SiMON FRASER UNIVERSITY
2.12-40
0
?
MEMORANDUM
To
.T
..................................
CENTRE FOR THE ARTS - PROPOSED NEW
Sub jectc9!" ?
AND .iS
?
.................
FromTE COMMITTEE ON UNDERGRAI) fiAT I
STUDIES
DateA.X.
2 ?
1982 ?
...................
Action undertaken by the Senate Committee on Undergraduate
Studies at its meeting of March 9, 1982 gives rise to the following
motions:
1.
"That Senate approve and recommend approval to the
Board of Governors, as set forth in
S.8240,
the
proposed new course FPA. 105-3 - introduction to
Music Performance."
During discussion of this course the Committee enquired con-
cerning the offering of such courses at other universities and accepted
that the course is appropriate.
2.
"That Senate approve and recommend approval to the
Board of Governors, as set forth in S.82-4, the
proposed new courses:
FPA. 229-3 - Selected Topics in Dance 1
FPA. 329-3 - Selected Topics in Dance II
FPA. 239-3 - Selected Topics in Film I
FPA. 339-3 - Selected Topics in Film II
FPA. 249-3 - Selected Topics in Music I
FPA. 349-3 - Selected Topics in Music II
FPA. 259-3 - Selected Topics in Theatre I
FPA. 359-3 - Selected Topics in Theatre IT
FPA. 269-3 - Selected Topics in Visual Art I
FPA. 369-3 - Selected Topics in Visual Art II
FPA. 279-3 y Selected Topics in Fine and Performing Arts t
FPA. 379-2
k
-- Selected Topics in Fine and Performing Art 11.
FPA. 388-3 - Directed Studies in Fine and performing Arts I
FPA. 389-5 - Directed Studies in Fine and performing Arts 11."
There was extensive discussion by the Committee concern fiig
the proposal. It was noted that courses such as FPA. 229-3 would have
a variable vector, depending on the course content, with flexbiiity
being required to accommodate in the most suitable fashion the parti-
cular content to be covered. It was observed that present authority for
•
?
?
varying the vector would not satisfy the needs of these particular
courses and the Committee therefore recommends acceptance of the pro-
posal in those cases.
-2-
'or Information
At its meeting of March 9,1982., acting under delegated
authority, SCUS approved change in title
from
?
FPA. 436-5 -:Selected Topics in Film Studies
to ?
FPA. 436=5 - Advanced Topics in Film Studies.
S
El
. ?
SiMON FRASER UNIVERSITY
MEMORANDUM
To ?
Mr. H.M. Evans, Rist
egrar and
?
From
Janet Blanchet, Secretary to the
o
the SriI
?
óiithiiIéë oil
" ?
.
Fäèiil I
bf 1ñtidii11
iñLII
1
St.id i ds
Undergraduate Studies
?
Undergra duate ?
r: L : i
urn Coinini
Subject
..................................................... .
Date
........!l..?.3....
..98 ..
Re: FPA. 105-3, Introduction to Music Performance.
(ISC 82-3).
At a meeting of the Faculty of Interdisciplinary Studies
Undergraduate Curriculum Commi ttee held on Tuesday, .1ehrtia ry ft,
1982, members of the Committee approved the above-noted course.
Would you please place this item on the next agenda of* the Senate
Committee on Undergraduate Studies.
ATTACHMENTS
?
iT7.
JB/pgm
/
'j.
L.
SENAT1 COK1lTTEF ON UNI)ERCRADUATF STUDIES
NW COunS
p
ROrOSA[. FORM
Centre for the Art
cicniar1nform1tb0fl
?
Department:
Abbreviation Code:_
EPA. ?
?
Course ?
Number: ?
105
-
?
Credit Uou
.rs: ?
- Vector:
005
,i( Cn.irRe ?
Introduction toMusic Performance
Calendar
Description of Course:
The practical performance skills investigated in FPA.1014-3
are emphasized, with particular attention to sight singing, keyboard technique, rhythmic
exercises and ensemble performance. The course is designed for students who wish to
develop skills essential to good musicianship in preparation for further music studies.
Nature of Course
Tutorial/Studio
Prerequisites (or special instructions):
EPA. 014
and written permission of the Department
at course (courses), if any, is
being
dropped
from
the
calendar if this course
is
approved:
None, ?
However. FPA.10
1
4
is presently offered in Spring and Fall and, if
EPA. 105 were to be approved, FPA.10
1
1
would be offered in the Fall only.
¶
flow
frequently will the
course be offered? once per year
Semester in
which
the course will first be
offered? 1983-1 (Spring)
Which of your present faculty would be
available to
make the proposed
offering
possible? ?
David Macintyre and Owen Underhill
' ?
,.
0ectivea
of the Course
(1)
To
foster good musicianship through practical application of fundamental
theoretical concepts;
(2)
To teach the student how to sing traditional music notation without the aid of
an accompanying instrument;
(3)
To create a better understanding of the position of music performance within the
context of composition and theoretical music study.-
4.
Bt
etary and Space
Requirements (for information only)
What additional resources will be required in the following areas:
Faculty
Staff
?
NONE
Library
Audio Visual
Space
Equipment
Date
?
14
February, 1982 ?
??.
Dean
?
haiman,SCUS
j ;
73-34-
(When completing ihi form, for instructions- see Memorandum SCUS 13-348.
S
RATIONALE FOR FPA.105-3
This course will teach the practical aspects of music which were introduced in
FPA.104-3. Students, having taken FPA.10
1
4-3 and having learned fundamental music
theory through a thorough grounding in music notation, will begin intensive work
in ear training. This training will include aural study of pitch and rhythm through
sight-singing and rhythm reading exercises. The primary objective of this course
is to teach the student to hear and to perform the music notation which previously
had been understood only as a theoretical concept. The musician's most important
ally is his/her trained ear, and essential to good musicianship is the ability to
"hear" what is written. FPA.105 will teach the student the basic performance skills
which can prepare a student for work in the contemporary music minor.
0 ?
% I.
FPA. 105 Course Outline
Introduction to Music Performance
?
0
Weeks 1 - 2
Matching pitch, intonation basic vocal production
Intervals of the second; rhythms of medium difficulty; simple meter.
Weeks 3 - 4
Intervals of the third; simple canon and rounds; ties, triplets, changing
subdivision in simple meter; performance of simple tw
.
o part keyboard
compositions; scales.
Weeks 5 - 6
Intervals of the Fourth and Fifth; singing in parts - simple imitative
polyphony;
rhythms
of medium difficulty in compound meter; keyboard harmony
- cadences, perfect authentic
.
, plagal.
Week 7
The tritone.; continuation of part singing
?
ties, duples, changing sub-
division in compound meter; chorales; keyboard -.deceptive cadences.
Weeks 8-9
Intervals of the sixth; changing from simple to compound meter - beat
constant, subdivision constant.; simple keyboard progressions.
Ieeks 10- ii
Intervals of the seventh
.
; mixed meter; harmonization of keybQard melody.
Weeks 12 - 13
Sprechgesang; simple improvisation with given pitches; Cross rhythm,
polyrhythm; composition and performance of simple keyboçI work.
Notes:
.A.nterva1s will be studied through singing of basic exercises augmented
by appropriate examples from the repertoire of various compositional
periods from medieval to contemporary.
0. Underhill
EPA. 105
?
Introduction to Music Performance
BIBLIOGRAPHY
Adler, Samuel. Sight Singing. New York,
1979
Edlund, Lars. Modus Novus. Oslo,
1963.
Foltz, Roger, de Zeeuw, Anne Marie. Sight Singing and Related Skills. Austin,
1973.
Hall, Anne C. Exercises in Metrical Rhythm. Waterloo,
1980.
Kilewer, Vernon L. Music Reading. Englewood Cliffs,
1973.
Ottman, Robert W. Music for Sight Singing. Englewood Cliffs,
1967.
..
W.,
•'-- ) ?
('kS
For Library.
Date:
?
'
W -'
For Faculty-Deartrnet
Date: ?
/'/. ?
/ <?
/ ((
SIMON FRASER
UNIVERSITY LIBRARY COLLECTION EVALUATION
(To
be
completed only for new course proposals; not needed for re-numbering)
Course number' and name ?
Fine &.Performing Arts .105
1. Evaluation of current' library collection' (indicate method used,
.as applicable):
.2. Recommended additions to collection (nionographa, serials, other);-attach sup-
plementary
lists
as necessary:
3. Estimated coats:
A. Initial costs
?
monographs
serials
Total
B.
Continuing costs ?
' monographs
serials
Total
4. Special budget and scheduling factors (include special processing, equipment,
and servicing costs):
5. Other pertinent details:
This is a performance course that does not require research.
Nonetheless, we have a few volumes on sight-reading and will order
more from the bibliography attached to the course proposal.
r
r?!
Jim
a
October 3, lBO.
Mr. Jerold Gerbracht
Director
Vancouver Academy of Music
1270 Chestnut-Street
Vancouver, B.C.
•V434R9
bear Jerold,
It was a great pleasure to meet you yesterday. It was most
interesting to see your facilities,so= of your class groups and to
verify what
I
had already heard; that the Academy is a flourishing
institution of considerable repute.
Having said that in all sincerity, I must confess I did not enjoy
. ?
the seemingly negative position I had to assume as a matter of personal
oonscier%Ce to your suggestion of an affiliation between the Centre for
the Arts and the Academy. There is no question of quality judgment
here when I say I believe the elements of music we çepreaent are not
.
44
co'.atible in practice and philosophy.
We clearly understand the frustration you must face in not being.
Able to take your students on to post secondary education. The models
of the juilliard, Curtis and Eastman schools of music are well noted.
You mentione yourself however, that there is a new trend at universities
to shy away frbmuaic conservatories and academies. Such attachments
• ?
were the advent of a particular time in the evolution of North American
•,
universities. It is perhaps for this reason that the Conservatory of
Music has recently been disattaChed from the University of Victoria.
• ?
I know that we can now embark on a long discussion of the differences
between academy, school and conservatory. I realize that the previous
Victoria attachment is not an exact copy of what you are proposing but
I maintain that such word differences for the purposes of the larger
• ?
argument are sntical. The core of the prQblem as I see it is as
• ?
follows.
H
• ?
-2-
1.
The emphasis of the Vancouver Academy of Music is toward the
production of performing musicians. Students begin training for
t.hei,r respective careers at an early age and to some extent specialize
throughout their early years. Post secondary education is looked at
as a way for these students to continue in their areas of specialization
and to add studies in composition, music theory, history, etc.,
as well
as a certain component of university education outside of music.
Throughout, however, the emphasis is to be toward performance. All but
the music in-studio courses would be regarded as the purlieu of present
teaching staff or staff arranged for by the Academy. If Simon
Fraser
were to be the parent university then all courses not music studio
would be mounted and offered by Simon
Fraser
preferably on the
premises
of the Vancouver Academy of Music.
This arrangement of courses is not really an attachment to the University
or to the Centre for the Arts. There would be little participation in
on-campus activities and I gather the Centre would have no quality, or any
other kind of control on the music training courses offered. Even if you
wished us to have this control we do not anticipate ever having the kind
of faculty that could or would want to control the innumerable details of
staffing, setting of standards, procedures for evaluation etc. within
your programme, which is so very different in content and intention than
we plan for the Centre for the Arts. For example, could we expect that
faculty members of the Acadeçny would become involved in our various
departmental and Faculty committees and discussions? Would they be
interested in sitting down with all faculty of the Centre for the Arts
presently involved in arduous long range planning for the entire department,
not just for music.
2.
1 could list logistical considerations at great length but that would
just be dodging the greater issue, that of philosophy. This is, of course,
more difficult to talk about, but we did manage to touch on it in our
meeting. Your point was, that for the Simon Fraser music programme to
succeed to its own clearly defined objectives, those being the content of
music rather thr' skill training, it requires the kind of background the
Academy provides and should exist at the post secondary level side by side
• with a performance oriented stream. Within my experience, which
has
admittedly been mostly confined
to traditional
skill
training in Classical
Ballet and 10
years
of university dance, creative directions are not
natural extensions of skill training. For example, after 5 or 6 years in
the National Ballet School students transfering to the York University
Dance Department where several career options existed for them (composition,
teaching, therapy, notation, history and criticism) other than performance,
they were for the most part unable to deprogramme their intensely established
skill objectives. In fact, many were unable to relate to a university
environment or to other university students. That may be a severe example
but it goes to the root of my belief. By your own admission you would not
expect the post secondary students out of the Academy to assimilate into
t.he fabric of Simon Fraser. They would continue to do what they would be
-3- ?
.,.
? .
•1
.p
?
:•
doing anyway with the addition of some courses and studies provided
•
by Simon Fraser
for them. In other words, the experience would
not
be university, environmentally or philosophically, but an extension
of the Academy approach. This is the most serious defect of your
proposal, to
my
mind.
1
9,
Perhaps at this point I should touch on the jurisdiction and
intention of universities, acknowledging straight off that there have
been some historical exceptions. universities purport to educate the
whole man.
I believe
that to be
its
noblest function. Universities
are
not vocational schools. On the other hand they certainly do not
set out to educate a student to be unemployable. For the most part
professional preparation emanates out of general exposures to humanities,
sciences and, especially within this century, the
arts. If
there is
to
be
highly specialized study, it is at the top of the educational elevator.
Universities are highly committed to research. The professional world
looks to universities for the means and the talent to evolve knowledge.
In the fine and performing arts the research component of higher education
has made phenomena], contributions to professionals in the field of dance,
film, music, theatre, visual arts and in very related areas of perception,
aesthetics and the philosophy of art. Looking closer at these con'tributiOfls
one sees that they are almost always highly contemporaneous creative
contributions. Dance composition, film experimentation, explorations into
new fields of musical compositiOn, theatre innovations and departures from
traditional painting are the things we expect from universities. These
activities are often looked at with a suspicious eye but the fact remains
that in this century in North America there has been very little evolution
in the arts that cannot be traced back to universities. In my own field
it is clear tome that the great institutions of classical ballet with
excellently trained dancers are more and more bereft of creative ideas
and must look to the ideas that emerge from the contemporary dance field
most influenced by university dance programmes across the continent. I'm
certain this parallel exists in music as well. CalArts in California and
other highly creative and innovative programmes
'in universities have made
the most impact on new music in the past decade. Your point is that our
creative juices should run more effectively with a number of excellent
musicians attched to our objectives. I agree to a point except that
I
don't
see
the it7tachment as real. A true attachment must be philosophical
as well. The type of student we must look for is the type that has a
knowledge and respect for the great traditions of music but
who wishes
to
research beyond that into future expressions
very early
in his
or her
educational
beginnings. it has often been said to me that a student should
only be concerned with original creation after the attainment of specialized
skills. When one looks at students who have gone on to make significant
creative contributions, this has seldom been the case. That is not to say
that composers are not also fine musicians. Many are, but they did not
begin compositional studies at the end of skill training or even side by
side with the sort of academic training intended to make them
coert
violinists or pianists.
- 4
-
Mother real
consideration for us is the danger to a new and
developing program electing to. remain specifically compositional
with the attachment of a large and highly visible already established
Academy of Music. In the eyes of the public we would become the
Academy. We are a small tail to a rather large dog. All parts of
the Centre for the Arts are now involved in heavy dialogue to propose
to this University our long range educational objectives. It is already
clear that the faculty here, and
i
certainly agree with them, will
elect to retain contemporaneous objectives. To effectively obtain
these
ends we must not
add
to our plate other objectives,
,
however seductive
they
appear, which
might confuse the public image.
4.
?
?
Now, I am fully aware that the Vancouver Academy of Music might
be contemplating an association with Simon Fraser University that by
passes the Centre for the Arts. If so, my argument regarding public
image and educational confusion still applies. The University has already
made a strong commitment to the Centre for the Arts and has supported its
curricular growth to the point where we have major studies in dance',
minor studies in film, theatre and visual arts. We are about to receive
a green light for our Fine and Performing Arts interdisciplinary major
degree and a music minor. For the University to embrace the Vancouver
Academy of Music separate from the Centre for the Arts would be to place
one programme in competition with another, an untenable position. In this
case the University would also be putting itself in direct competition
with other universities in the province where there are already music
programmes more in line with your objectives than we are. The Centre's
developing music programme will be unique to the Province.
As we discussed, I can see more natural lines of attachment to U.B.C.
or to Vancouver Community College.
?
You do need to extend
?
and I really
wish I could be more helpful. At this point, with my present commitment
to the Centre and within my own philosophy of university education I must
make my stand and I believe the stand of the Centre.
Notwithstanding all the above, I wish you and the Academy much
to
success and thank you for your kind
hospitality.
Sincerely,
,\4flytrate
Director
Centre for the Arts
GS/yn
cc: Dr. George Pedersen
?
Blind copies sene to:Evan Alderson
President ?
Iris Garland
Dr. J. Blaney, Dean
?
Barry Truax
ontinuinq Studies
?
David Maclntyre
Prof. Archie Macpherson
Dr. T.W. Calvert, Dean
?
Dr. J.
Munro, Vice-Pres.ACad.
Interdisciplinary
Studies
S
S
Music
UNI
VERSITY-
(Faculty
OF
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SiMON FRASER UNIVERSITY
?
ii
d2
MEMORANDUM
To
?
Mr. II. M. Evans, Registrar and
?
From
Janet Blanchet, Secretary to the
ìë Së'riàë Cóñiiiitféè
?
Fãü1
?
f
Studies
rn
Undergraduate Studies.
?
Undergraduate Curriculum Committee.
Subjoct
.......................................................
Date.
?
.............82
Re: Centre for
the Arts: 1. New Course Proposals for.
Selected Topics Courses and Directed Studies Courses
2. Proposed course title change for FPA. 436-5.
(ISC .
82-0).
At a meeting of the Faculty of Interdisciplinary Studies
Undergraduate
Curriculum Committee held on March 16,
1982
members of the Committee approved twelve Selected Topics
courses in the Centre for the Arts, that is to say, one
lower division and one upper division course in each of
six areas of study in the Centre. In addition the Committee
approved two Directed Studies courses in Fine
?
Performing
Arts.
follows:
Secondly,
the Committee approved a course title change, as
From; FPA. 436-5
.
Selected Topics in Film Studies
To: ?
PPA. 430-5 Advanced Topics in Film Studies
This change was approved in order to avoid title duplication.
Would you please place these items on the next agenda of the
Senate Committee on Undergraduate Studies for consideration.
A1:TACIIMENTS
Jl3/pgni
.
• . ?
SiMON FRASER UNIVERSITY
?
,'SC
2-C
MEMORANDUM
Dr. G. Bhakthañ, Chairman
?
Santa Aloi, Chairperson D.C.C.?
To........
FIDS
............
Curriculum
......
.........
Com
ittee
.........................
From
........
Centre
........
for
.... the
.......
Arts
..........................
New Course Proposals & Course
?
25 February, 1982
Subject
.....................................................
.
Date
.....................................................
Title Change Proposal.
I have attached new course proposals for the following Selected Topics Courses:
- FPA.229-3 Selected Topics in Dance I
FPA.329-3 Selected Topics in Dance II
FPA.239 .
-3 Selected Topics in Film I
FPA.339-3 Selected Topics in Film II
FPA.249-3 Selected Topics in Music I
FPA.349-3 Selected Topics in Music II
- FPA.259-3 Selected Topics in Theatre I
FPA.359-3 Selected Topics in Theatre II
FPA.269-3 Selected Topics in Visual Art I
FPA.369-3 Selected Topics in Visual Art II
FPA.279-3 Selected Topics in the Fine & Performing Arts I
FPA.379-5 Selected Topics.in the Fine & Performing Arts II
In addition, we include the following course proposals for Directed Studies Courses;
FPA.388-3 Directed Studies in Fine & Performing Arts I
FPA.389-5 Directed Studies in Fine & Performing Arts II
A single rationale is given for these
?
courses. We have also included a proposed
?
course title change for FPA.436-5.
We would appreciate these proposals being placed on the Agenda of the next FillS
Curriculum Committee meeting. Thank you.
Santa Aloi
MPF
. ?
cc. Janet BlanchetV
D.C.C. members in C.A.
February 1982
RATIONALE FOR PROPOSED NEW SELECTED TOPICS AND DIRECTED STUDIES COURSES IN E.P.A.
The centre for the Arts proposes to offer a set of selected topics courses
in each of the art areas and 2 directed studies courses in the fine and performing
arts. ?
These courses would allow us to address aspects of the arts, onan occasional
basis, not regularly covered in our curriculum.
?
When such courses could be
offered, they would augment the studies of E.P.A. students, providing options
within and among the various disciplines which might be of special interest. They
could also be available to the broader University community. For example, the
Centre could provide courses in the arts which would be useful for a teacher's
professional development as well as for an arts student.
?
With the proposed
directed studies courses in the fine and performing arts, we could more
appropriately do the work which G.S. 400 has been doing for us in the past,
since the projects undertaken have been essentially internal to the Centre.
Students could then get EPA. credit for such work, which could be used towards
fulfilling their EPA. general requirements. Special topics courses in the
various arts would provide options outside our curricular structures which would
enrich our course offerings.
The introduction of the new group of courses will provide flexibility which
is not possible at present. The course offerings could be taught at any time,
but would be especially useful in summers when most of our courses are not
offered. They would take advantage of special interests and expertise of both
regular and visiting faculty. By offering selections at upper and lower divisions,
we can supplement the work of students at both levels. Though the Centre
currently offers some directed studies courses, they often have specific places
within a required curriculum, are offered only at upper division and have
extensive prerequisites. For example, in Dance and Theatre, directed studies
courses are specifically aimed at projects which area culmination of the work
^ I'-.
?
in the major or minor, and have specific focusses. In Film, directed studies are
IWM
required courses with particular production aims. These directed studies cannot,
therefore, be used either in place of the proposed selected topics courses, nor
are they general enough to cover the various kinds of projects possible under
directed studies in E.P.A.
The large number of proposed courses does not imply that they would be
regularly offered. They would be. available options with which to supplement
programs when expertise and resources are available.
?
They could be taught
occasionally in place of regular offerings, or could provide credit for
workshops and seminars offered by the Centre. At times they could be vehicles
for cross-listing with other departments.
The following courses
FPA.229 (3) -
FPA.239 (3) -
S
FPA.249 (3) -
FPA.259 (3). -
EPA.269 (3) -
EPA.279 (3) -
FPA.388 (3)
are proposed:
329 (3) Selected Topics in Dance I & II
339 (3) Selected Topics in Film I & II
349 (3) Selected Topics in Music I & II
359 (3) Selected Topics in Theatre I & II
369 (3) Selected Topics in Visual Art I & II
379 (5) Selected Topics in E.P.A. I & II
389 (5) Directed Studies in E.P.A. I & II
S
SENATE COMMITTEE ON UN
L)EK(.I(ADU Al
NEV
. COURS) PROPOSAl. FORN
1. ClepdnrInfOrjt!!Y
?
Deportment:
Centre for the Arts
Abbreviation Code
EPA. ?
Course Number:
?
Credit Rours:
3
?
Vector:Liabl
0*
depending
Title of Course;
Selected Topics in Dance
course content
Calendar Description of CourBC:
A specific topic in Dance which is not otherwise
covered in depth in regular courses. The work will be practical (studio),
theoretical, or a combination of the two, depending on the particular topic in a
given semester.
N a
t
ure of Course variable
perequisitCG (or special instructions)!
FPA.122 and/or permission of the Department
what course (courses), if any., is being dropped from the c
.
aledar if this course is
approved
none
2.
Scheduling
how frequently will the course be offered?
occasionally
Semester in which
the.
course will first be offered?.
Which of your present faculty.
would
be available to make; the proposed offering
possible?
Aloi, Garland, Greenhough, Strate, visiting faculty
3.
2
b j ec
t
i
.
vesof the Cou!..
To provide on an occasional basis some grounding in
dance in areas not covered in the regular curriculum. Appropriate topics might
include detailed study of theories of alignment and ideokinesis, effort shape
arialysk, special approaches in improvisation.
4 ?
Jtary and Space Reqtd.rementS (for information only)
What additional resources will be required in, the following areas:.
Faculty
Library ?
NONE
Audio Visual
Space
Equipment
., •pprov.L
22 February, 1982 -
7
1
partmen ?
hairman. .
? Dean
Chairman, SCUS
CUS 73-34b:- (When completing, this form, for instructions see. MemoranduxnSCUS 73-34a.
Attach course outline).
SENATE
COMITTEY ON IMI)EIRCHADITATE STUDIES
NEW COURSE
PROPOSAL FORM
Department:
Centre for the Ar1.;
Calendar information
FP ?
-
Course Number;
329
?
Credit Hours:
3
- Vector:
vdrialjle,
AbbreViatiOl%
Code:
dcpendinq on
Title
of
Course:
Selected Topics in Dance
course
II
content
Calendar Description of Course:
A specific topic in dance which is not otherwise
covered in depth in regular courses. The work will be practical (studio),
theoretical or a combination of the two, depending on the particular topic in a
given semester.
NaLuVC
of
Course
variable
p
C
qut6jtC0 (or special instructions)
FPA.220 and/or permission of the Department
What course (courses), if any, is being dropped from the calendar if this course is
approved:
none
2. Scheduling
110w
frequentl
y
will the course be offered?
occasionally
Semester in
which the course will first be offered?
Which
of your
present faculty would be available to make the proposed offering
ossib1e7
?
Aloi, Garland, Greenhough, Strate, visiting faculty
S.
,
ecttvCS
of the Course
To provide on an occasional basis some grounding in dance in areas not covered in
the regular curriculum. Appropriate topics might include notation.sySlcrn.,
d;rice
pedagogy, analysis of a specific choreographer's work.
4. Budget ?
3nd
Space Requl
?
(for information only)
What additional resources will be required in the following areas:
Faculty
S aff
Library
?
NONE
Audio Visual
Space
Equipment
5. Approval
February, 1982
Date.
22
Zpartm2
entairman
Dean
?
Chairman, SCUS
1.
SCUS 73-34b: (When completing this form, for instructions see Memorandum SCUS 73-34a.
Attach course outline).
SENATE COP4MI.TTEF ON
UNDERC.NADUAT1 STUDIES
?
NEW COURSE PROPOSAL
.
FORN
Centre for the Arts
1. cdj!i2.!3.i0!i
?
Department:
lcn
Abbreviation C
ode: FPA.
?
Course Number
?
239 ?
Credit Uours:
3
?
Vector:
variab
Titl
e
of CourflC
?
Selected Topics in Film I ?
depending on
course content
Calendar Description
of
Cour1C:A
specific area of Film which is not otherwise
coveted in depth in regular courses.
Nature of Course
variable
percqu1t;ttCfl (or tpecial instructions):
EPA. 136 or 137 and/or permission of the Department
What course (courses), if any, is being dropped from the calendar if this course is
approved:
none
2.
Schedult&
110w frequently will the COUrSe be offered?occasionally
Semester in which the course will first be offered?
Which of your present faculty would be available to make the proposed offering
possible?
?
Silverman, Razutis, visiting faculty
3.
0hj(!c1ivCs of the Course
?
Selected topics would be offered primarily in film
T. The objectives are to provide, on an occasional basis, some grounding in
Ii liti iii dreas not covered in the regular curriculum, ?
Appropriate topics might
rn:.lude Narrative and the New Avant Garde. Canadian film history and industry,
se icc lcd 1 :
i I ins and F i linmakers
4.
B
ary
and Space RcqIrCeji (for information
only)
What additional rc8ources
will be
required in the following areas:
Faculty
Saf
C
Cibrnry ?
NONE
,.,Audio Visual
Space
Equipment
. Appro\Fn
ovnl
22 Feary, 982
Date:
- ? partmcnt ?
airman ?
Dean
-
?
Chairman, SCUS
'SCUS 73-34b:- (When completing thia form, for instructions see Memorandum SCUS 73-34a.
Attach course
outline).
I
T
TTFF
ON
1JNI)ERC
'
RADUAT
l
STS
A1i. COK!.
NEW couRPLj:°
S
i.
L
Department:
.
.
CCFII
ltU1
tht
calendar
i
n
formation
_ Course Number:
?
Credit Uours:
...
?
Vector:
Abbreviation Code:
FPA.
de
pend I
iiq
Selected Topics in Film II
?
A
specific
area of Film which is not
?
C()Ul ?
(
Calendar DescriPtion of
Course:
Title of Course:
otherwise covered in depth in regular courses.
Nature of Course variable
Prerequisit
e
s (or special instructions):
FPA.234 and/or permission of the Department
What course
(course-9),
if any, is being
dropped from the calendar if this
course I
s
approved:
?
none
0-
2.
?
ultfl
How frequently will the course be offered?
occasionally
Semester in which the course will
first
be offered?
Which of your present faculty wc
'
ud be available to make
the
proposed offering
p
os
s
ible?
Silverman, Razutis, visiting faculty
3. obectye2tt
Cours
Selected topics would be offered primarily in Fl liii studies. The tbjcc.t.ivc; we
te
provide on an occasional basis some grounding in film in areas not coverd
ill
the
regular curriculum. Appropriate
tOpICS
might include Psychoanaly
,
Jt, and ilie Cinema,
Cine-semiotics and close reading of narrative and non-narrative texts, Film Noir.
4. BudetYan
d
space Req,ilr
e
!i. (for information only)
What additional resources will be required in the following areas:
Faculty
Saf I
Library
NONE
Audio Visual
Space
Equipment
0-
5.
Approval
22 February, 1982
Date
Department
?
airman
-
=4!^^
Dean
Chairman,
5CUS 73-34b- (When completing this form, for instructions see Memorandum SCUS 73-3411.
Attach course outline).
SENATE COMMITTEE ON un)ERc.RAnuATl: STUDII':s
COURSE PROIOSAt. FOIUI
Centre for the Arts
1. Calendar Information
?
Department:_____________________
Abbreviation Code:
?
FpA.
Course
Number:
29
?
Credit Hours:3
?
Vector:
depending on
Title of Course:
Selected Topics ii) Music I
?
course content
W
CntI4r
Description of Course:
A specific topic in music which is not
hetwi se covered in depth in reyti lar courses. The work may he practical (studio)
Ilm(()I'eI i(.)I
or a combination of the two, depending on the particular topic in a
i VcIm
si'iiies tel-.
Nature of Course
variable
p
C
rcquiGitca (or
special instructions)
FPA.1 1
40 and/or permission of the Department
What course (courses), if any, is being dropped
from
the calendar if this course is
approved:
none
2.
How frequently will the course be offered.?
occasionally,
Semester In which the course will first be offered?.
Which of your present faculty
.
would be available to, make the proposed offering
posab1e? ?
Mac Intyre, Underhill
3. ?
jcti.vc of the
ur
se
The objectives are to provide on an occasional basis some grounding, in Music in areas
not covered in the regular curriculum. Appropriate topics might include contemporary
music aesthetics or analysis of a specific composer's work.
4.
Rcqtdrements (for information only)
What additional
resources will
be required
.
In the following areas:
Faculty
staff
Library ?
NONE?
Audio Visual
pccc
Equipment
..Approvnl
Date:
?
22
Feb m
?
r
y,
1982
Chairman, SC US •
SCtS, 73-34b;- (When completing this form, for instructions see Memorandum SCUS 73-34a.
Attach course outline).
SENATE
co g
tlTTE ON UN UERCRADUATE_STUD
!
ES
NEW COURSE
PEOPOSM, FORM
Centre for the Arts
1. calendar information
?
Department:_
Abbreviati
on
Code:
FPA.
- Course
Number:
?
31 4
9
?
Credit
11ours:3
?
Vector:
variable,
Title of Course:.
Selected Topics in Music 11
?
d&pcn(linq
uti
C (
tu rs e
Ct
)n t
eli
I
Calendar DecriPtiOfl of Course:
A specific topic in music which is not
otherwise covered in depth in regular courses. The work may he practical (.iudiu),
theoretical or a- combination of the two, depending on the particular topi
?
in a
given semester. ?
-
Nature of Course
variable -
Prerequisites (or special instructions):
FPA.2145 and/or permission of the Department
What
course (courses), if any, is
being
dropped
from the calendar if this course
i
approved
?
none
Scheduling-
how frequently
will
the
course be offered?
?
occasionally
Semester in which the course will first be
offered?
Which of your
present faculty
would
be available
to
make the proposed
offering
possible?
.
?
Macintyre, Underhill
?
-
3, Objectives of the Course
The objectives are to provide on an occasional basis some grounding in Music in
areas not covered in the regular curriculum. Appropriate topics might include
special study in performance practice, the Janacek theoretical system of
contemporary music analysis, special topics in notation. -
4.
BudetarXafl(% Space Regu1reyf'!!
(for information
only) -
What additional resources will be required in the following areas:
Faculty
S af f
Library
?
NONE
Audio Visual
Space
Equipment
5. pprovfll
Date: ?
________________________
22 February, 1982
Sairman
Dean ?
Piz
?
Chairman,
SCUS
SCUS 73-34b:-
(When
completing this form,
for in
?
see Memorandum SCUS
73-34n.
Attach course
outline). ? -
SENATE CO11TTEE ON
NLW
COURSE
PROPOSAL.
FORN
Centre for the Arts
cc,nijnr
information
?
Department:
Abbreviation
Code:
EPA ?
Course
Number:
259 ?
Credit
?
_____
-
0
?
Selected Topics in Theatre i
?
depending on
Titlo of Course:
course content
Calendar Description of Courac:
A 'peciiic topic in theatre which is not otherwise covered in depth in regular courses.
Thi'
work maybe practical (studio), theoretical or a combination of •the two, depending
on the
particular topic in a given semester.
Nature of
CourtC
variable
percquir.itCO (or special instructions):
FPAJ50 and/or permission of the Department
What
course
(courses),
if any, is being dropped from the calendar if this course is
approved:
none
2.SchUa&
80w frequently will
the
course be offered?
?
occasionally
Semester In which the course will first be offered?
Which
of your present faculty wo
uld
be available to
make the
proposed offering
possible?
Diamond, visiting faculty
3.ecttvCi
0!
the Course
?
S
The
objectives are to provide on an occasional basis some grounding in theatre in
arc..-isriot
covered in the regular curriculum. Appropriate topics might include study
of acting styles, particular work in theatre skills such as mime, contact improvisation
and others,
analysis of various performing and playwrighting traditions.
4. ?
etrXl
Sace
Req reTh9j
?
(for information only)
What additional resources will be required in
the
following areas:
Faculty
Spit
- ?
NONE
Library
(.. L Aud
j
o
Visual
Space
Equipment
s
Date; ?
22 February, 1982
^Pvartmeht Chairman
?
Dean
Chairman, SCUS.
SCUS
73 -
341):- (When completing
this
form, for instructions see
Memorandum
SCUS 73
-
34a.
Attach
court'C
outline).
SENATE co?U1lTTEF: ON
?
DERCHADUATE
NEW COURSE PROPOSAL FORM
.
1. Calendar Information
?
Department:
Centre for the Art-.
Abbreviation Code:
_
EPA.
?
Course Number:
?
359 -
Credit hours:
3
?
Vector:
variable
Title of Course:
Selected Topics in Theatre II
?
deptri(liiiq
on
course.
(:ufltellt
Calendar Description of Courc:A
specific topic in theatre which is
not
otherwise covered
in
depth
in
regular courses. The work may be practical
(studio),
theoretical or a combination of the two, depending on the particular topic in
a
given semester.
Nature of Course
?
variable
Prcrcqui6itc8 (or special instructions):
FPA.250 and/or permission of the Department
What course (courses), if any, is being dropped from the calendar if this course
is
approved:
none
2.
110w frequently will the course be offered?
?
occasionally
Semester in which the course will first be offered?
Which of your present faculty would be available to make the proposed offering
possible?
Diamond, visiting faculty
3.
Objectives of the Course
The objectives are to provide on an occasional basis some grounding
in
Theatre in
areas not covered in the regular curriculum. Appropriate topics might include
a
specific style of theatre such as open theatre, Commedia, Epic or creation
and
performance of original material.,
4.
_
and SpaceReguircu
__
nt
s
(for information only)
What additional resources will be required in the following areas:
Faculty
Saf
I
Library ?
NONE
Audio Visual
Space
Equipment
5.
Approval
22 February, 1982
-
Department Chairman
?
Chairman, SCUS
SCUS 73-34b:- (When completing this form, for instructions see Memorandum
SCUS
73-34n.
Attach course outline).
SENATF COMMITTEE. ON
IJNNIL)LKk-IIAIIIIAII'.
a
NEW COURSE PROPO.SA(. FORJI
Centre for the Arts
I. £"
Information
?
Department:
Abbrevia
tion Cod
e:
_______
Course Number:
26
9
?
Credit Hours:
?
Vector: ?
aria
Title of Course:
Selected Topics in Visual Art I
?
depending on
course content
Calendar DeDcriptiofl of Course:
A specific topic in visual art which is not otherwise covered in depth in regular
Course".. The work may be practical (studio), theoretical or a combination of the
two,
depending on the particular topic in a given semester.
Nature of Course
variable
Prerequisites (or special instructions):
FPA.160 and/or permission of the Department
What course (courses), if any, is being dropped from the calendar if this course is
approved:
?
none
2.diA
How frequently will the course be
offered? ?
occasionally
Semester in which the course will
first be offered?
Which of your present faculty
would
be available to make the proposed offering
possible?
?
Wall, ?
Snider,
?
Mac William, visiting ?
faculty
3.
objectives of the Course
The ()bjcct:ives ?
are ?
to provide on an occasional
?
basis
?
some grounding
?
in Visual ?
Art ?
in
artas
?
not
?
covered
,
in ?
the
?
regular ?
curriculum. ?
Appropriate ?
topics might ?
include
;idiriqs ?
in ?
contemporary ?
criticism;
problems ?
in performance and exhibition.
4. ?
jttry and Space Requircme
(for information only)
What additional resources will be
required in
ti l
e
following areas:
Faculty
Siff
•L+brory ?
NONE
Audio Visual
Space
Equipment
S.
Appovfll
Date:
?
22 February. 182
/
'IIpartmcztt ?
airman ?
Dean
?
- Chairman, SCUS
5CU5 73-34b:- (When completing this form, for instructions see Memorandum SCUS 13-34a.
Attach course outline).
SENATE COMMITTEE ON
IJNIERcRADU
AT1:
STUDIES
NEW COURSE PIZOPOSAI,
FORM
Centre for i he Art-;
.
1. Col
p
ndar Information
?
Department:
Abbreviation Code:
?
PA.
-
?
Course Number:
369
?
Credit Hours:
3
Vector:
variable,
Title of Course:
?
Selected Topics in Visual Art
II ?
depending
On
(iii
?
COn I
ei I
Calendar Decription of Course:
A specific topic in Visual Art which is not otherwise covered
in
depth in regular
courses. The work may be practical
.
(studio), theoretical or a combination uf the
two, depending on the particular topic
in
a given semester.
Nature of Course
variable
Prerequisites(or special instructions):
FPA.260 and/or 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?
?
occasionally
Semester In which the course will first be offered?
Which of your present faculty would be available to make the proposed offeriu
possible?
Wall, Snider, MacWilliam, visiting faculty
3.
jecttvesoftheCourse
The objectives are to provide on an occasional basis some grounding in
Visual
Art
in
areas not covered in the regular curriculum. Appropriate topics might
include
Art,
Architecture and Urbanism; Methods of Analysis: Iconology and Semiology.
4.
Budgetar
y
and Space Requirements (for information only)
What additional resourc
es
will be required in the following areas:
Faculty
Staff
Library
Audio Visual NONE
Space
Equipment
5. Approval
Date:-
February, 1982
?
f
partment ?
airtnan
)
Dean
?
Chairman, SCUS
SCUS 73-34b:- (When completing this form, for instructions
8CC
Memorandum SCUS
73-34a.
Attach course outline).
SENATI COt1MlTT) ON
NLV counsi: PROPOSAL FOR}t
1. Calendar information
?
Department:
Centre for the Arts
Abbreviation Code:_FPA.
?
Course Number:
279.
?
Credit
ilours:
ariabl?
depending on
Titlo of Course:
Selected Topics in the Fine and Performing Arts I
course content
Calendar
Lacript
iou of Course:
A specific topic in tine and performing arts which
i5
not otherwise covered in depth
in regulor courses and which is not appropriately placed within a single arts
discipi inc.. ?
The work will he practical (studio), theoretical, or a combination of
the two, depending on the particular topic in a given semester.
Nature of Course
variable
ycrcquI6itC8 (or special instructions):
Permission of the Department
What course (courses), if any, is being dropped
from
the calendar if this course is
approved:
none
2.
Schedul in
Uow frequentlY will the course be offered?
occasionally
Semester in which the
course will
first be offered?
Which of your present
faculty would
be available to make the proposed offering
possibLe? ?
Alderson. Blaser, Macfarlane
3.
Q
j
£t
?
sotthe
Cot!.
This course will provide for occasional offerings which are
interdisciplinary or cross-disciplinary in nature.
?
Appropriate offerings might range
?
from an experimental interdisciplinary studio course designed for fine and performing
•ttidrits to a course designed to augment a summer program for a specific audience
tich ;j problems in the administration of small pe
i
Forming arts companies, galleries,
etc.
4.
detarynnd Space Requirements
.. (for information only)
What
additional resources will be required in the following
areas:
Faculty
staff
Library
Audio Visual
NONE
Space
Equipment
5.çApprovni
Date:
_
22
F€rjuary.,1982
partmcnt C airman
?
Dean ?
Chairman, SCUS
SCUS 73-34b:--
(When completing this form,
for
instructions see Memorandum SCUS
73-34a.
Attach course
outline).
SENATE COKM1T1 F ON I JNDER((ADUATITL!JL.
NEW
COURSE PROPOSAL_!.2!
I .
calendar Into atii!
?
Department:
Centre for the Art;
Abbreviation
Code:EPA. ?
Course Number
?
379 ?
Credit Hours:
?
_5
?
Vcctorjak
t
depend i nq
Title of Course:
Selected Topics in the Fine and Performing Arts II
con r se c
?
t
ei
Calendar DecriPti0n
of Course:
A specific topic in fine and performing arts which is not otherwise covered in depth
in regular courses and which is not appropriately placed within a .ingl('
?
?
discipline. ?
The work will be prdctical (studio), theoretical, or
;j comhiti.iI
ion of
the two, depending on the particular topic in a given semester,
Nature Of Course
variable
Prerequisites
(or special instructions)
Permission of the Department
What course (courses), if any, is being dropped from the calendar if this
course?
?
approved:
?
none
2.U1mn
how frequentl
y
will the course be offered?
occasionally
Semester in
which the course
will
first be offered?
Which of your present faculty would be available to make the proposed offering
?
ossiblc1
?
Alderson, Blaser, Macfarlane
3. ObjcCttv,0,f the Course
This course will provide for occasional offerings which are interdLciplinary
UI
cross-disciplinary in nature. Appropriate offerings might range froma
IuUre
1)11
Aspects of Ritual in Performance to a course specifically arranged
to hi ol
interest to another campus constituency.
?
4.8udtfl
?
Safe, RegiI1eUii!i. (for information only)
What additional resources
will be
required
in
the following areas:
FacultY
S aft
?
Library
?
NONE
Audio Visual
Space
Equipment
is
0
5. Approval
Date
?
22
February,
1982
pf
artment C airman
__t. ?
e;___
Dean
?
Chairman, SLUS
SCUS 73-34b: (When completing this form, for instructions see Memorandum SCUS
73-34a.
Attach
course outline).
SENA1I.
t.UrUii&i'.. ?
V ? -
NI CURSE. PROPOSAl. FORM
Centre for the Arts
I. calendar Information
?
Department:
Abbreviation Code:
?
EPA. Course Number:388
?
Credit Hours:3
?
Vector;i.L:.!
Titlo of Course:
?
Directed Studies in Fine and Performing Arts i
?
depending
? on
course content
Calendar 1)cocrtPtiOfl0f Course:
Thi
uuii'r
i. I utended to provide an opportunity for advanced students to carry out
ill I
fl(lr1)(.'tId(flI'
project: which is planned and completed in close consultation with the
uperv I
•
;ury inst ructor.
Nature
of
Course
Directed Study
Prerequisites (or special instructions):
Completion
of
at least 6 hours of upper division credit in E.P.A. and
permission of the Department.
What course
(courses),
if any, is being dropped from the calendar if this course i
approved:
none
2.
Schcdu1j!&
How frequently will the course be offered?
occasionally
Semester in which the course will first be offered?
Which of your present faculty '.r,u1d be available to. make the proposed offering
possible?
?
all regular faculty
3.
ObecttV1 of the Course
Thi; course
will
provide the opportuni.ty for independent project work of a scope
dppr(ml)ridte
to
the credit assignment.
4.
Hnjy_an(l Space Recittirements. (for information, only)
What additional resources will be required in the following areas:
is
Faculty
Spiff
Library
?
NONE
Audio Vioual
Space
Equipment
5.
Apj9yl
• ,.
?
71 Februiry, 1982
apartment
?
airman
Ll F2
,P
Dean
?
Chairman,
SC1JS .
SCIJS 73-34b:- (When completing
'
this form, for instructions see Memorandum
SCUS
13-348.
Attach couruc outline).
SENATE COtIJITTTEE ON TN1)Eh,.AIfl
1A1t
STW)T ES
NEW
COURSE
—ITT OSAL_FORM
1. calendar Information
?
Department:
Cent rt for the Art.
Abbreviation Code:________
EPA.
Courte Number:
389
?
Credit flours:5
?
Vector:
v.up-ihIt,
depending
Title
of Course:
Directed Studies in Fine and Performing Arts
CoLt
r ?
II
C nil
Calendar DecriPtiOfl of Course:
This course is intended to provide an opportunity for advanced students to carry (Jut
an independent project which is planned and completed in close consultation with thc
supervisory instructor.
Nature of Course
Directed Studies
Prerequisites(or special instructions):
Completion of at least 6 hours of upper division credit in E.P.A. and
permission of the Department.
What course (courses), if any, Is being dropped from the calendar if this course
ib
approved:
none
2.
ulin
How frequently will the course be offered?
occasionally
Semester in which the course will first be offered?
Which of your present faculty
would
be available to make the proposed offer1u
ossible7
?
all regular faculty
S3. objecttve
rse
This course will provide the opportunity for independent project work
of
appropriate to the credit assignment.
4. Budgetary and Space Requirement
s
(for informalion only)
What additional resources will be required in the following areas:
Faculty
staff
NONE
Library
Audio Visual
Space
Equipment
5. ApprovnI
?
22 February, 1982
Date:____________
epartmcnt Chairman
?
Dean ?
Chairtnan,SCUS
SCUS 73-34b:- (When completing this form, for instructions
8CC
Memorandum
SCLJS 73-34g.
Attach course outline).
PROPOSED CHANGE IN COURSE TITLE
Current title:
?
FPA.436-5 Selected Topics in Film Studies
?
.
Prqj ?
:tiJe: FPA.436-5 Advanced Topics in Film Studies
Calendar Description. This course features a study and analysis of selected
topics in film theory, history, aesthetics and ideology. Particular emphasis
will be placed on issues of contemporary concern, as reflected in a significant
range of work. Students are expected to write original papers in an area of
film studies to be determined by student and available faculty.
Prerequisites: ?
FPA.334-3 and permission of the Department
RATIONALE FOR CHANGE
To avoid title duplication.
S
0
