SiMON FRASER UNIVERSITY
?
MEMORANDUM
0
?
SENATE
?
F ?
SENATE COMMITTEE ON UNDERGRADUATE
To .
....
?
From..
STUDIES ?
S
CENTRE FOR THE ARTS - COURSE PROPOSAL
Subject -7FPA. 102-3,.FPA. 103-3, FPA. 107-39.
?
Date JUNE 16, 1977
FPA. 108-3, FPA. 113-6, FPA. 121-3
MOTION:
?
"That Senate approve and recommend approval to the
Board of Governors, as set forth in S.77-80, the
following courses:
FPA. 102-3 - Music in History I
FPA. 103-3 - Music in History II
FPA. 107-3 - Introduction to Art History - The Seventeenth Century
FPA. 108-3 - Introduction to Art History - The Eighteenth Century
FPA. 113-6 - The Arts in Context: European Romanticism
FPA. 121-3 - Contemporary Dance Fundamentals."
.
(It is noted that FPA. 102 replaces G.S. 102, FPA. 103 replaces
G.S. 103, FPA. 107 and FPA. 108 will lead to the discontinuance
of G.S. 200 and G.S. 100. FPA. 113 and FPA. 121 are new. SCUS
approved waiver of the time lag requirement in order that the
latter two courses may be first offered in the Spring semester
78-1.
It was identified that the new courses continue in keeping with
the earlier decisions on the establishment of Fine and Performing
Arts and that these proposals include a transfer of general elec-
tives in the General Studies courses providing support for the
approved minors but without Intent of leading to a Minor in Music.)
40 ?
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Attachments
. ?
i/.
(,—j%
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4
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Edith Thimsen
r e ,g /, c er
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76—I
O ?
SiMON FRASER UNIVERSITY
MEMORANDUM
From
Edith Thimsen, Secretary, Faculty
of Tnt rdiscjpliii .
ary ..uU...
Date ...... ..
.
25th,. May . ..... 1,977
To ......
Mr- ... H.M. Evans ., ... Se c
retary ..... Senate
Committee ... on ... Undergraduate ... StudieS.... ....... .......
Subject
New FPA. Course ProDösals
EPA. 102-3, EPA. 103-3, EPA. 107-3
EPA. 108-3, EPA. 113-6
1
EPA. 121-3
Attached are the above noted course proposals that were approved by the Faculty of
Interdisciplinary Studies Undergraduate Curriculum Committee on May 24th for
furtherence to SCUS. Would it be possible to have these items placed on the agenda
of the May 31st meeting?
Ke-
Fe"?.
/'2
FPf?
/
03'
Ft'
/07
rP/
'°S
F4'7?
I/a
Ff'/*
is
SiMON FRASER UNIVERSITY
?
MEMORANDUM
H. Evans, Registrar ?
.From...........
.
afl
Alderson
Director, Centre for the Arts
Subject
Course Proposals - Centre for the Arts
Date. ?
20 May 77
I am also including with your package three courses
which are effectively transfers of presently existing
General Studies courses, as well as one which is a
replacement for a General Studies course. The two new
courses have been distributed to the three Curriculum
Committee Chairmen and are also included herewith.
'-
?
S
/s b
Att.
0
r
SiMON FRASER UNIVERSITY
MEMORANDUM
To......
HARRY
.
EVANS., REGISTRAR . ...... ................. ....................
.
From ...
EVAN ALDERSON, DIRECTOR
CENTRE FOR THE ARTS
Subject j?A
COURSE PROPOSALS ?
.Date,.,JtJN.E..2.O,, 1.97.7.............................
In relation to the FPA course proposals to be considered at the July
meeting of Senate, it appears desirable that I should show how they fit
into the overall structure of FPA courses. I have attempted to do this
on the accompanying chart.
The new proposals virtually complete the initial stage of fine and.
performing arts development approved in principle by Senate in
February, 1976. The structure set out on the attached conforms in
its essentials with that projected
in
S76-21. The only additional
courses we plan to propose within this phase of development are a
single course i.i photography as an art--provided acceptable arrangements
can be made to use Communications Studies equipment--and one in
theatrical design, providing we have the requisite expertise within
our teaching staff.
The courses to be considered at the July meeting of Senate are marked
on the chart by an asterisk. The Library has given assurances that
library resources are adequate for the introduction of these courses.
i:
Evan Alderson, Director
Centre for the Arts
EA/jr
CHART ATTACHED
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CHANGE IN DEPARTMENT AND
COURSE DESCRIPTION ONLY
SENATE COHNT.Tli •
:E ON uNL)ERc1(ADIIATi; STtIhJ :5
?
NEW co.HSF; PROPOSAL FORM
1.
Calendar Information
?
Department:
?
Centre for the Arts
Abbreviation Code:
FPA.
?
Course Number:
?
102 ?
Credit Hours: 3 ?
Vector: 2-1-0
Title of Course:
?
Music in History I
?
Calendar Description of Course:
An introductor
y
study of the major developments in
Western
music from the middle ages
to about 1750, with some attention to the place of music in society and in relation to
other arts. This course will involve substantial exposure to recorded music as well as
lectures and discussion. Substantial previous musical kno
.
,1edqe or training is not
required.
Nature of Course
?
Lecture/Tutorial?
Prerequisites (or special instructions):
Students who have earned credit for G.S. 102 nay not take this
course for further credit.
What course (courses), if any, is being dropped from the calendar If this course is
approved: G.S. 102
2.
Scheduling
How frequently will the course be offered?
?
Once a year
Semester in which the course will first be offered?
?
783
Which of your present faculty wr.,uiu be available to make the proposed offering
possible?
3.
Objectives of the Course
This tourse is the same as G.S. 102. It is the first of two designed
to give a general introduction to music history and is a useful comple-
ment to other Fine and Performing Arts 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:
19 May 77
77
f
fr
77
.
Department
_[/.
Chairman
Dean
Chairman, SCUS
SCUS
13-34b:-
(When completing
this form,
?
for instructions see
Memorandum SCUS 73-34a.
Attach
course
outline).
Im
/I'..J
?
ULUc..,flLI S
j " ?
, nLI
SENATE COMMITTEE
NEW COURSE
ON
PROPOSAL
UNDERC
RADII
FORM
ATE
STUDIES
?
5)_ 7
7 /
1.
Calendar Information ?
Department: ?
Centre for the Arts
Abbreviation Code:
EPA. ?
Course Number: 103
?
Credit Hours:
3
Vector:_________
Title of Course:
?
Music in History II
Calendar Description of Course:
An introductory study of the major developments in Western music from the death of
J.S. Bach to the present, with some attention to the place of music in society and in
relation to other arts. This course will involve substantial exposure to recorded
music as well as lectures and discussion. Substantial previous musical knowledge or
trai
Natu
u
ie fl0t
required.
Lecture/Tutorial
Prerequisites (or special instructions):
Students who have earned credit for G.S. 103 may not take this course for
further credit.
What course (courses), if any, is being dropped from the calendar if this course is
approved:
?
G.S. 103
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 w'u!'. be available to make the proposed offering
possible?
3.
Objectives
This
of
course
the Courseis
the
?
same as G.S. 103.
.
It is the second of two desi
q ned to
give a general introduction to music history and is a useful complement to
other Fine and Performinq Arts 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:
19
May 77
I
?
JI
?
7)
Department Chairman
Dean
Chairman, SCUS
"..CUS ?
73-34b:-
(When completing
this form, ?
for instructions
see Memorandum SCUS 73-34a.
Attach course
outline).
OW
I5'C77-/
• ?
SENATE COMMITTEE ON UNDERGRADUATE STUDIES
NEV COURSX PROPOSAL FORM
?
I. Calendar Information
?
Department:
?
Centre for the Arts
Abbreviation Code:
FPA. ?
Course Number:
107 ?
Credit Hours:3 Vector: 2-1-0
Tide of Course:
?
Introduction to Art History - The Seventeenth Century
Calendar Description of Course:
An introductory study of the visual arts in seventeenth century
Europe.
Nature of Course
Lecture/Tutorial
Prerequisites (or special instructions):
What course (courses), if any, is being dropped from the calendar if this course is
approved: ?
G.S. 200
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 faulty wu! be available to make the proposed offering
possible?
3.
Objectives of the Course
To orovde an introduction to art history and art historical method
for the qeneral student, focusing on a period not covered in present
FPA. "context" courses. See attached rationale and course outline.
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
?
Approximatel y
$1,000 for the initial develo
p
ment of an adequate number of
Space ?
None
?
slides.
Equipment
?
None
5. ?
Approval
Date:
19
May
77
I4.
7)
('1 ?
77
•
?
:T_
Department Chairman
________
__________
Dean
Chairman, SCUS
SCUS 73-34b;-
(When completing this
form, ?
for instructions
see Memorandum SCUS 73-34a.
Attach course
outline).
CHANGE HI DEPARTMENT AND COURSE
DESCRIPTION ONLY
SENATE COtIMLTTEE
NEW COURSE
ON
PROPOSAL
UNI)ERCIADUATE
FORM
STUDIES
±5c177-7'-
Calendar Information ?
Department:
Centre for the Arts
Abbreviation Code: ?
FPA.
Course Number:
108
?
Credit Hours: 3
?
Vector:2-1-0
Title of Course: ?
Introduction to Art History - The Eighteenth Century
Calendar Description of Course:
An introductory study of the visual arts in eighteenth century
Europe.
Nature of Course
Lecture/Tutorial
Prerequisites (or special instructions):
Students who have earned credit for G.S. 100 may not take this course
for further credit.
What course (courses), if any, Is being dropped from the calendar if this course is
approved: ?
G.S. 100
2.
Scheduling
How frequently will the course be offered?
?
Once a year
Semester in which the
?
course will first be offered? ?
78-3
Which of your present faculty w:u!r,
,
beavailable to make the proposed offering
possible?
3.
Objectives of the Course
To provide an introduction to art history and art historical
method for the general student, focusing on a period not covered
in present FPA."context" courses. See rationale attached to
FPA. 107 Proposal Form.
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:
?
19 May 77
-
1
(C
•-L.
?
-
Department Chairman
.(41Q
?
7? ?
-:
Dean
?
Chairman, SCUS
SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 73-34a.
Attach course outline).
FPA. 107-3 -IFITROPUCTION TO ART HISTORY - THE SEVENTEENTH CENTURY
XC--77i
EPA. 108-3 - INTRODUCTION TO ART HISTORY - THE EIGHTEENTH CENTURY
RATIONALE:
These two courses represent the conversion of two General Studies
courses to the Centre for the Arts. G.S. 100-3 and 200-3 were intro-
duced at a time when there were few opportunities on campus to study
art and were seen as a stopgap measure. Over the years, however,
they have developed into popular and successful courses. They reach
an audience that is somewhat different for the ver
y
intensive FPA.
"context" courses, as they are conventionally tau g
ht as evening
courses and are designed for the general student. In our view it
would be unfortunate simply to eliminate these opportunities for study
because the differently conceived context courses also include atten-
tion to art history.
At the same time, it seems advisable to us not to develop more than
four context courses at the present time: four courses give adequate
range and variet y without creating excessive demands on the time and
expertise of present faculty. This decision creates a gap in the
historical sequence of courses in art history from the Renaissance to
the oresent, which can be filled by the equivalent of General Studies
courses. Such an arran
g
ement will also avoid any problem of course
overlao.
The proposed FPA. 107-3, then has similar objectives to the present
G.S. 200-3, except that it focuses on the seventeenth century instead of
the nineteenth. G.S. 100-3, a course on eiahteenth century art, will
simply be transferred, under, another number and descri
p
tion into the
Centre for the Arts. We plan to offer these courses in regular sequence,
as funds permit, as eveninn courses.
.
FPA. 107-3 - INTRODUCTION TO ART HISTORY - THE SEVENTEENTH CENTURY
COURSE OUTLINE
The following presents a weekly progression of lecture/discussions:
Week 1
Introduction and Historical Background
- Dissolution of High Renaissance
- The Italian "Maniera"
- The Counter-Reformation
Caravaggio
Week
Classicism
Bernjnj I
and Baro
q
ue in the 17th Century Italian Painting
?
S
Week
Berninj 11
Borromini and 17th Century Italian Architecture
Week 4
Rubens I
Rubens II
Week 5
Poussin I
Poussin II
Week
17th Century French Painting
17th Century French Architecture
-2--
Week 7
Art Under Louis XIV
Velasquez I
Week 8
Velasquez II
17th Century Spanish Painting and Architecture
Week 9
Introduction to 17th Century Dutch Painting
Hals and 17th Century Dutch Portraiture
Week 10
Rembrandt I
Rembrandt II
Week 11
Vermeer and 17th Century Dutch Genre Painting
17th Century Dutch Landscape Painting
Week 12
Van Dyck
Inigo Jones and 17th Century English Architecture
Week 13
Wren I
Wren II
S
I
SENATE COMMIT'lEF ON
UNJ)ERC,IADUATE STUDIES
?
NEW coiRsF: PROPOSAL FOR'1
l. Calendar Information
?
Department:
Centre for the Arts
Abbreviation Code: FPA.
?
Course Number;
113 ?
Credit Hours: 6
?
Vector: 5-2-0
Title of Course: ?
The Arts in Context: European Romanticism
Calendar Description of Course:
A selective study of painting, sculpture, architecture, music, dance, and theatre
in the context of the late eighteenth century and the first half of the nineteenth.
Tutorials will focus on a single art form and may involve practical explorations
in
that form in relation to the styles of the period.
Nature of Course
?
Lecture/Tutorial
Prerequisites (or special instructions):
At least 15 semester hours credit.
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?
?
At least once every two years
Semester in which the course will first be offered?
?
78-1
Which of your present faculty
?
be available to make the proposed offering
possible? ?
J. Wall, with the assistance of J. Zaslove, seconded from English.
3.
ObjectivesoftheCourse
See. attached rationale and course outline.
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required In the following areas:
Faculty
?
None at this time
Staff ?
None
Library
Audio Visual
?
Approximately
$2,000
for the initial development of an adequate number
of slides
Space ?
None
Equipment
?
None
5.
Approval ?
._.
Date:
19May
77
2 .. ... ?
i
Department Chairman
?
Dean
?
Chairman, SCUS
SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 73-34s.
Attach course outline).
S
I5c.77-
.
FPA. 113-6 - THE ARTS IN CONTEXT: EUROPEAN ROMANTICISM
RATIONALE:
This course is the fourth "context" course to be introduced in conjunction
with the fine and performing arts programs. Like its predecessors, it is
intended primarily to provide an introduction to several arts and their
interrelationship to students who wish to undertake a concentration in
any art form. In addition, it should be of interest to students in any
discipline who wish to acquire some grounding in the arts.
This is the only additional context course we plan to develop at this
level while the whole program remains at approximately its present magni-
tude. The existence of four such courses will enable a regular relation
. ?
among them, one being offered each Fall and Spring semester. Because we
need to provide one context course each Fall or Spring semester in any
event, the inclusion of this course in the sequence will involve no incre-
mental dost above the acquisition of necessary additional slides and any
requisite library materials.
As in the other courses in this series, the knowledge of the individual
taking primary responsibility for teaching it will he supplemented by
frequent guest lecturers from on and off campus. Tutorials will study a
single art form in greater detail than can be achieved in the lectures
alone, and may involve practical exercises as a means of understanding
romanticism in the arts.
Evaluation of student performance will be based on an assessment of the
student's knowledge and understanding of the arts in the romantic period.
is
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FPA. 113-6 - THE ARTS IN CONTEXT: EUROPEAN ROMANTICISM
COURSE OUTLINE
The course will present and analyze the visual art, music, theatre,
dance, and some literature of the period 1750-1840 in Europe, that is,
from the beginnings of the bourgeois revolution of 1789 to the begin-
nings of the working class revolutions of 1848. It has three major
objectives:
- to provide a general picture of the historical and theoretical
conditions within which all works of art of the period were made;
- to identify exemplary works or bodies of work which can represent
this period and embody its Romanticism;
- to provide an intensive series of critical encounters with these
works of art.
The course will single out and concentrate upon a series of important
figures or single major works and discuss them in depth. This approach
emphasizes the individual artist as against the general panorama of
activity and the work of art itself as against the complex of convention
and influences out of which it emerges. This emphasis is intentional
and reflects the attitude of the course organizers that it is only out of
concrete, informed contact with the work of art in all its immediacy and
ambiguity that a focussed and well-proportioned understanding of it can
be achieved, it also acknowledges that the art of this period was based
in a new and significant way on the individual, and will therefore make
this modern sense of individualism in art and culture a primary topic of
discussion. Out of the sequence of such studies, an overall image or
"definition of the structure of Romantic art will be constructed. This
will include an analysis of the distinctions between the major Romantic
cultures in Europe - the English, the French, the German - considered in
terms of the great historical forces to which all Europe was responding,
and in terms of the specific relationships between the arts which charac-
terize each national culture.
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Week
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-
Introduction
- Structure of the culture of the Enlightenment
- Inner Conflicts in 18th Century Thought and Culture -
Voltaire/Diderot/Rousseau/Burke/Kant
- J.J. Winckelmann: Neo-Classicism as a Romantic Aesthetic
Week 2
Jacques-Louis David: The Art of the French Revolution and the
?
Napoleonic Period
Week 3
Wolfgang von Goethe: The Sorrows of Young Werther (1796)
Friedrich Schiller:
?
The Robbers
5 ?
Week 4
Ludwig von Beethoven
Week 5
Theodore Gericault: The Raft of the t•ledusa (1818-19):
Romanticism and Naturalism in France
Week 6
Stencthal: The Red and the Black (1830)
Week 7
Eugne Delacroix
Week 8
Frederic Chopin - The Romantic Dance
Week 9
J.M.W. Turner: English Theories of Landscape
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Week 10
Percy B. Shelly:
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Prometheus
Mary Shelly: ?
Frankenstein
William Blake:
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Variations on Prometheus
Week 11
Caspar David Friedrich: Landscape as Absolute Spirit
Week 12
Georg Bchner/Robert Schumann: The Romantic Agony
Week 13
Francisco Goya: Realism and the National Struggle
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5
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SC77-/
SENATE COMMITTEE ON UNDERGRADUATE sTur)IlS
?
NEW COURSIX PROPOSAL FORM
Calendar Information ?
Department:
Centre
for the Arts
Abbreviation Code:________ Course Number:_________ Credit hours:
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Vector: 0-
0
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Tide of Course:
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Contemporary Dance Fundamentals
Calendar Description of Course:
This course is designed-to build on work begun in FPA. 120, with emphasis
on detailed analysis and practice of the fundamentals of contemporary dance
technique.
Nature of Course
Laboratory (Studio)
Prerequisites (or special instructions):
FPA. 120 or equivalent
What course (courses), if any, is being dropped from the calendar if this course is
approved:
?
None, but this course replaces the intermediate dance workshop.
2.
Scheduling
At least once a year
How frequently will the course be offered?
Semester in which the course will first be offered?
Which of your present faculty w'u! be available to make the proposed offering
possible? ?
I. Garland; S. Aloi
3.
Objectives of the Course
To increase kinesthetic awareness and the ability to use the body as an
instrument of expression. Secondarily, to expand the awareness of possibilities
in movement through improvisation and consideration of problems of dance as an
art form. See attached rationale and course outline.
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: ?
19 Flay 77
•
Department
j
Chairman
f4J14 77
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-
Dean
?
Chairman, SCUS
SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 73-348.
Attach course outline).
I$:
FPA. 121-3 - CONTEMPORARY DANCE FUNDAMENTALS
RATIONALE:
In working with the sequence of dance courses over the past year, we
have discovered the need for an additional course at the first level
which can serve many of those students intending to minor in dance as
well as students with a general interest in dance. We had hoped that
this gap could be filled by a non-credit intermediate dance workshop,
but for various reasons that solution has not proved satisfactory. We
therefore propose FPA. 121 as a replacement for the workshop.
The majority of students who take FPA. 120-3, Introduction to Contem-
porary Dance, do so in the Fall semester. A significant number of
these students have previous dance experience, although the majority
have none. Many take it as a useful adjunct to Fine Arts or Kinesiology
courses or out of general interest. FPA. 120 serves very usefully as a
foundation course which acquaints experienced dancers with the direction
of our program and gives the inexperienced a good general introduction
to dance with some emphasis on basic dance technique. This course also
enables the dance faculty to identify those students who have sufficient
natural talent to proceed to the dance minor should they wish to do so.
We have found, however, that even highly talented students who have no
previous dance training are really not sufficiently familiar with the
fundamentals of dance technique to proceed to FPA. 220 at the level we
would like that course to have. In addition, students who do not wish to
continue to FPA. 220 often wish to have another technique course available
to them. Furthermore, because FPA. 220 is the first of a two-semester
sequence, it should normally be offered only during the Fall semester;
students who are perfectly qualified to proceed to 220 after taking 120
in the Fall would then have to wait for eight months before taking any
work for either. As a discipline, dance ideally requires a continuous and
-
.
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-2-
gradually advancing involvement with technique. Our initial attempt
to answer these various needs through an Intermediate dance workshop,
offered regularly, has not proved successful because the workshop has
no clear place in the progression of dance classes and is therefore
attended by students with too wide a variety of background for it to.
develop a consistent and reliable focus.
Our solution to these problems is the introduction of FPA. 121, as
an optional continuation of the work begun in 120 for dance minors and
as an available extension of that work for others. EPA. 121 is designed
to build on 120, but with a significantly different focus: the emphasis
here is on the careful building of a technical foundation. As in all
our technique classes there is some attention to the interplay between
technique and the creativity of composition and improvisation, but this
course aims specifically to advance the technical level of those students
whose only dance experience has been in EPA. 120.
The introduction of this course will permit a much more rational
schedulin g
pattern than has been possible heretofore. FPA. 120 and 220
will be scheduled in the Fall; FPA. 121 and 221 in the Spring. The
only exception to this pattern is that we may try to schedule one section
of 120 in the Spring term also specifically for the general interest stu-
dent. FPA. 121, then, will replace the regular offering of the inter-
mediate dance workshop and the offering of one or more sections of FPA. 120
during each Spring term. It will involve no incremental cost to the Univer-
sity. It involves no re-structuring of the dance minor requirements.
a.
-3- ?
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FPA. 121-3 - CONTEMPORARY DANCE FUNDAMENTALS
COURSE OUTLINE:
This course expands upon the work begun in FPA. 120-3, which introduced
elements of technique, improvisation, and composition. In this optional
sequel course, a focus upon the refinement of fundamentals of technique
will provide additional groundwork for further studio courses. The
emphasis of the course is on developing ability to use the body efficiently
and effectively as an instrument in creation through understanding the
fundamental science of movement. Improvisation, creative explorations of
time, space and energy, and some consideration of theory will be integrated
to expand awareness of the possibilities in movement, form and organization
of dance.
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Technique: ?
Fundamentals of movement with special emphasis on
development of strength, flexibility, balance, articu-
lation. Introduction to more complex patterning
through isolation and simultaneous action. Develop-
ment of rhythmic awareness and facility.
Improvisation/
?
Development of individual movement possibilities
Composition: ?
through explorations of dynamics, space and time, and
through response to sound and imagery. Introduction
to composition through structuring of improvisational
material.
Theory: ?
Consideration of problems of dance as art form through
selected readings, attendance at dance performances,
creative work in class, and analysis of student projects.
S
Fv%1IIHfn.
Students will be graded upon:
1.
Understanding and application of technical materials.
2.
Successful completion of creative projects.
3.
Demonstration of understanding of theory in analysis of selected
works.
Reading:
D'Houbler:
?
Dance, A Creative Art Experience
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