

Faculty: ?

None ?

Audio Visual:

?

None

Staff: ?

None ?

Space: ?

None

Library: ?

None ?

Equipment: ?

Some

additional shop equipment will be necessary.

5.

Rationale

This course is one of a series of advanced disciplinary skills course the

area has developed to afford the student a range of options in pursuit of their

own artistic goals,

and

to develop the possibilities that exist for the medium in

a contemporary context.

.

L

Date:OcJ.'j0))

"-^ -

V4;1- "

t-<-

Dept. Chair

.

---

SENATE COMMITFEE ON UNDERGRADUATE STUDIES

?

NEW COURSE PROPOSAL FORM

0 ?

Calendar Information ?

(Department: School for the Contemporary Arts)

Abbreviation Code: FPA

Course number: ?

265

Credit hours:

?

3

Vector: ?

0-0-6

Title of Course:

?

Photography I

1.Calendar Description of Course

This course introduces students to the technical and material problems

of photography as an art form and its relation to current art discourses and

issues. Students will work through projects assigned by the instructor to

develop their technical abilities in relation to subjects and content.

Nature of Course: Studio

Prerequisites or Special Instructions:

FPA 164 and prior approval

What course, if any is being dropped from the Calendar if this course is

approved? FPA

265-3

Specialized Studio Techniques IV

2. Scheduling

How frequently will the course be offered?

?

Once a year

Semester in which course will first be offered:

?

Spring 1993

Which of your present faculty would be available to make the proposed

offering available? ?

Anne

Ramsden,

New Faculty

3.

Objectives of the Course

To introduce students to the basic materials and methods of

photography, to develop their fundamental skills in material handling and

processes, and to give them an understanding of the possible uses of

photography in relation to contemporary artistic problems.

4.

Budgetar

y

and Space Requirements

What additional resources will be required in the following areas:

Faculty:

?

None ?

Audio Visual: ?

None

Staff: ?

None ?

Space: ?

None

Library: ?

None ?

Equipment:

?

None

5.

Rationale

This course is one of a series of fundamental disciplinary skills course

the area has developed to afford the student a range of options in pursuit of

their own artistic goals, and to introduce them to the possibilities that exist for

the medium in a contemporary context.

6.

Approval

D

ate: _______

?

6 /

• __

Dept. Chair

26

/

---

SENATE COMMI1TEE ON UNDERGRADUATE STUDIES

?

NEW COURSE PROPOSAL FORM

Calendar Information ?

(Department: School for the Contemporary Arts)

Abbreviation Code: FPA

Course number: ?

365

Credit hours:

?

3

Vector:

?

0-0-6

Title of Course:

?

Photography II

This is an advanced' studio course in the technical and material

problems of photography as an art form and its relation to current art

discourses and issues. Students will work through projects assigned by the

instructor to develop their technical abilities in relation to subjects and

content.

Nature of Course: Studio

Prerequisites or Special Instructions:

FPA

265-3

and prior approval

What cours

,

e, if any is being dropped from the Calendar if this course is

approved? None

2.

Scheduling

How frequently will the course be offered?

?

Once a year

Semester in which course will first be offered:

?

Spring 1993

Which of your present faculty would be available to make the proposed

offering available? ?

Anne Ramsden, New Faculty

3.

Objectives of the Course

To introduce students to advanced materials and methods of

photography, to develop their skills in material handling and processes, and to

develop an understanding of the possible uses of photography in relation to

contemporary artistic problems.

4. Budgetary and Space Requirements

What additional resources will be required in the following areas:

Faculty: ?

None ?

Audio Visual: ?

None

Staff: ?

None ?

Space:

?

None

Library: ?

None ?

Equipment: ?

None

5.

Rationale

This course is one of a series of advanced disciplinary skills course the

area has developed to afford the student a range of options in pursuit of their

own artistic goals, and to develop the possibilities that exist for the medium in

a contemporary context.

27

.

.

6.

Approval

Date: cJ_c

`,-^ -

VCV,-Q

-

<

0

Dept. Chair

o

Dean ?

SCUS

.

---

29

Additional Curricular Changes

. ?

1.Prerequisite Chan

g e:

FPA

260-3

From: FPA 160 and prior approval. A lab fee is required.

I.

FPA

161, 164, 165 and prior approval. A lab fee is required.

Rationale: As 161 is now required of both BFA visual art majors and

extended minor students, it is the natural prerequisite for 260. In addition, 164

and 165 are to be taken in the first year as preparation for second year studio

work.

2.

Course Title Change:

FPA 166-3

From: FPA 166-3 Introduction to the History of

Art

J..

FPA

166-3 Histor

y

of Art:Ancient to Renaissance

Rationale: The title of the course is being changed to clarify its content

and to relate it to other art history courses in the sequence. It will be offered

in alternating years with FPA 167.

3. Course Title

and Calendar Description Change

?

FPA 167-3

From:

FPA 167-3 Introduction to the Histor

y

of Art II

An

?

introduction ?

to ?

the ?

history ?

of the

?

visual ?

arts ?

from

?

the

?

beginnings

?

of the

Renaissance ?

around

1400

?

to

?

the end of the

?

Second World

?

War.

?

A

?

systematic

chronological

review

?

of the

?

major ?

works ?

in

?

the ?

Western

?

tradition, ?

placed ?

in

their ?

social,

institutional ?

and ?

stylistic

?

context. ?

Introduces

?

concepts ?

necessary

for ?

analyzing

general

?

historical

?

development

?

in

?

the ?

arts

?

and

?

for

?

analyzing

?

the

meanings ?

of

individual

?

works.

FPA

167-3 History of Art: Renaissance to Modem

An ?

introduction ?

to

?

the

?

history ?

of the

?

visual

?

arts ?

from ?

the

?

beginnings ?

of the

Renaissance

•

around ?

1400

?

to

?

the ?

end ?

of ?

the

?

19th

?

century. ?

A ?

systematic

chronological

review

?

of the

?

major ?

works ?

in ?

the

?

Western

?

tradition,

?

placed

?

in

their ?

social,

institutional

?

and ?

stylistic ?

context. ?

Introduces

?

concepts ?

necessary

for ?

analyzing

general

?

historical ?

development ?

in

?

the

?

arts

?

and

?

for ?

analyzing ?

the

meanings ?

of

individual

?

works.

Rationale: ?

The title of the course is being changed to clarify

?

its content

and

?

to

?

relate it

?

to

?

other

art

history ?

courses ?

in the

?

sequence. ?

It ?

will

?

be ?

offered

in

?

alternating

years ?

with FPA

?

166. The Calendar description

?

has ?

been changed

to reflect the

introduction of

FPA

168 History of Art: 20th Century

4.

Course Title. Credit and Prere q uisite Chan

g

e: FPA 366-2

From: FPA 366-2 Problems in Visual Art I

Prerequisites: Admission to FPA 360. Well prepared students, not currently

enrolled in FPA 360 may be admitted by permission of the department. It is

recommended that students take PHIL 242 before taking FPA 366.

IQ.FPA 366-3 Seminar in Visual Art I

Prerequisite: FPA 211-3 and Corequisite: FPA 360 and prior approval.

Rationale This proposed change involves shifting the present 2 credit

seminar course to 3 credits. This is a demanding course with substantial

reading and essay requirements and forms a significant part of the conceptual

development within our program; consequently it should have an appropriate

credit rating to reflect the increased work load. Its title is being changed to

reflect the fact that it is a seminar rather than a studio.

. ?

5. Course Title. Credit and Prerequisite Change: FPA 367-2

From:

FPA

367-2 Problems in Visual Art II

Prerequisites: Admission to FPA 361. Well prepared students, not currently

enrolled in FPA 361 may be admitted by permission of the department. It is

recommended that students take PHIL 242 before taking FPA 367.

To:

FPA

367-3 Seminar in Visual

Art

II

Prerequisite: FPA 366-3 and Corequisite: FPA 361 and prior approval.

3^ -

---

Rationale: This proposed change involves shifting the present 2 credit

?

30

seminar course to 3 credits. This is a demanding course, with substantial

reading and essay requirements and forms a significant part of the conceptual

development within our program; consequently it should have an appropriate

credit rating to reflect the increased work load. Its title is being changed to

reflect the fact that it is a seminar rather than a studio.

.

'I,

---

Proposal for a BFA - Major in Music

?

July 29,1991

BFA - Major in Music: Rationale

From the beginning years, Simon Fraser University has had a high-

profile reputation for innovative, experimental approaches to the

study of music. Since the formulation of a

•

contemporary music

minor in 1981, now constituted as a music concentration within the

Fine and Performing Arts Major, thmusic program has evolved into

a convincing alternative to the more conventional Bachelor of Music

model. The proposed BFA in Music continues this SFU tradition with

a program that emphasizes a balanced and diverse study of

contemporary music with courses in music composition,

electroacoustic music, world music, music performance, music history

and criticism, music theory, and interdisciplinary collaboration. It is

a program that is highly appropriate and compatible with the

curriculum and philosophy of the School for the Contemporary Arts.

The BFA in Music takes full advantage of the breadth of offerings in

the School's curriculum. Students gain experience in the practice of

. ?

other art forms through studio courses outside of music, and receive

a grounding in fine arts criticism and history through courses such as

the Arts in Context series. The variety of course offerings in music

provides the foundation for the development of a musician with the

skills and resourcefulness necessary to respond to a quickly changing

artistic environment. The combination of technological expertise,

compositional and performance skills, a contemporary approach to

the study of music history and theory, and an awareness of the

music of other cultures presents a pedagogical approach that we feel

is enlightened and responsive to the needs of present-day music

students.

Resources

The BFA in Music requires no new teaching faculty. An ongoing

commitment to equipment and technical support will continue to be

necessary to support the program.

I

^9-

---

2

S

REQUIREMENTS FOR THE BFA - MAJOR IN MUSIC

BFA in Music Calendar Entry

The Bachelor of Fine Arts - Major in Music is a flexible program that

offers several options for the music student who wishes to pursue an

interest in composition, electroacoustic music, world music or

interdisciplinary collaboration. Complementary courses in music

history, theory and criticism provide an integral balance to the in-

depth studio nature of the program.

The Bachelor of Fine Arts in Music takes full advantage of the

opportunities to experience and study other art forms that are

provided in the School for the Contemporary Arts. Students are

required to take studio courses in other art disciplines as well as

interdisciplinary courses in history, theory and criticism.

In addition to the

85

hours that constitute the BFA - Major in Music,

students are expected to fulfill the 30 hours of Faculty of Arts

Breadth Requirements, within the total of the 120 hours required for

the degree.

Program Requirements

Lower Level

Minimum 42 hours, including

S

All of:

FPA 111-3

FPA 140-3

FPA 145-3

FPA 147-3

FPA 242-3

FPA 244-3

FPA 245-3

Issues in Fine and Performing Arts

Music in the Twentieth Century

Introduction to Music Composition and Theory

Introduction to Electroacoustic Music

Western Music in the 17th throughl9th Centuries

Theory of Contemporary Music

Music Composition I

Plus two of:

FPA 141-3 Introduction to. Music Performance

FPA 240-3 Contemporary Music Performance I

FPA 243-3 Gamelan I

I

4o.

---

.

Plus two

of:

(one which must be either FPA 246-3 or FPA 247-3)

FPA 246-3 Music Composition II

FPA 247-3 Electroacoustic Music I

FPA 249-3 Selected Topics in Music I

CMNS 258-3 Introduction to Electroacoustic Communication

Plus two of:

FPA Studio Courses outside Music

Plus one of:

FPA

127-3

History of Dance: Origins to the 20th Century

FPA

136-3

The History and

Aesthetics of Cinema I

FPA

137-3

The History and

Aesthetics of Cinema II

FPA

150-3

Basics of Theatre

FPA

166-3

History of Art:

Ancient to Renaissance

FPA

167-3

History of Art:

Renaissance to Modern

FPA

168-3

History of Art:

20th Century

FPA

211-3

Introduction to

Contemporary Theory in the Arts

FPA

216-3

Introduction to

the Fine and Performing Arts in

.

Canada

Upper Level

Minimum 43 hours, including:

Minimum 24 hours of Music courses chosen from the list below; at

least 9 hours must be at the 400 level

FPA

340-3

Contemporary Music Performance II

FPA

341-3

World Music

FPA

343-3

Gamelan II

FPA

344-3

Contemporary Music Criticism and Analysis

FPA

345-3

Music Composition III

FPA

346-3

Music Composition IV

FPA

347-3

Electroacoustic Music II

FPA

349-3

Selected Topics in Music II

FPA

443-3

Gamelan III

FPA

445-3

Music Composition V

S

?

FPA

FPA

446-3

447-3

Music Composition VI

Computer Music Composition

FPA

448-3

Directed Study in Music I

FPA

449-3

Directed Study in Music II

3

41.

---

4

Plus two of:

?

(one which

must be either 314-5 or

315-5)

FPA

310-5

The Arts

in Context:

The Renaissance

FPA

312-5

The

Arts

in Context:

Baroque and Enlightenment

FPA

313-5

The

Arts

in Context:

Romanticism

FPA

314-5

The

Arts

in Context:

Modernism

FPA

315-5

The

Arts

in Context:

The Contemporary Period

Plus two FPA courses outside of Music

Note: CMNS

358-4

Sound Tape Recording: Theory and Uses or

CMNS

359-4

Acoustic .Dimensions of Communication II may be

used as a substitution for one of the FPA courses outside of

Music

Plus three additional

semester hours

in an

upper level FPA course.

An additional music

course may be

used

for this requirement.

1 ]

---

0

NEW COURSES AND DELETIONS

Summary Listing

New

Courses:

FPA

145-3

Introduction to Music Composition and Theory

FPA

242-3

Western Music in the Seventeenth through Nineteenth

Centuries

FPA

244-3

Theory of ContemporarrMusic

FPA

247-3

ElectroacoustiC Music I

FPA

341-3

World Music

FPA

443-3

Gamelan III

FPA

445-3

Music Composition V

FPA

446-3

Music Composition VI

Deleted Courses:

FPA 143-3 History of Musical Style

Rationale for New Courses

The move from a music concentration within a FPA major in the BA

Program to a Bachelor of Fine Arts degree with a Major in Music

necessitates certain adjustments and redesigning of the music

courses in the program. A net increase of seven new courses is

required in' order to offer the BFA. Of these seven courses, it is

important to note that three of them are taught concurrently with

other courses already offered (FPA 443-3 Gamelan III is taught with

FPA 243-3 Gamelan I and FPA 343-3 Gamelan II; FPA 445-3 Music

Composition V and FPA 446-3 Music Composition VI are taught with

the other composition courses FPA 245-3, 246-3, 345-3 and 346-3).

For these three new courses then, there will be no additional faculty

course loading.

There are four new courses that will require additional faculty

loading. This can be accomplished with our already existing faculty

complement because of the following circumstances:

1)

The appointment of Professor Rudolf Komorous as Director of

the School for the Contemporary Arts. He will teach one course in

each of the fall and spring semesters.

2)

The new appointment of an art theoretician to the

interdisciplinary area makes it possible for Music Area faculty who

have been actively teaching in the interdisciplinary area to now

teach more of their load in the music area.

5

43.

---

3)

Lab Instructor II Martin Gotfrit, now Acting Director of the

Centre for Image and Sound Research, will increase his teaching load

-to one course in each of the fall and spring semesters.

4)

Associate Professor Barry Truax who is jointly appointed

with the Department of Communication will now increase his

teaching in the School for the Contemporary Arts to half of his

teaching load.

The new courses fill several obvious and urgent needs. As currently

constituted, there are no fourth year music courses with the

exception of directed studies. The addition of FPA 443-3 Gamelan

Ill, EPA 445-3 Music Composition V and FPA 446-3 Music

Composition VI is essential so that composition and performance

can be continued at the fourth year level. The remaining new

courses enrich our curriculum in essential areas: music history,

music theory, electroacoustic music and world music.

These new courses now bring the music offerings into a closer

balance with the scope of offerings in the other areas.

0

4 -

---

E. NEW COURSE PROPOSAL FORMS AND COURSE OUTLINES

FPA 145-3:

'LC

OU RS E

i11 i.i:i

1. Calendar Information

?

Department: School for the

Contemporary Arts

Abbreviation Code: FPA Course No.145: Credit Hours: 3 Vector: 2-

2-0

Title of Course: Introduction to Music Composition

Calendar Description of Course: This course introduces basic concepts

of music composition such as melody and pitch organization, harmony,

rhythm and form. The fundamental principles of theory and acoustics (eg.

voice-leading, overtone structure, metre) will be studied with particular

reference to composition. Students will compose short works within

given guidelines that address specific compositional issues.

Nature of Course: Lecture/Studio

Prerequisites (or special instructions): FPA 104

What course (courses), if any, is being dropped from the calendar

if this course is approved? None

2.

Scheduling:

How frequently will the course be offered? once a year

Semester in which the course will first be offered: 92-3

Which of your present faculty would be available to make the

proposed offering possible? Bartlett, Komorous, Truax, Maclntyre, and

Underhill

3.

Objectives of the course: To firmly ground students in basic

•

?

compositional issues through the composition of short works. Students

should then be better prepared to undertake the composition stream

beginning with FPA 245.

16

.

S

t*.

---

17

4-Budgetary and Space Requirements (for information only):

?

.

What additional resources will be required in the following

areas?

Faculty: None

Staff: None

Library: continued purchase of contemporary scores and records

Audio Visual: None

Space: None

Equipment: None

5. Approval

Date:

11

O

?

.

Depart

?

hair Dean

?

Chair, SCUS

I

jib.

---

.

I

EPA 242-3:

SENATE COMMITTEE ON UNDERGRADUATE STUDIES

?

NEW COURSE PROPOSAL FORM

1.

Calendar Information ?

Department: School for the

Contemporary Arts

Abbreviation Code: FPA Course No.242: Credit Hours:3

?

Vector: 4-

0-0

Title of Course: Western Music in the 17th through 19th Centuries

Calendar Description of Course: This course will study the style,

language and genre of music in the seventeenth through nineteenth

centuries within specific social and historical contexts.

?

Special

attention will be paid to aspects of contemporary music practice that are

developed in this period: for example, instrumental ensembles such as the

symphony orchestra or the string quartet; modern instruments and their

literature; equal temperament; opera and melodrama; expectations of

musical expressivity and their relation to a particular harmonically

organized musical language..

Nature of Course: Lecture

Prerequisites (or special instructions): No prerequisite

What course (courses), if any, is being dropped from the calendar

if this course is approved? FPA 143-3: History of Musical Style

2. Scheduling:

How frequently will the course be offered? once a year

Semester in which the course will first be offered: 93-1

Which of your present faculty would be available to make the

proposed offering possible? Bartlett, Macintyre, Underhill, Zapf

3.

Objectives of the course: The conventions, assumptions and

expectations of western music that inform most of our contemporary

musical environment from music within the mass media (television, film

and popular musics) to the performed historical music literature and the

institutions of its performance (symphony orchestras, opera companies,

concert societies, radio programming, etc.) were formalized in the period

21

---

22

approximately encompassing the seventeenth through nineteenth

centuries. The intention of the course is to provide students with a

historical understanding of the music of this period as a means of

reinterpreting the contemporary musical culture.

4.

Budgetary and Space Requirements (for information only):

What additional resources will be required in the following

areas?

Faculty: None

Staff: None

Library: Purchase of further scores and records associated with this

historical period.

Audio Visual: None

Space: None

Equipment: None ?

S

5.

Approval

Date: ?

1J ?

GktI'ii

?

3ç

?^

0^

c.

Department

v

Chair

_

Dean ?

Chair, SCUS

.

0

---

25

1]

n

FPA: 244-3

1.

Calendar Information ?

Department: School for the

Contemporary Arts

Abbreviation Code: FPA Course No.244: Credit Hours:3

?

Vector: 3-

1-0

Title of Course: Theory of Contemporary Music

Calendar Description of Course: The theoretical investigation of the

basic materials of the tempered chromatic scale, alternative tuning

systems, and contemporary practices of texture and rhythm. Analysis of a

wide range of music, score-reading and exposure to recorded music will

be part of the course.

Nature of Course: Lecture/Seminar

Prerequisites (or special instructions): FPA. 140 and FPA 145

What course (courses), if any, is being dropped from the calendar

if this course is approved? None

2.

Scheduling:

How frequently will the course be offered? Once a year

Semester in which the course will first be offered: 93-1

Which of your present faculty would be available to make the

proposed offering possible? Bartlett, Komorous, Maclntyre,

Underhill, Zapf

3.

Objectives of the course: To introduce students to the linear and

vertical pitch aggregates derived from the tempered chromatic scale as

used by composers in the twentieth century. Both the American pitch

class system and Karel Janecek's system will be employed as the basic

investigative tools for the research and practice.

4.Budgetary and Space Requirements (for information only):

49.

---

26

What additional resources will be required in the following

?

.

areas?

Faculty: None

Staff: None

Library: continued purchase of scores and recordings

Audio Visual: None

Space: None

Equipment: None

5. Approval

Date:

01311

?

0

k--

-

-

2q

/

•

Department Chair Dean

?

Chair, SCUS

•1'

---

I

.

.

29

EPA 247-3:

SENATE COMMIUEE ON UNDERGRADUATE STUDIES

?

EW COURSE PROPOSAL FORM

Department: School for the Contemporary

Arts

Abbreviation Code: FPA Course No.: 247 Credit Hours: 3

?

Vector:

2-2-0

Title of Course: ElectroaCoustic Music I

Calendar Description of Course: The theory and practice of

electroacouStic music technology and composition. In addition to

expanding upon the issues introduced in FPA 147, the course will examine

through lecture and studio work the following topics: analog and digital

synthesis, microcomputer use, the multitrack studio, signal processing,

communication protocols such as MIDI and sampling techniques.

Nature of Course: Lecture/Laboratory

Prerequisites (or special instructions): FPA 147 and permission

of the department

What course (courses), if any, is being dropped from the calendar

if this course is approved? None

2. Schedulingi

How frequently will the course be offered? Once a year

Semester in which the course will first be offered: 92-3

Which of

your present faculty

offering ?

possible?

would be available to make

Bartlett, ?

Gotfrit, ?

MacanultY,

the

Truax

proposed

3. Objectives of the course:

This course will enable the School to provide most of the training

necessary to work in the rather diverse and rapidly developing field of

electroacoustiCs. The thirteen weeks of instruction offered in FPA 147

cannot provide sufficient background and training to enable most students

61.,

---

to begin serious compositional activity. By extending their basic studio

training for a second semester the students can achieve a level of

competency and understanding necessary for the compositional and

performance issues which are subject of upper level courses.

4.

Budgetary and Space Requirements (for information only):

What additional resources will be required in the following

areas?

Faculty: None

Staff: None

Library: None

Audio Visual: None

Space: None

Equipment: None

5. Approval

Date: ?

xCCt3I'lI

(5

&-2 c^k

CIk

CAdLo\j

Department Chair Dean

30

0

6^-

---

.

C

FPA 341-3:

SENATE COMMITTEE ON UNDERGRADUATE STUDIES

?

NEW COURSE PROPOSAL FORM

1.

Calendar Information

?

Department: School for the Contemporary

Arts

Abbreviation Code: FPA Course No.: 341 Credit Hours: 3 ?

Vector:

4-0-0

Title of Course: World Music

Calendar Description of Course:

The relationship of music and culture, with emphasis on traditional and

contemporary music in Asia, Africa, the Middle East, Latin America and

the Caribbean, and indigenous cultures of North America. Specific cultural

areas may be selected for intensive study in any particular semester.

Nature of Course: Lecture

Prerequisites (or special instructions): FPA 242

What course (courses), if any, is being dropped from the calendar

if this course is approved? None

2. Scheduling:

How frequently will the course be offered? Every year

Semester in which the course will first be offered: 92-3

Which of your present faculty would be available to make the

proposed offering possible? Bartlett,

3.

Objectives of the course: The goal of the course is to develop a global

awareness of the diversity of musical practice and the way in which those

practices reflect and influence cultural patterns. ?

In particular the

substantial influence on Western creative music from Asia.and Africa and

the impact of Western music on those traditions will be studied.

4.Budgetary and Space Requirements (for information only):

I

?

I

S

32

63.

---

33

What additional resources will be required in the following

areas?

Faculty: None

Staff: None

Library: Supplement present record and tape holdings.

Audio Visual: None

Space: None

Equipment: None

5. Approval

Date:

O3(c

I

T. V,.--

?

4A4t4

Department Chair Dean

?

Chair, SCUS

)4.

---

I

.

n

FPA 443-3:

SENATE COMMITTEE ON UNDERGRADUATE STUDIES

?

NEW COURSE PROPOSAL FORM

1.

Calendar Information

?

Department: School for the

Contemporary Arts

Abbreviation Code: FPA Course No.:443 Credit 3 Hours: Vector:(0-

4-0)

Title of Course: Gamelan III

Calendar Description of Course: Continuation of FPA 343 with

emphasis on the technique of the elaborating instruments of the

gamelan ensemble.

Nature of Course: Seminar/Studio

Prerequisites (or special instructions): FPA 343

What course (courses), if any, is being dropped from the calendar

if this course is approved?

2. Scheduling:

How frequently will the course be offered? Once a year

Semester in which the course will first be offered: 93-1

Which of your present faculty would be available to make the

proposed offering possible? Bartlett

3.

Objectives of the course: SFU offers the only opportunity in

Canada for university students to play in a Javanese gamelan. The

practise of gamelan music seems at first simple, but as a student's

experience grows so do the complexities and intricacies of the art.

Not only do students need at least another semester of work with

the gamelan, but the ensemble needs to have experienced players

who can contribute their expertise to the performance level of the

WO

---

40

ensemble. No additional resources are required as all levels of

gamelan

4. Budgetary

students

and Space

meet in

Requirements

a single class.(for

?

information only):

.

What additional resources will be required in the following

areas?

Faculty: None

Staff: None

Library: None

Audio Visual: None

Space: None

Equipment: None

5. Approval

?

Date:

OI./

) ?

Oth3iI

?

.

z

i

?

/1vv

Department Chair Dean

.

Chair, SCUS

[1

---

I

?

I

42

FPA 445-3

SENATE COMMITTEE ON UNDERGRADUATE STUDIES

?

NEW COURSE PROPOSAL FORM

1.

Calendar Information ?

Department: School for the

Contemporary Arts

• Abbreviation Code: FPA Course No.445: Credit Hours:3

?

Vector: 0-

2-1

Title of Course:Music Composition V

Calendar Description of Course: Composition for various

instrumental groups, electroacoustic resources, or combinations of

instruments and electronics. Students are also encouraged to do

work involving collaboration with dance, film, theatre and visual

art. In addition to individual composition lessons, students will be

required to attend a composition seminar where the practice of

compositions will be discussed. Seminar topics will include

orchestration, world repertoire, and issues of music technology.

This course is a continuation of EPA 346.

Nature of Course: Seminar/Tutorial

Prerequisites (or special instructions): FPA 346 and

permission of the department

What course (courses), if any, is being dropped from the calendar

if this course is approved? None

2. Scheduling:

How frequently will the course be offered? every fall and

spring semester

Semester in which the course will first be offered: 92-3

Which of your present faculty would be available to make the

. ?

proposed offering possible? Bartlett, Komorous, Maclntyre,

Underhill

.

6i.

---

3. Objectives of the course: To allow the advanced composition

students the opportunity of continuing their development through

working on longer, more challenging compositional projects.

4._Budgetary and Space Requirements (for information only):

What additional resources will be required in the following

areas?

Faculty: None

Staff: None

Library: None

Audio Visual: None

Space: None

Equipment: None

5. Approval

Department Chair Dean

?

Chair, SCUS

43

S

0

---

45

4

L

fl

FPA 446-3:

NEW COURSE PROPOSAL FORM

1.

Calendar Information ?

Department: School for the

Contemporary Arts

Abbreviation Code: FPA Course No.446: Credit Hours: 3 Vector: 0-

2-1

Title of Course: Music Composition VI

Calendar Description of Course: Composition for various

instrumental groups, electroacoystiá resources, or combinations of

instruments and electronics. Students are also encouraged to do

work involving collaboration with dance, film, theatre and visual

art. In addition to individual composition lessons, students will be

required to attend a composition seminar where the practice of

composition will be discussed. Seminar topics will include

orchestration, world repertoire, and issues of music technology.

This course is a continuation of FPA 445.

Nature of Course: Seminar/Tutorial

Prerequisites (or special instructions): FPA 445 and

permission of the department

What course (courses), if any, is being dropped from the calendar

if this course is approved? None

2.

Scheduling:

How frequently wilIthe course be offered? Every fall and

spring semester

Semester in which the course will first be offered: 92-3

Which of your present faculty would be available to make the

proposed offering possible? Bartlett, Komorous,

Mac I n ty re ,Under hill

---

I Objectives of the course: To allow the advanced composition

students the opportunity of Continuing their development through

working on longer, more challenging compositional projects.

4.—Budgetary and Space Requirements (for information only):

What additional resources will be required in the following

areas?

Faculty: None

Staff: None

Library: None

Audio Visual: None

Space: None

Equipment: None

5. Approval

R ?

Date:

O

0 (av- - ? q /c

t k

Department Chair Dean

?

Chair, SCUS

46

.

.

100'

---

0

?

ADDITIONAL CURRICULAR CHANGES

1. Course Prerequisite Change: FPA 104-3

From: Permission of the department, through interview, is

required in advance of registration. Contact department.

IQi No prerequisite

Rationale: This course is designed for students with no formal

music training and therefore should not require an interview. We

would like to see this course have a larger enrollment and feel that

interviews at the first year level discourage enrollment.

2.

Course Title. Description and Prerequisite Change: FPA 140-3

From: FPA 140-3 Introduction to Contemporary Music

A survey of major historical trends and practices of music in

the twentieth century including theoretical techniques as revealed

by the study of the music of selected composers. Small compositions

• utilizing these techniques will be a part of the class.

No prerequisite

]j FPA 140-3 Music in the 20th Century

.

?

An introductory survey of major historical trends and

practices of music in the twentieth century as revealed by the study

of selected musical examples. Critical issues fundamental to an

understanding of contemporary composition will be examined. (eg.

impressionism, twelve-tone music, indeterminacy, the role of

technology, improvisation)

Prerequisite: FPA 104

Rationale: With the introduction of a new composition and

theory course, FPA 145, the content of FPA 140 is more clearly

oriented towards history and critical issues rather than an amalgam

of composition, theory and history. References to theory and

composition have therefore been removed from the course

description. The level of work undertaken in this course requires at

least a basic knowledge of music notation. Students already

possessing this will be given permission to register, others will be

directed to remedy this deficiency by taking FPA 104. The new title

reflects the content of the course in a more accurate,

staightforward manner.

11

.

(\.

---

12

3.

Course Description Change FPA 245-3

From: Composition for small instrumental groups. Students

are also encouraged to do work involving collaboration with dance,

theatre, film and visual arts.

Prerequisite: FPA 140 and permission of the department.

Ii Composition for small instrumental groups,

electroacoustic resources or combinations of instruments and

electronics. Students are also encouraged to do work involving

collaboration with dance, film, theatre and visual art. In addition to

individual composition lessons, students will be required to attend a

composition seminar where the practice of composition will be

discussed. Seminar topics will include orchestration, world

repertoire, and issues of music technology.

Prerequisite: FPA 145 and permission of the department.

Rationale: The composition faculty regard work in the

electroacoustic studio as being equally legitimate as notated music

for study in our composition courses. The calendar description

should make this clear to students. The composition seminar is an

important component to all composition courses and should be

highlighted in the course description. The change in prerequisite is

necessary because of the new course FPA 145-3 Introduction to

Composition. ?

0

4.

Course Description and prerequisite Change FPA 246-3

From: Composition for small instrumental groups. Students

are also encouraged to do work involving collaboration with dance,

theatre, film and visual arts. ?

This course is a continuation of FPA

245-3.

Prerequisite: FPA 245 or permission of the department.

I ?

Composition for small instrumental groups,

electroacoustic resources or combinations of instruments and

electronics. Students are also encouraged to do work involving

collaboration with dance, film, theatre and visual art. In addition to

individual composition lessons, students will be required to attend a

composition seminar where the practice of composition will be

discussed. Seminar topics will include orchestration, world

repertoire, and issues of music technology. This course is a

continuation of FPA 245.

Prerequisite: FPA 245 and permission of the department

Rationale: see FPA 245

0

---

5.

Course Description and Prerequisite Change FPA 344-3

From A selective study of music written from about 1945 to

the present. Integral serialism, chance music, process music, the new

tonality, political music, music and technology and popular music are

some of the trends to be discussed,. Reference will be made to

parallel developments in other art forms. The study of scores and

various notations will play a large role in the course.

Prerequisite: FPA 140 or departmental permission

I.:

An in depth investigation of selected social, critical and

theoretical issues associated with contemporary music, with special

emphasis on the period c. 1945 to the present. Issues discussed

might include such theoretical concerns as integral serialism;

indeterminacy; process music; timbral concerns; or new approaches

to melody, harmony and tonality. Critical topics such as music and

technology; popular music and the mass media; or critical issues

connected with world music might also be considered. The material

of the course will be presented through the study of scores, recorded

examples, and when possible live concerts.

Prerequisite: FPA 244

Rationale: The rewording of the description clarifies the

. ?

content of FPA 344 in relation to the existing FPA 140 Music in the

20th Century and the new FPA 244 Theory of Contemporary Music.

This course is not intended as a survey, but will rather focus on

specific issues in depth and detail, extending some of the material

introduced in FPA 140 and FPA 244. The prerequisite of FPA 244

will ensure that students have already acquired a basic knowledge of

the repertoire and theory of contemporary music, as well as basic

skills such as score reading.

6. Course DescriDtion and Prere

q uisite Chan

g

e: FPA 345-3

From: A continuation of FPA

245-3.

Prerequisite: FPA 245 or permission of the department.

To: Composition for various instrumental groups,

electroacoustic resources or combinations of instruments and

electronics. Students are also encouraged to do work involving

collaboration with dance, film, theatre and visual art. In addition to

individual composition lessons, students will be required to attend a

composition seminar where the practice of composition will be

discussed. Seminar topics will include orchestration, world repertoire,

and issues of music technology. This course is a continuation of FPA

246.

Prerequisite: FPA 246 or FPA 247, and permission of the

department

13

V -

---

Rationale: The calendar description and prerequisite of FPA

345 was left unchanged, through an oversight, at the time of the

introduction of the new courses FPA 246 and FPA 346. The new

description and prerequisite rectifies this oversight. As students

will do compositional projects in FPA 247, that course would be a

suitable prerequisite as well as EPA 246.

7.

Course Description and Prerequisite Change FPA 346-3

From: A continuation of FPA 345-3.

Ii

Prerequisite:

Composition

EPA

for

345

various

or permission

instrumental

of the

groups,

department.

electroacoustic resources or combinations of instruments and

electronics. Students are also encouraged to do work involving

collaboration with dance, film, theatre and visual art. In addition to

individual composition lessons, students will be required to attend a

composition seminar where the, practice of composition will be

discussed. Seminar topics will Include orchestration, world

repertoire, and issues of music technology. This course is a

continuation of FPA 345.

Prerequisite: EPA 345 and permission of the department

Rationale: The new course description and prerequisite now

parallels the descriptions and prerequisites of the entire

composition sequence.

8.

Course Title. Description and Prerequisite Change: EPA 347-3

From

m Electronic Music and Performance

The theory and practice of electronic music synthesis and

composition. Compositional work will focus on the principal of

voltage control as used in the electronic music synthesizers, and on

related techniques for live electronic performance. Students will

have the opportunity for practical compositional work.

Prerequisite: EPA 147 or CMNS 258 and department permission.

Students with credit for FPA 347 under its former title may not

take this course for credit.

] ?

Electroacoustic Music II

An advanced examination of the aesthetics, technology, and

compositional approaches of electroacoustic music. Topics may

include computer music programming, performance systems,

compositional strategies and their relationship to technology,

synthesis and processing techniques and the analysis of works.

14

0

I -^-

---

Prerequisite: FPA 245 and FPA 247 . Students with credit for

FPA 347 under its former title may take this course for credit.

Rationale: The course description and prerequisites are

changed to accommodate the inclusion of FPA 247 into the Music

program and the description is being modified to acknowledge the

changes in the field since the original writing of the description in

1980. The addition of FPA 247 also requires a title change. With the

inclusion of FPA 247 in the program, CMNS 258 is no longer a

sufficient preparation for this course.

9. Course Prerequisite and Number Change: FPA 447-3 (EPA 348-3)

From: FPA 348-3

Prerequisite: FPA 147 or CMNS 258 and department

permission. CMPT 100 or 110 is strongly recommended. Students

with credit for EPA 348 under its former titles may not receive

further credit for this course.

IQi EPA 447-3

Prerequisite: EPA 347 and permission of the department. CMPT

100 or 110 is strongly recommended.

Rationale: EPA 447 is the most advanced course in the

.

?

electroacoustic composition series. With the introductory courses

in electroacoustics expanded to two semesters (FPA 147 and 247) it

is required that students take the courses in this series

sequentially. The change in course number and prerequisite reflects

this situation. Further, the number change is consistent with the

numbering of all electra-acoustic music courses and clarifies, our

course offerings.

15

7

---

I

PROPOSAL FOR A BFA IN THEATRE, May 1991, PAGE

PROPOSAL FOR A BFA - MAJOR IN THEATRE

RATIONALE:

Theatre instruction at SFtJ was established on a non credit basis in 1965.

In 1976 the Theatre minor was instituted as part of the academic

curriculum. In 1984 the University approved a Theatre concentration as part

of the new FPA major. The addition of a new full-time faculty position in

theatre in 1988-89, the increasing enrollment in the Area, the annual

summer Voice Intensive, and the recent institution of the MFA now provide

a favorable environment for a BFA with a Major in Theatre.

Theatre is a composite art form. The expanded opportunity afforded students

for cross-disciplinary work in the proposed BFA is of particular advantage

from an educational viewpoint - an opportunity that is uniquely available

at the School for The Contemporary Arts, and one that is most uncommon in

a theatre program. The current offerings of the Theatre Area form the

foundation for the BFA, and the structure of the program represents a

natural extension of the philosophy of the Area.

STRUCTURE:

The BFA requires a total of 83 hours within the School. The requirements

include a total of 6 FPA courses outside Theatre, with a possibility of 4

more. This will ensure that graduates have considerable interdisciplinary

experience in both studio and academic work. The Upper Level is especially

flexible and will accommodate a variety of interests as well as providing

an opportunity for the student to focus on specific theatrical concerns.

The specified theatre requirements of the Lower Level assure that students

will have a strong foundation in the fundamental themes of the discipline

before they undertake advanced work.

FPA 250 (Acting I) will continue as the entry course for admission to the

full Theatre program, as the audition /interview procedure for this course

has worked well as an entry mechanism. First year courses such as FPA 150

(Introduction to Theatre), FPA 151 (Introduction to Acting I), and FPA 152

(Introduction to Acting II), will continue to be open courses serving all

SFU students who wish to enroll.

RESOURCES:

The BFA - Major in Theatre requires no new courses or resources. All

necessary components and faculty are currently in place.

?

0

L

---

2

PROPOSAL FOR A BFA IN THEATRE, May 1991, PAGE

CALENDAR ENTRY:

The BFA - Major in Theatre emphasizes the development of an all-round

theatre artist. The studio courses in theatre are supplemented by courses in

dramatic literature, theatre history, playmaking, and technical theatre.

Courses chosen from disciplines outside theatre give the program a

significant interdisciplinary component. Students are encouraged to

participate in productions and to develop their own scripts and performance

pieces.

REQUIREMENTS FOR THE BFA - MAJOR IN THEATRE:

LOWER LEVEL

Minimum 42 hours, including.

All of:

FPA 111-3

TPA 151-3

FPA 152-3

FPA 170-3

FPA 250-3

FPA 251-3

FPA 252-3

FPA 253-3

FPA 254-3

FPA 255-3

Issues in Fine and Performing Arts

Introduction to Acting I

Introduction to Acting II

Introduction to Technical Theatre

Acting I

Acting II

Playmaking I

Playmaking II

Lab I

Lab H

0

One of:

FPA 171-3 Introduction to Stage & Production Management

FPA 270-3 Technical Theatre

One of:

FPA 127-3

History of Dance: Origins to the 20th Century

*

FPA 136-3

The History and Aesthetics of Cinema I

FPA 137-3

The History and Aesthetics of Cinema II

FPA 150-3

Introduction to Theatre

FPA 166-3

Introduction to the History of Art I

FPA 167-3

Introduction to the History of Modern Art

FPA 242-3

Music in the Seventeenth through Nineteenth Centuries

Two of:

FPA studio courses outside Theatre

t9^.

---

3

PROPOSAL FOR A BFA IN THEATRE, May 1991, PAGE

*New course FPA 328-3 History of Dance may be substituted for FPA 127-3.

UPPER LEVEL

Minimum 41 hours, including

All of:

FPA 350-3

Acting ifi

FPA 351-3

Acting IV

FPA 354-3

Lab ifi

FPA 355-3

Lab IV

FPA 358-2

Speech and Oral Interpretation I

FPA 454-2

Speech and Oral Interpretation II

Plus 5 of:

FPA 337-3

FPA 338-3

FPA 352-3

FPA 353-3

FPA 359-3

FPA 370-3

FPA 371-5

FPA 372-3

EPA 373-3

EPA 379-5

EPA 382-3

EPA 384-3

FPA 388-3

FPA 390-5

EPA 426-3

FPA 450-3

FPA 453-3

EPA 456-3

EPA 458-3

Directing Actors, for Film and Video

Advanced Screenwriting

Playmaking III

Playmaking IV

Selected Topics in Theatre II

Introduction to Design for the Stage

Lighting Design

Technical Production I

Technical Production H

Selected Topics

Aesthetics of Performance

Criticism of Performance

Directed Studies in EPA

Introduction to Video Production

Dance/Movement Analysis

Advanced Studio Skills

Theory and Practice of Directing

Conceptual Approaches to Drama

Directed Studies in Theatre

LI

Plus two of (one which must be either EPA 314-5 or 315-5):

EPA 310-5

The Arts in Context: The Renaissance

FPA 312-5

The Arts in Context: Baroque and Enlightenment

EPA 313-5

The Arts in Context: Romanticism

EPA 314-5

The Arts in Context: Modernism

EPA 315-5

The Arts in Context: The Contemporary Period

.

Iq.

---

r

School for the Contemporary Arts

?

September 1, 1991

Visual Art

Proposal for a BFA - Major in Visual Art

Rationale:

The Visual Art area of the School for the Contemporary Arts wishes to change

its current major to conform to a BFA degree in line with the other BFAs

offered within the School.

The Visual Art area first proposed a major in 1981, but for fiscal reasons was

not able to initiate the program until 1987 under a collaborative arrangement

with Emily Carr College of Art and Design. The original proposal was the

paradigm for the current BFA proposal, which is a refinement of the major as

it was instituted in 1987. The divergent approaches to the teaching of art

practiced by the two institutions and the different emphases placed on

relations between theory and practice make it clear that the distinct character

of the two programs should be respected and separately pursued. In our

program, the careful balance of studio and academic courses, and particularly

the relation of interdisciplinary courses to those offered by the area, has been

developed to take advantage of the unique possibilities available within the

School. A broad-based disciplinary education in the area is offered in

conjunction with a wide selection of possible options from other areas.

The addition of a fourth faculty member in Visual Art now authorized for

September 1992 will make it possible for the School to offer the disciplinary

courses now taken by SFU students through ECCAD. The introduction of lower

level technique courses as prerequisites for the second year core studios will

assure that all upper level students share the same common disciplinary

background, in preparation for more advanced studio work. In addition, the

relationship between the studio and theory has been strengthened through

the program's integration of new Interdisciplinary

?

Critical Studies courses.

The introduction of a 20th Century Art History course will complement the

Arts in Context sequence while emphasizing the contemporary concerns of

the program.

The area sees the introduction of the

keeping with the original intentions of

integration of theory and practice in

directed toward working in the field.

Resources:

BFA as a developmental progression in

the program, and one which offers an

the most beneficial way for students

I.

The BFA with a Major in Visual Art will not require major increases in

resources or equipment. Virtually all technical resources are already in place.

The anticipated necessary space allocation is currently under negotiation as a

part of the normal expected growth of the program as it currently exists.

Calendar Entry:

The BFA - Major in Visual Art prepares students to become practising artists. A

combination of broad-based practical studio courses in conjunction with

integrated theoretical and critical seminars allows students to understand

their own production in relation to current and historical developments in

visual art and other disciplines. A strong emphasis is placed on developing an

understanding of the position and responsibilities of the artist as part of a

larger social community in the contemporary world.

69

---

Requirements for the BFA - Major in Visual Art

?

2

Students are expected to complete a total of 83 hours in the school, plus the

additional Faculty of Arts Breadth Requirements of 30 hours, within the total of

120 hours required for the degree.

Lower Level

Minimum 43 hours, including

All of:

FPA 111-3

Issues in Fine and Performing Arts

160-3

Introductory ?

Studio ?

in ?

Visual

?

Art I

161-3

Introductory ?

Studio ?

in ?

Visual ?

Art

?

IT

164-2

Visual ?

Art ?

Techniques: ?

Photography, ?

Video

165-2

Visual

?

Art ?

Techniques: ?

Painting, ?

Sculpture

168-3

History of Art: 20th Century

211-3

Introduction ?

to

?

Contemporary ?

Theory

?

in ?

the

?

Arts

260-3

Studio in Visual Art I

261-3

Studio in Visual Art IT

One of:

FPA 166-3

History

?

of Art:

?

Ancient to ?

Renaissance

167-3

History of Art: Renaissance to Modern

Two of:

FPA

163-3

Issues ?

in ?

Spatial ?

Presentation

262-3

Drawing ?

I

263-3

Painting ?

I

264-3 Sculpture ?

I

265-3

Photography ?

I

269-3

Selected Topics in Visual Art I

One of:

FPA

127-3

History ?

of Dance: ?

Origins

136-3

History and Aesthetics of Cinema I

137-3

History and Aesthetics of Cinema II

140-3

Music in the 20th Century

242-3

Western ?

Music ?

in ?

the ?

17th

?

through

?

19th ?

Centuries

150-3

Introduction ?

to ?

Theatre

Plus two other FPA courses outside Visual Art, one of which must be a studio.

Upper Level Requirements

Minimum 40 hours, including

All of:

FPA 360-3

361-3

366-3

367-3

460-3

461-3

Two of:

Studio in Visual Art III

Studio in Visual Art IV

Seminar in Visual Art I

Seminar in Visual Art II

Directed Studio in Visual Art I

Directed Studio in Visual Art IT

• FPA 362-3 Drawing IT

363-3 Painting IT

364-3 Sculpture II

365-3 Photography IT

369-3 Selected Topics in Visual Art IT

YV

---

Two of:

Ll

FPA ?

335-3

Introduction to Film

?

Theory

370-3

Introduction to

?

Stage ?

Design

379-3

Selected Topics in Fine and Performing Arts II

382-3

Aesthetics

?

of ?

Performance

384-3

Criticism ?

of ?

Performance

388-3

Directed Studies in FPA

390-5

Introduction ?

to ?

Video ?

Production

411-3

Selected Topics in Contemporary Theory

412-3

Senior Seminar

?

in ?

Critical ?

Studies

426-3

Dance/Movement ?

Analysis

469-3

Directed Project in Visual Art

490-5

Advanced Video and Electronic Cinema Production

NOTE: By permission other upper level courses germane to the

student's visual art program may count toward this requirement.

Students should be aware that some of these courses have

prerequisite requirements beyond those that can be applied to

the major requirement.

Plus two of (one of which must be either FPA 314-5 or

315-5):

FPA

?

310-5

The Arts

in Context: The Renaissance

312-5 The

Arts

in

Context:

Baroque and Enlightenment

313-5

The

Arts

in

Context: Romanticism

314-5

The Arts

in

Context:

Modernism

315-5

The Arts

in Context:

The Contemporary Period

.