Action taken by the Senate Committee.on Undergraduate
Studies at its meeting of April 12, 1977 gives rise to the following
motion:
MOTION
That Senate approve, and recommend approval to the
Board of Governors, the following new courses in the
Centre for the Arts:
FPA. 104-3 - Music Fundamentals
FPA. 260-3 -.Studio in the Visual Arts I
FPA. 261-3 - Studio in the Visual Arts II
Note: The Senate Committee on Undergraduate Studies approved a waiver
is
?
of the two semester time lag requirements for FPA. 260-3, 104-3
and 261-3.
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Daniel R. Birch
7;'..c(''
SENATE COMMITTEE ON UNDERGRADUATE STUDIES
NEW COURSE PROPOSAL FORM
Calendar Information
?
Department: Centre for the Arts
Abbreviation Code: FPA. Course Number: 104
?
Credit Hours:
3 ?
vector:
0-2-2
Title of Course:
?
Mu. sic Fundamentals
Calendar Description
of Course: This course is designed to pro'ide a basic understanding
of the elements of music and to teach the skill of reading music notation. An introduc-
tion to music theory and exposure to the application of music materials in a wide spectrum
of music literature will be accompanied by sight-singing exercises. The course is
designed for students with no formal music training.
Nature of Course
?
Seminar/Laboratory
Prerequisites (or special instructions):
What course (courses), if any, is being dropped from the calendar if this course is
approved:
?
None, but this course will be offered in lieu of a non-credit music
workshop.
2. Scheduling
How frequently will the
course be offered?
?
Twice a year
Semester in which the course will first be offered?
?
77.-3
Which of your present faculty wc
'
uJi
be available to make'the
proposed offering
possible?
Objectives of
the Course
See attached rationale and course outline.
4. Budgetary and Space Requirements (for information on
What additional resources will be required
in
the following areas:
Faculty ?
A sessional. lecturer will be required.
Staff ?
None
Library ?
None
Audio Visual A
modest additional number of recordings will be purchased.
Space ?
None
Equipment ?
None
5. Approva
Date.
_________________________
Department Chairman
A-'--
1,rc77
-
£
2.42 /.,
I C
ij\JlAf\
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at
Dean ?
Chairman, SC1JS
SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 73-34a.
Attach course outline).
FPA. 104-3 - MUSIC FUNDAMENTALS
RATIONALE
Among the initiations in fine and performing arts programs
'at Simon Fraser,
program development in music has proved the most difficult. There are some
good reasons for this, and the Centre for the Arts will not propose substan-
tial work in music until we have a clear program direction which provides a
useful alternative to other opportunities in the Province and which is finan-
cially feasible.
We have come to recognize, however, that the lack of opportunity for basic
music education is a serious handicap for our students in dance, film and
theatre, as well as a misfortune for many other students. The various music
workshops that have existed for a number of years have suffered from a mixed
focus of training and recreation and therefore do not serve this basic educa-
tional purpose well.
4 0 ?
We therefore propose that a single course in music fundamentals be introduced
at this time. The course is designed in such a way that should it prove
desirable, a second course can deepen and extend the training undertaken here.
However, the course is not designed as the beginning of a music program which
we would presently endorse. The theoretical and practical orientation of the
course will make it a useful service course and an excellent complement to the
historically oriented G.S. 102 and 103.
0
FPA. 104-3 - MUSIC FUNDAMENTALS
COURSE OUTLINE
The primary goals in this course are two-fold:
a)
to teach the skill of reading music notation (through the medium of
sight-singing)
b) to provide a basic understanding of the materials of music and their
application in compositions from the major historical style periods.
The emphasis of the course is on active music making since it is thought
that students should learn music fundamentals in an experimental as well as
theoretical context. In addition, students will be exposed to a wide spec-
trum of music literature by means of recordings in order to understand the
application of music materials within the framework of actual compositions.
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Unit I: The Temporal Aspect of Music
- rhythm and metre
- the notation of rhythm
- rhythmic variety within metre, syncopation
- the effect of tempo on rhythm
- listening to rhythms: historical review of the use of rhythm
twentieth century rhythms
non-western rhythms
Unit II: The Horizontal Aspect of Music: Pitch and Melody
- the staff, treble and bass clefs
- major and minor scales
- pitch names, melodic intervals
- learning to recognize and sing intervals
- discussion of melody in historical and contemporary literature
Unit III: The Vertical Aspect of Music: Harmony
- the tonal system, primary and secondary chords
- consonance and dissonance
• ?
- modulation
- texture: polyphonic, chordal, etc., with examples from current and
historical music
-2-
UNIT IV: Form in Music
- fugue form
- variation form
- sectional forms
- sonata form
- twentieth century forms
COURSE EVALUATION:
Evaluation will be based on the student's demonstrated understanding of basic
music theory and knowledge of music notation as assessed through class parti-
cipation and an examination. Although sight-singing will be used as a means
of instruction, the quality of the student's singing voice will not be a part
of the course evaluation.
SUGGESTED READING LIST:
.
DeLone, Richard
Bernstein, Martin &
Martin Picker
Daniels, Arthur &
Laverne Wagner
Hindemith, Paul
Lovelock, Williams
Schafer, R. Murray
Shanet, Howard
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Cooke, Deryck
Music: Patterns and Style
Reading, Mass., 1971
An Introduction to Music
Englewood Cliffs, 1972
Listening to Music
New York, 1975
Elementary Training for Musicians
New York, 1949
The Rudiments of Music
London, 1957
Ear Cleaning
Scarborough, Ontario, 1967
Learn to Read Music
New York, 1956
The Language of Music
London, 1959
SENATE COMMITTEE ON IJ)ERCRADUATE STUDIES
?
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•
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17
NEW COURSE PROPOSAL FORM
Calendar Information ?
Department: ?
ranfrp
fnr
the Arts
Abbreviation Code: FPA.
?
Course Number: 260
?
Credit Hours:3
?
Vector:p_p_
Title of Course:
?
Studio in the Visual Arts I
Calendar Description of Course: This course is designed to build upon work begun in
FPA. 160 in a mature studio environment. It will involve work in various media. Students
commitment
in this course should have commitment to the processes of image-making, the
technical capacity to complete drawing, painting
and
construction projects, and a willingnes1
to engage with contemporary problems in the making of art.
Nature of Course Laboratory (Studio)
Prerequisites (or special instructions):
FPA. 160 or equivalent and permission of the department. This is a limited entry course.
Written permission of the department is required in advance of registration.
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? 77-3
Which
of your present faculty
?
uk,
be available to
make
the proposed offering
4
03,
possible?
?
J. Wall
Objectives of the Course
See attached statement and course outline.
4. Budgetary
and
Space
Requirements
(for information only)
What additional resources will be required in the following areas:
Faculty
?
One additional faculty
member
(authorized) will be required to offer this
Staff
?
None
?
course on a regular basis.
Library
?
None
Audio Visual None
Space ?
None at this time (FPA. 160 studio may be used at present).
Equipment ?
Minor additional equipment expenditures required.
5. Approval
Date:Z.E ?
t7
S2Z
Department Chairman
WITS
?
/977
4^7e
Chairman,
/r-
SCUS
-
SCUS 73-34b:-
(When completing this form, for instructions see
Memorandum
SCUS 73-34a.
Attach
course outline).
SENATE CO
MM
ITTEE ON IN
IDERGRADUATE STUDIES
?
•
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C.
7 7-
NEW
COURSE PROPOSAL FORM
.
1. Calendar Information
?
Department:Centre for the
Arts
Abbreviation Code:
FPA.
?
Course Number:261
?
Credit Hours:3 ?
Vector:
0 - 0-8 -
Title of Course:
Studio in the Visual Arts II
Calendar Description of Course:
This course is designed to continue the work undertaken in FPA. 260. New
projects in drawing, painting, and construction will be brought to completion and
discussed by the class.
Nature of Course
?
Laboratory (Studio)
Prerequisites (or special instructions):
FPA. 260
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?
?
78-1
Which
of your present faculty
WC'U1.d
be available to
make the proposed offering
possible?
?
J. Wall
3.
Objectives of the Course
See statement and outline attached to FPA. 260 proposal form.
4.
Budgetary
and
Space Requirements (for information only)
What additional resources will be required in
the
following areas:
Faculty ?
One additional faculty member (authorized) will be required to offer this
course on a regular basis.
Staff ?
None
Library ?
None
Audio Visual None
Space ?
None at this time (FPA. 160 studio may be used at present).
Equipment ?
Minor additional equipment expenditures required.
5. Approval
Date:7
39
7??2
j
Department
^
'
Chairman
Z5
9^
-
rLL
?
1977 ?
'
/77
I ?
Dean ?
Chairman, SCUS
SCJS 73-34b:- (When completing this form, for instructions see
Memorandum
SCUS
73 - 34a.
Attach course outline).
FPA. 260 & 261 - STUDIO IN THE VISUAL ARTS I &II
COURSE OBJECTIVES AND OUTLINE
FPA. 260 and 261 are designed to permit the student to work extensively in
a mature studio environment while remaining on a guided schedule of produc-
tion activities in the various media. Students entering 260 should have a
strong personal interest in and comsitment to the processes of image-making
and the basic technical capacities to carry drawing, painting and construc-
tion projects through to a satisfying and recognizable conclusion. Projects
begun in 260 will be completed in that studio course. FPA. 261 will be
offered in
'
the subsequent semester and will continue the work in the major
fields, building on the experience of 260.
While the instructor will be responsible for organizing the scope of produc-
tion in both courses, the student will be expected to make each assigned
• ?
project into a process of authentic artistic investigation and expression.
The student will encounter aesthetic as well as technical criticism of his or
her work. Regular critique sessions will be held in the studio; students will
be expected to contribute verbally to this process of criticism and to bring
to it some historical understanding of the condition of the visual arts at the
current moment. Part of the task of these courses will be to bring the indivi-
dual's work in image-making into contact with the general historical problems
of painting and sculpture today, and, through the physical experience of making,
to attempt to deal with these problems.
Assigned Projects:
Note: All students will work in sections (1), and either/or both of sections
(2) and (3). Those with strong inclinations in regard to painting or sculpture
will be able to follow them.
0
-2-
.
(1)
Drawing (Image-Making in the Dry Media)
Extended work in drawing from the model and from nature. All media,
including colour, all means of graphic production will-be dealt with
and technical instruction in their use provided.
Work will be assigned in the following areas:
- drawing as analysis and knowledge of the world
- drawing and decoration
- drawing as mark-making
- drawing as invention of visual phenomena
- drawing as trace of the imaginative world
- drawing as writing, writing as drawing
- drawing and planning
- the paper: mark-making and collage
- drawing, collage photographic reproduction: the hand-mark, the
•
?
?
word, the photograph as elements in the image
- drawing as performance
(2)
Painting
Assigned projects in painting will run concurrently with drawing projects
and will not be strictly separated from them. Thus, there will be extended
work in painting from nature and from the model in all major media. Instruc-
tion on the function of colour in painting will be carried on in the context
of actual working problems as they arise.
Work will be assigned in the following areas:
- painting as analysis and mode of knowledge of the physical world
- painting as mark-making
- painting as object-making
- painting as analysis and mode of knowledge of the world of the image
0
-3-
(3) Sculpture of Three-Dimensional Construction
Assigned projects will run concurrently with drawing projects and will
not be strictly separated from them. Work in sculpture will be subject
to restrictions of space and materials.
Work will be assigned in the following areas:
- sculpture as the construction of objects
- sculpture as the organization of space and the experience of space,
and sculpture as the construction of an environment
- sculpture as the work of the body, and as the representative of the
body
- sculpture as a performance
Critical Sessions: the subjects of drawing, painting, sculpture and
the matter of drawing, painting and sculpture.
.
.
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