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SENATE COMMITTEE 

UNDERGRADUATE 

STUDIES 

SENATE

To—

FACULTY OF INTERDISCIPLINARY STUDIES 

Subct ? 

OF CS 075-2 ? 

Date JUNE 28, 1973 

MOTION 1:

"That Senate approve, as set forth in S.73-80, 

that General Studies 075-2 - Issues and Answers 

- be approved for further offering from time to 

time at the discretion of the Faculty of Inter- 

disciplinary Studies." 

MOTION

2:

. ?

"That Senate approve, as set forth in S.73-80, 

that General Studies 100-3 - Modern Art and Its 

• ? 

Mainsprings: Eighteenth Century, and General 

Studies 200-3 - Modern Art and Its Mainsprings: 

Nineteenth Century - each be approved for offering 

once again with further review to be undertaken." 

MOTION 3: ? 

"That Senate approve, as set forth in S.73-80, 

that General Studies 101-3 - Formal Development 

of the Symphony - be approved for offering once 

again with further review to be undertaken." 

SENATE 

1MON FRASER UNIVERSITY

73i)

MEMORANDUM

I. MUGRIDGE, CHAIRNAN 

From

.........................................................................

SENATE COMMITTEE ON UNDERGRADUATE 

STUDIES 

Date.... JUNE 28, 1973 

Sub j 

ect.. FACULTY OF INTERDISCIPLINARY STUDIES.. 

- FURTHER OFFERING OP CS 075-2, 

05 100-3, 00 101 3, -00 200 3 

The most recently called meeting of the Senate Committee 

on Undergraduate Studies was non-quorate because of the absence of 

sufficient 

voting

members. Those in attendance agreed to consider and 

to have transmitted to Senate the recommendations of the Faculty of 

Interdisciplinary Studies on a number of General Studies courses earlier 

approved by Senate for one-time offerings and now reviewed for consi- 

deration 

for

further of fering 

The

members in attendance recommend approval as follows: 

That General Studies 075-2 - Issues and Answers - be 

approved for further offering 

from

time to time at the discretion of the 

Faculty of Interdiscipliiiary StUd±es 

That General Studies 100-3 * Modern Art and Its Mainsprings 

Eighteenth Century, and General Studies 200-3 - Modern Art and Its Main- 

sprlikgs: Nineteenth Century each be approved 

for

offering once again with 

further review to be undertakeno 

That General Studies 101-3 - Formal Development of the 

Symphony be approved for offering once again with further review to be 

undertaken. 

It was the opinion of those in attendance that the non-quorate 

nature of the meeting should not prevent the request of the Faculty of Inter- 

disciplinary Studies for authorization of further offerings from being trans- 

mitted 

Senates 

IM:jb 

SiMON FRASER UNIVERSITY

MEMORANDUM

To ?

Ian Mugridge ?

..From ... ..R. C. Brown, Dean

Asst., Academic Vice President

Faculty of Interdisciplinary Studies

. ral$tudies .Date....

.June ?

21, ?

1973.............................................................

Courses

Please find attached the course review material for:

General Studies 075-2

General Studies 100-3

General Studies 101-3

General Studies 200-3

• I Q on 06 "

6

r"%

General Studies 075-2

General Studies

075-2,

Issues and Answers, was offerred by

Dr. K. Burstein during the 1972-3 semester.

p ?

Students were asked to provide an "open-ended" evaluation of

the course. Sixteen responded, the general interpretation was that the

course was well prepared

and

provocative. It was felt that it would only

work with small groups of students; and that, because of the subjective

nature of the content, it would be more appropriate as a pass-fail venture.

(Comments attached.)

Faculty Evaluation

Professor Burstein considered the course to be successful and 

has expressed a desire to offer it again in the Summer of 1974. 

Evaluation of the Undergraduate Studies Committee, Faculty of Interdisciplinary

Studies

The Undergraduate Studies Committee noted the

report of Prof.

Burstein and the student evaluations for the course. It is our belief that the

course was an initial success from both the faculty and student point of view,

and

we recommend that it be offered again.

^. 0 

GENERAL STUDIES 075 

"ISSUES" AND $ANSWERS" 

DR. K. BURSTEIN 

WHILE THE TRANSMISSIO 

N

OF INFORMATION IS ESSENTIAL TO THE PURPOSE 

OF A UNIVERSITY, THAT PURPOSE IS FULFILLEDNLY WHEN STUDENTS AND 

FAC1JLTYTAKE THIS INFORMATION, EXAMINE IT, QUESTION IT, REINTERPRET 

IT, REFORMULATE IT, ELABORATE UPON IT 

AND -- 

H

opEFULLY--ULTIMATEL 

Y

AND--HOPEFULLY--ULTIMATELY ADD 

TO IT. 

TO BE SUCCESSfJL, THIS PROCESS REQUIRES THE KIND OF OBJECTIVITY OR 

EMPIRICISM ASSOCIATED TYPICALLY WITH THE SCIENCES. UNFORTUNATELY, 

HOWEVER, WHILE WE CAN FAIRLY QUICKLY AND EASILY PICK OUT SOME FLAW 

IN AN EXPERIMENT OR SCIENTIFIC ARGUMENT WHICH DOES NOT VITALLY AFFECT 

OUR PERSONAL LIVES, WE DO NOT ALWAYS PERCEIVE VIRTUALLY IDENTICAL FLAWS 

IN "ISSUES" AND "ANSWERS" PRESENTED TO US IN THE MAIL 

S

ON THE MALL AND 

VIA THE NEWS MEDIA, THOUGH THEY SOMETIMES HAVE A TREMENDOUS EFFECT ON 

OUR LIVES AND THOSE AROUND US, E.G., NACARTHYISM. 

THIS COURSE IS AN EXPERIMENTAL ATTEMPT TO MAKE THE HALLMARK OF A UNIVERSITY 

STUDENT THE FACT THAT HE DOES NOT ACCEPT UNCRITICALLY "ISSUES" AND "ANSWERS" 

THAT HE HAS NOT CAREFULLY AND THOUGHTFULLY EXAMINED. 

THE COURSE WILL DEAL WITH A VIRTUALLY UNLIMITED RANGE OF TOPICS, NEVER ATTEMPT 

INC TO PROVIDE ACTUAL SPECIFIC ANSWERS FOR SPECIFIC QUESTIONS, BUT ALWAYS FOCUS- 

SING ON THE NEED FOR UNDERSTANDING AN "ISSUE" OR "ANSWER" BEFORE BEING IN 

-

FLUENCED BY IT. TOPICS WHICH COULD BE INCLUDED RANGE FROM"FOREIGN TROOP 

DEPLOYMENT IN VIET NAN"TO'PEOPL 

E

WHO DO NOT LOOK YOU IN THE EYE ARE LIARS." 

:

The primary function of a University is not, as is sometimes implied, the 

tran&mfSSiO 

n

of information from teacher to student. Rather it is, in a sense, 'to 

w,orcp3rc cch student to become his own theorist. To make his own judgm2nta, rather 

an to accept, uncritically, those of others.' Thus, while the transmission of in- 

ormatiOfl is essential to the purpose of a University, its primary goal is fulfilled 

only when students take this information, question it, elaborate upon it, reformulate 

it, reinterpret it, and, ultimately, add to it. Or, in a word, the principle function 

of

a University is to make people think. 

•

?

?

Of the greatest importance in this fundamental task of a University is the ability 

to weigh information objectively. To this end, we offer various courses under various 

names which deal with methods currently employed for the objective assessment and 

evaluation of information and data. For example, to name some, we have courses in 

History, Psychology, Biological Sciences, Physics, BSF, PSA in the application of 

"the scientific method" to the specific subject màtter of these disciplines. 

Unfortunately, it is not always seen that these sametechniqueS for protecting 

ourselves against biased, preconceived and/or emotional conclusions within a specific 

academic discipline can also be employed to examine the many "facts" and "explanations" 

we encounter in everyday life. While a student in a particular discipline may see 

immediately that a certain conclusion is not recessarily valid 

because of an identifiable 

uncontrolled 

factor, the same person oft times accepts uncritically conclusions presented 

on the mall, in the wail and via the various "news media" despite the fact that, sub- 

jected to the same sort of scrutiny, it, too, is not necessarily true. 

There are countless examples of actions taken, not only in the university, but 

throughout the world, which would have been revealed to be unnecessary if someone 

ad taken the time to check the "facts" presented to justify these actions. 

For whatever reasons, the evidence seems to be overwhelming that there is little 

transfer, in terms of application, of the research attitude taught in specific disciplines 

to problems and positions in everyday life. It is therefore proposed that the University 

offer a course specifically designed to demonstrate the apphcabilitY of these techniques 

to common everyday problems. 

By doing so, several goals may be achieved. First, we would take a giant step 

toward making it explicit that our purpose is not simply the transmission of information, 

but is the development of thoughtful educated future citizens. 

Secondly, over the course of years, we would produce a population of graduates, 

the majority of whom would be immune to being stampeded by emotional ill-considered 

arguments lacking empirical support. A good many of the problems and crises in this 

world--not to mention the violence--stems from the acceptance of unexamined slogans, 

cliches and shibboleths. If just a small percentage of University students can he 

made to look at all issues critically and thoughtfully, the University would perform 

a tremendous service to both its students and to future generations. Indeed, if other 

Universities followed suit, we would eventually virtually eliminate people who 

righteously respond to propaganda, rumors and misinformation. 

Although there are, at present, no courses required of all students, it is hoped 

that Senate would consider this course as a requirement for all SFU degrees. 

1.:::

• ?

...,,

this course fit the goals of

the department?

How does 

Not applicable 

?

.

. ?

.• 

D.

How does this course affect degree requirements? 

it is 

proposed that the course ba acceptable toward 

all

University degrees. 

?

While no course is presently re- 

quired of 

all

students, Senate might wish to consider 

.

this possibility for this course, 

- ?

Otherwise, there is no effect upon 

degree

requirements. 

What are 

the

calendar changes necessary to 

reflect

the

addition of 

?

this course? ? . 

Addition of course

number and description. 

?

.

F.

What

course, if any, 

?

is being dropped from the calendar if 

.

this course

is ? 

approved? 

?

..

none             

What is the

nature of student demand for this course? 

It is 

anticipated that student demand 

will be 

substantial. 

H.

Other reasons 

?

for introducing the course. 

There would seem to be a tremendous 

need for a course of this type

•

in

that, both in the Univcrity and in the community, there 

is

little 

evidence that this type of guidance is being 

provided elsewhere.

addition, if it 

is possible to instill a research attitude in students, 

this approach would hopefully be transferod to the children of these 

•

students

when they become parents. 

?

Also, some of these students 

Will

become teachers and

thus have the 

opportunity of

instilling a research                                    

'

approach in tomorrows citizens

via the

BUDGETARY AND SPACE FACTORS

A. ? 

Which faculty will be available to teach 

this course? 

Several faculty have expressed willingness to teach such a course 

if

Departmental release is possible. 

B. ? 

What are the special space and/or equipment 

requirements 

• ? 

for

?

this course? 

None 

C ?

Any other budgetary implications of mounting 

this course: 

No ? 

-

?

It would be possible to have "labs" during whic specific problems, 

sele 

ct ed 

perhaps by students on an individual basis, were subjected 

to

examination, but there does not 

seem 

to

be,

at the present time, 

any provision for funding TA's in 

General 

Studies. 

Approval: 

?

S ?

• ? 

Curriculum 

Committee: 

?

• ? 

Dean of Faculty: 

Senate: ? 

•

?

• ? 

:

•1

Genera' Studies 07

Issues and Answers

Professor: K. Burstein

::.:

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General Studies 100-3

Modern Art and Its Mainsprings: Eighteenth Century - offered by

A. Grants during the 1972-3 semester.

Student responses to questionnaires handed out to them to evaluate

the course varied. Almost all of the respondents considered the course to

be of high value

them, but there was a mixed reaction concerning the quality

of the instruction. For detailed comments,

see

the attached samples of the

questionnaires.

Faculty Evaluation

Professor Grai ts considered the course to be highly successful and

proposes to offer it again if it is re-approved by Senate. (See attached report.)

Evaluation of the Undergraduate Studies Committee, Faculty of Interdisciplinary

Studies

The Undergraduate Studies Committee considered the report of

Prof. Grants, and the student evaluations. We recognized the mixed reactions

of the students to the course, but noted that this is a new course developed by

Dr. Grants, in a new teaching area. Thus we decided to compare the results

of student questionnaires in G.S. 100 with those for G.S. 200. We noted that

in this comparison between the two courses, that there was a noted improve-

ment in the student evaluation of G. S. 200. We felt, therefore, that the general

trend of the teaching performance of Prf. Grants in these courses was toward

improvement. We also noted that students were

.1%

critical of the content of the

course and of the course's purpose.

It is our recommendation that the course be offered again.

Faculty of Interdisciplinary Studies, Simon Fraser University, May 30. 1973.

According to University regulations, it is necessary to evaluate

each new course after its initial presentation. This is done to determine

whether or not the course should becOme a permanent part of the Univer-

sity curriculum. With this in

mind we are requesting you to forward your

opinion of General Studie

s 100 - Modern Art and Its Mainsprings: 18th Century.

A prompt reply vould be greatly appreciated.

Did you consider this course to be:. superior

average

inferior

Any comments you might care to make regarding this course would be

helpful in making the assessment. .

Faculty of Interdisciplinary Studies, Simon Fraser University, May 30, 1973.

According to University regulations, it is necessary to evaluate

each new course after its initial presentation. This is done to determine

whether or not the course should become a permanent part of the Univer-

sity curriculum. With thisIlLrnind we are requesting you to forward your

opinion of General Stu'dies 100 ',Modern Art and Its Mainsprings: 18th Century.

A prompt reply would be greatly appreciated.

Did you consider this course to be: superior

average ?

inferior

Any comments you might care to make regarding this course would be

helpful in making the assessment.

Faculty of Interdisciplinary Studies, Simon Fraser University, May 30, 1973.

According to University regulations, it is necessary to evaluate

each new course after its initial presentation. This is done to determine

whether or not the course should beccmë a permanent part of the Uni-er-

sity curriculum. With

thijp_rnd

we are requesting you to forward your

opinion of General Studi

100

"Modern Art and Its Mainsprings: 18th Century.

A prompt repiyLetie greatly appreciated.

Did you consider this course to be: superior

average

inferior

Any comments you might care to make regarding this course would be

helpful in making the assessment.

FEWIM

Y9ij

SIMON FRA;LH UNIVE USITY, I3URNAI3Y 2, ftC CANADA

FACUL1 V OF INTERDISCIPLINARY STUDIES: 291-4152

April 10th, 1973.

Dr. R.C. Brown

Dean

Faculty of Interdisciplinary Studies

Simon Fraser University

Burnaby 2, B.C.

Dear Dean Brown:

I am pleased to submit an analysis of the series of courses titled

"Modern Art and

its

Mains prings", consisting of

G.S. 100 - Modern Art and Its Mainsprings - Eighteenth Century

offered Fall Semester 1972, and

G. S. 200 - Modern Art

and

Its Mainsprings - Nineteenth Century

offered Spring Semester 1973.

This analysis is not meant to be a post-mortem of the courses: I

have intended it to show that the series was quite successful in achieving

its objectives; that there is a considerable growing interest in the

two

courses among students and also among some faculty of other departments;

and

that some ways of improving the courses, without altering their nature,

suggest themselves by the analysis.

I would like to put forward the following proposals:

(i)

that G.S. ZOO - Modern Art and Its Mainsprings - Nineteenth

Century (2:1:0) be offered again in Fall Semester 1973 (concurrently with

G. S. 300 - Didactic Art of the Eighteenth Century Revolutions, which was

approved by the Senate for Fall Semester 1973), and

(ii)

that G.S. 100 - Modern Art and Its Mainsprings - Eighteenth

Century (2:1:0) be offered again, in Spring Semester 1974.

Yours sincerely,

47^; 

46VTh

Arvid Grants

AG jc

Analysis of G.S. 100 - Modern Art and Its Mainsprings_

Eighteenth Century

The course is designed to introduce the history of modern Western

painting. The objective is to develop in the students an awareness of the

various different methods of art history, and to train them in such skills

as are used by art historians. The course begins with the discussion of the

work of Peter Paul Rubens (1577-1640) and Nicolas Poussin(1594-1665) and

the effects of their work on Eighteenth Century painting. It ends with the

discussion of the work of Jacques-Louis David (1748-1825) and Francisco

Goya (1746-1828), placing them firmly in the Eighteenth Century. Parti-

cular attention will be paid to the concern of the artists discussed with

questions of what is "natural", or "true to nature", and what is "reasonable"

or cognitive.

Course Description by Lecture

Rubens and Poussin, as the 18th Century saw them.

Tiepolo and Some Other Italian and French Painters

in Italy: Bandits in a Landscape; the grappling with

reality and illusion; imagination and the work of

painting frescoes.

The Centres of Eighteenth Century Paiiting: Venice,

Paris and London. Collectors and dealers of art.

Topographical painters: Canaletto, Guardi, and

P i r ane

Si.

Watteau: the art of manners and of psychological

relations.

The sensuous trio: Boucher, Fragonard and Greuze.

The moral backlash: Diderot's criticism.

1-iogarth and Rowlandson. Caricaturists and

moralizers. The business of engraving.

Test.

Artists in England and the founding of the Royal

Academy: Kneller, Highmore, Thornhill, Jervas,

Goupy, Roubiliac, Hoare, Zoffani, Reynolds, and

others.

Portrait painting in France: Rigaud, Quentin

de la Tour, Perronneau, and Mme Le Brun.

Chardin and Stubbs: still life and animal painting.

The American history of journalistic painters:

Benjamin West, Copley, and others in London.

The perfect political artist: Goya or David.

Jacques-Louis David's relations to the French

Revolution.

Francisco Goya's preoccupation with reason and

Comments: The structure of the course was quite satisfactory. Students

were in good attendance of lectures up to the very last, and showed extra-

ordinary interest in, and an adequate grasp of, the course material and

the aims of the course.

The "visual" test, by way of slide projections, encouraged students

to study individually the pictures discussed in the course, in order to

describe and discuss them and thus to exercise in various different sorts

of verbalizing about the visual materialr The test should be moved to the

latter part of the course for greater effectiveness.

Bibliograp

Course Texts. The course texts were chosen to represent various

different methodological approaches to the area of study:

3.5.

Held and Donald Posner, 17th and 18th Century Art, 1972.

Michael Levey Rococo to Revolution, 1966.

Claire Gay, Eighteenth Century Painting, 1966.

john Canaday, The Lives of the Painters, (Volume Two), 1969.

Francis X. J. Coleman, The Aesthetic Thought of the French

, ?

Enlightrnent, 1971.

Lorenz Eitner (ed.), Neoclassicism and Romanticism, Sources and

Documents, 1970.

Comments: (1) is a "monster" of the sort "introductory text". It attempts

to sum up the Baroque and Rococo periods in 450 pp.; it mentions almost

every aspect of the periods, but does not provide a study in depth. The

reproductions of pictures in the book, however, are quite good in quality

and cover the most important ones fairly well. (2) is an argumentative

well-written volume; its level of sophistication requires several readings

and a careful assessment before the book is appreciated but students' final

reaction to the book was very enthusiastic. (3) did not arrive. (4) represents

the biographical method of art history. (5) a philosophical approach of the

"analytic school". (4) and (5) were used by very few students. (6) represents

a sociological method.

In the second offering of the course, I wish to specify only one course

text:

Michael Levey's Rococo to Revolution, Praeger 1966.

A list of supplementary reading (or "suggested reading") would include the

texts listed above, and the following additional books: (the asterisk indicates

those volumes which I would wish the University Book Store to purchase in

(A) EhibitiOfl CatalOgUe.

EurggeanM

ers

f the EigeefltCentury Royal AcademY,

, The Tate Gallery, London, 1959.

Goya and His Times, Royal Academy, London, 1963-4.

France in the Eighteenth Century, Royal Academy, London, 1963.

(B) General:

*1. F. Fosca, The Eighteenth Centur

- Watteau to Tiepolo,

Geneva 1952.

2. F. D. Klingenderi Art and Industrial Revolution, London 1947.

Lvi.

ngifl Eighteenth Century Ven, London, 1959.

J. Levey,

and A. Chatelet, French Painting

Geneva 1964.

. E.K. Waterhouse,

Painting

Britain, 1530_1790, Harmofldsworth

i. Helene Adhmar, WatteaU, Paris, 1950 (in French)

A. de Beruete Y. Moret, Goya as

London 1922.

D. L. Dawd, Pagent_Maste1 of the Republic: Jacques-Louis

David and the French Revolution, Lincoln, Nebraska) 1948.

tSch

K. Garas, Fran Anton Maulber

Budapest 1960 (in German)

K. Honour, INeo-Classicism, Harmond5W0

th , 1968.

Lopez-Ray, Goya'S CaprichO, vols. 1-2, Princeton 1953.

A. Morassi, G.B. TiepolO, London, 1955-62.

A. du Gu Trapier, Goya and His Sitters, New York, 1964.

ll. G. Wildenstein, Chardin, Paris 1933 (in French).

12. G. WildenStein, The Paintings of Fragoflarj London 1960.

...4

page 4

Essay Assignments_

Two essay assignments were set for the course: one, a book report

on an introductory but controversial text on XVUlth Century painting; two, a

research paper on the main topics of the course. The former was due early

in the course; the latter, on the last day of lectures.

Comments

Some students complained about the amount of work involved: they

felt that they could earn more easy credit6 in a large number of courses.

However, the number of drop-outs was very small. Moreover, the quality

of the work done was very high, generally. One explanation for the relatively

high quality of work is that there was a large per centage of upper-level

students (5th semester and up) in the course.

Course enrolment

107 students completed the course. Of these, 85 were enrolled in the

A ?

eneral Studies, and one

Faculty of Arts,

17 in the Faculty ox rauct.wII,

in the Faculty of Science.

of study:

English

Student enrolment by areas

n44)

4)%t ?

Student enrolment by year of admission

dylkla

The fact that a very large per cent of students came from upper

levels, that a very high number of students were doing an Arts degree,

and that most of them were from the Department of English can be explained.

page 5

it had jist happfld that the Department of English was presenting at the

same time a Fourth Year course in XVllIth Century literature, offered by

Dr. Anne Messenger, arid Dr. Messenger was interested enough to find out

about

to enrol in it while she herself

bout my course, had advised her stud

audited it.

it seems to me that coordinated planning of course offering between

departments and faculties would be of special interest to the Faculty of

Interdisciplinary Studies. There could be a special committee set up whose

of pictorial symbols, which should be of interest also in Communication

Studies, in psychology, in History of Art, and to various degrees in almost

any branch of Science and Arts disciplines. If the Committee of the sort I

suggest would send out invitations to the faculties and departments of this

University to contribute courses in classificatio

of pictures at a certain

oncerted effort which would be of a

investigating the Eighteenth Century perhaps more than any other slice of

' ?

space-time. Here thcre is an area of concerted effort for an

semester

of course offerings in a very near future.

Slide and Picture Collections, and

In the course of the lectures, approximately 600 slides were used.

Some 500 of them were new acquisitions, and only a hundred slides were

used from existing collection

at SFU. The new slides have to be classified

and arranged in files. There are no slide housing cabinets to store the slides.

There should also be an appointment of a special clerk whose task would be to

issue slides and place them back into the collection after the lectures. This

is a time consuming work.

N either the AV slide collection in the Library, nor the Art Gallery

Collection is arranged to assist the lecturer

these collections?

are

open for general borrowing, and as a result, the lecturer is very often

unable to recall the slides which he wants to use in time for the lectures.

Hence, these collections are useless to him.

A better projecting equipment must be acquired: there are no 6 x 6 cm

and the large 9000+ lecture theatres have no dimming arrange

mentS.

slide projectors

L4Ap

Revision of the Evaluation of General Studies 101-3

General Studies

101-3, 

Formal Development of the Symphony,

' was offered during the

1973-1 

semester by Professor Babcock.

enrolment ?

(see

Evaluation of the Undergraduate Studies Committee, Faculty of Interdisciplinary

Studies

The Committee, after having reviewed the reports made available

by Professor Babcock and by students who were enrolled in General Studies

101-3, 

propose the following course of action.

That G.S.

101-3 

be offered in the Fall Semester

1973. 

euroiled 

in the first offering of G.S.

101-3 

that the course was highly successful from

their point of view. Without exception students responding to our questionnaire

indicated that this was one of the more valuable courses which they had been

exposed to in their university experience. If there was any criticism of the course,

It was that the professor attempted to cover too much material in too short a time.

to allow time for more background material to be developed prior to actual expo-

sure to music. In response to these criticisms, the instructor has recommended

in his report that the course be divided in future into a two semester sequence

in the general history of music. Howevei, the Committee feels that the course

should be offered in its original form at least once more prior to any consideration

of dividing the course over a two semester period.

Faculty of interdisciplinary Studies, Simon Fraser University, May 30th, 1973

^-.P 

According to University regulations, it is necessary to evaluate

each new course after its initial presentation. This is done to determine

whether or not the course should become a permanent part of the University

curriculum. With tbi in mind we are requesting you to forward your opinion

of General Studie1i711- Formal Develo

ment of the Symphony

Did you consider this course to be: superior

average•

inferior

Any comments you might care to make regarding this course would be

helpful in making the assessment.

Faculty of Interdisciplinary Studies, Simon Fraser Univértty May 30

According

According to University regulations, it is necessary to evaluate

each new course alter its initial presentation. This is done to determine

whether or not the course should become a permanent part of the University

curriculum. With this in mind we are requesting you to forward your opinion

of General Studies 101 Formal Development of the Symphony.

Did you consider this course to be: superior

average

inferior

VO

Any comments you miglit care to make regarding this

course woul'be -.

helpful in making the assessment.

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Faculty of Interdisciplinary Studies, Simon Fraser University, May 30th, 1973

According to University regulations, it is necessary to evaluate

each new course alter its initial presentation. This is done to determine

whether or not the course should become a permanent part of the University

curriculum.

With thi

in mind we are requesting you to forward your opinion

of General Studies 101 -Formal1Devel9prent of the Symphony.

Did you consider this course to be: superior

average

inferior

Any comments you might care to make regarding this course would be

^4.0 

?

helpful in making the assessment.

.4160 

,

rflfl\

GENERAL STUDIES 101 

OBJECTIVES: To familiarize students with the formal concepts of symphony and to 

provide them with as many examples as possible in tracing the 

development of symphony from its beginnings to the present. To expose 

the uninitiated to symphonic music and to give them and students with 

some musical background an idea of what they are listening to. 

CLASS: 

?

initial 

enrollment: 

45;

final enrollment: 

65.

STUDENT EVALUATION: Students were asked to give their own evaluation of the course, 

not a response to a questionnaire; a questionnaire can be 

too easily biased by 4t8 author. 

1.

The course was very informative and delightfully enjoyable. 

2.

The instructor was very knowledgb1e, interesting, organized, lectured 

well, chose good examples. He was approachable for questions concerning 

any aspect of music-both in the lectures and in hhs office. 

3.

He did a commendable job in giving the course. 

4.

There was a unanimous and strong recommendation that the course 

be offered again. 

5.

Almost every criticism indicated the need for more music courses 

atSFU. 

•. This course should he 

?

dividcd L- 

.

2-sc str ? 

uenc t allow 

time for more background material and more listening. 

7.

General 

opinion was that the playback equipment was inadequate 

in quality. 

INSTRUCTOJS EVALUATION: 

I was 

indeed suprised and most pleased that this pilot course proved to 

be so interesting and valuable to the general student population. 

This

reception points up the need for more music courses, general and 

specific, at this university. The primary goals I had set for the 

course were obtained. 

The

course was a welcomed change from the usual 

offerings. A whole new area of interest in the Arts has been started 

by G.S. 101. 

RECOMMENDATIONS: 

1.

That the material in History of the Symphony be spread over 2 semesters. 

2.

A

2-semester course in a general history of music be made available 

to students at SFU. 

' ?

That 

better sound equipment be made 

available. 

4. That funds continue to be.made available for the acquisition of 

of records/tapes to make more representative the library holdings 

of concert music. 

W R Babcock 

'quus.A' ?

•%*6

11J

General Studies 200-3

Modern Art and Its Mainsprings: Nineteenth Century - offered by

A. Grants during the 1973-1 semester.

The student evaluations for G. S. 200-3 indicated a general satisfaction

with the content and instruction for the course. More specifically, the students

were highly enthusiastic about a course in the History of Art, but felt that the

instruction in the course was only of about average quality.

Faculty Evaluation

Professor Grants considered the course to be highly successful and

proposes to offer it again if it is re-approved by Senate (see attached report).

Ø ?

Evaluation of the Undergraduate Studies Committee, Faculty of Interdisciplinary

Studies

The Undergraduate Studies Committee reviewed the Professor's

evaluation and the student evaluations for the course, and we recommend

that the course be offered again.

The Committee noted a marked improvement in the student evaluation

of the

instruction

in the course with that which had been in G. S. 100-3. Thus

we feel that the Professor was becoming more comfortable with the new material

he was offering in the course and that he was adjusting to the new teaching milieu.

Faculty of Interdisciplinary Studies, Simon Fraser University,

May 30, 1973.

According to University regulations, it is necessary to evaluate

each new course after its initial presentation. This is done to determine

whether or not the course should become a permanent part of the University

curriculum.

mind we are requesting you to forward your opinion

of General

Mainsprings - 19th Century.

Did you consider this course to be: superior

average

inferior

Any comments you might care to make regarding this course would be

helpful in making the assessment.

Faculty of Interdisciplinary Studies,

S ?

According to University regulations, it is necessary to evaluate

each new course alter its initial presentation. This is done to determine

whether or not the course should become a permanent part of the University

curriculum. With this in mind we are requesting you to forward your opinion

of General Studi

)ModernArtM1dts Mains prings - 19th Century.

Did you consider this course to be: superior

average

inferior

Any comments you might care to make regarding this course would be

helpful in making the assessment.

There are really two points to consider in cosnenti-ng on this 

is the 

coursel First, there is the course itself; and then, there 

__

manner in which it 

was

tau

g

ht. I think that simoly the fact that 

it coreerned art -- in a urt.versitV that is sadly bereft of any 

Fine Arts courses -- 

Madwoo 

gave it a great deal of appeal. 

I found the course 

?

highly interesting in comparison to many 

of the other courses offered at Simon Fraser. I also believe the 

way Mr. Grants -• ? 

chose to present the course was extremely 

comirt 

e at 

e

his ças c)parly gnd cpncise 

.

)y to lecture-size   

__.

audience and this caused a sreat deal of dissatisfaction : 

for myself and others. I enjoyed the course, but the lectures 

(and many tutorials) were abominable -- and this was not due to 

the inherent technical limitations of the lecture hall. 

It was. all very sad to wait such long tedious hours M for 

such brief moments of beauty, 1I do hope this 4 not taken as a slur 

against Mr. Grants -- I find him a 

very fascinating 

man $i 

.

on an individ' 

ual basis. 

Faculty of Irterdisciplinary Studies, Simon Fraser University, May 30

)

1973.

According to University regulations, it is necessary to evaluate

each new course after its initia'. presentation. This is done to determine

whether or not the' course should become a permanent part of the University

curriculum. With thi'Th mind we are requesting you to forward your opinion

of ?

Art aMrtsMainspriflgS -

Century.

Did you consider this course to be: superior

average

inferior

iy comments you might care to make regarding this course would be

hepfui in making the assessment.

(M ?

C ?

' ?

IA) ?

'/ ?

G.S. 200 - Modern Art and Its Mainsprings - Nineteenth Centur

This introductory course in the history of western European

painting covers the main art movements and schools of painting from

the 1780's to the 1920's. The course begins with the work of Francisco

Goya (1746-1828) and Jacques-Louis David (1748-1825), and ends

with

the work of the School of Paris. Emphasis is placed on the various the-

oretical assumptions underlying art movements of the XIXth Century, and on

the

origins of these assumptions in the XVlIlth Century. The course is

designed to develop an awareness of the various different methods of art

history, and of such skills as are used by art historians.

Course description by lectures.

I ?

January 8 

II ? 

January 15 

III ?

January 22

Goya as portraitist, physiognomist, and humanist.

Politics and painting: Jacques-Louis David and the

French Revolution.

Jean-Auguste -Dominique Ingres: linearism, medievalism,

and

neoclassicism. The Nazarenes, the Lyonnais, the

Pre-Raphaelites: the search for a religious expression.

Art Nouveau or Jugendstil.

Eugene Delacroix, his painting and his Journal. The

painters mentioned in the Journal. Delacroix's colour

theory.

Turner and Ruskin; Constable and Leslie. Painting

literature, and art criticism.

Naturalism, as the Barbizon painters saw it.

Naturalism, as Courbet and other "realists" saw

it.

Naturalism, as Edouard Manet, Daumier,

and

Degas saw it.

Divisionism and Impressionism: Seurat, Claude Monet,

Renoir, James McNeill Whistler, and Mary Cassatt.

Test.

Past-impressionists and Symbolists and the Nabis:

Vincent

Van

Gogh, Pissaro, Emile Bernard, Gaugin,

Bonnard, Vuillard, and others.

Gustave Moreau and the Fauves-Vlaminck, Derain,

Matisse, and Rouault.

Cezanne and Zola; Braque, Picasso, Gertrude Stein,

and Cubism. 

IV ?

January 29

1^0 ? 

V ?

February 5

Vi ? 

February 12 

VII ?

February 19 

Viii 

?

February 26 

XI ? 

March 19 

...2 

page 2

—

Comments

The course description and lecture plan will remain the same should the

course be offered again.

Course

There was only one course text, George H. Hamilton's

and 20th

Century Art.

SuggeSe Additional Text.

Marcel Brion, Art of the Romanti

Era, 1966.

John Canaday, Lives of the Artists, (volume three) 1972.

Alan Gowan, The Restless Art, 1966.

Comments

G.1-l. Hamilton's 19th and 20th Centu Art, was a poor choice. I chose

ResteSArt A History of Painters and Painting, 176o-1960.

In addition to the course text, the following reading list will be suggested:

Exhibition Catalogues:

1. Goya and His Times, Royal Academy, London, 1963.

Z. Piranesi, Northampton, Mass., Smith College Museum of Art, 1961.

Gustave Courbet, 1819-1877, Boston: Museum of Fine Arts, 1960.

Manet, Philadelphia Museum of Art, 1966.

DelacrOix, Toronto Art Galler

6.Me1 jal

sition Euiiene Delacroi

au Musee du Louvre

Eug ?

Delacri Bremen, KunsthaUe, 1968.

The Nabis and Their Circle, Minneapolis Institute of Arts, 1962.

Odilon Redon, Gustave Moreau,Rodolphe Bresdin, New York,

Museum of Modern Art, 1962.

10.

The Blue Rider group, dinborOUgh, Royal Scottish Academy, 1960.

Gustav Klimnt and Egon Schule Solomon R. Guggenheim Museum,

11.

1965.

12.

Painters of the Brcke, London, The Tate Gallery, 1964.

13.

Fernand Leger, 1881-1955, Paris, Musee des Arts Decoratifs, 1956.

14.

CatalOgUes of Exhibitions," Vol. Vii) Arts Council

of Great Britain, 1956.

is. Paths of Abstract Art, Cleveland Museum of Art, 1960.

4. ?

page 3

F I

16. Surrealism, New York, Museum of Modern Art, 1968.

General:

F. Novotny, Painting and Scjpture in Europe, 1780-1880

("Pelican History of Art"), 1960.

W. Friedlaeflder, David to Delacroix, tr. R. Goldwater, Cam-

bridge, Harvard U.P., 1952.

H. Honour, Neo-Classicism, HarmondSworth, 1968.

K. Andrews, The Nazarenes: A Brotherhood of German Painters,

Oxford, 1964.

S. M. Brion, Romantic Art

, New York, 1960.

6. K. Clark, The Gothic Revival, An Essay in the History of Taste

New York, (1929), 1960.

7.P.. Ironside, Pre-Raphael

ite

Paint, London, 1948.

R. L. Herbert, Barbizon Revisited, Boston, Museum of Fine

Arts, 1962.

C. Chass, The Nabis and Their Period, London: Lund

Humphries, 1969.

10.

R. L. Herbert, Neo_ pressiomsm New York, 1968.

Ii. J. Rewald, 1

M2E

esSiOfliS3Y, New York, 1959.

12.

J. Rewald, Past impressionism, New York, 1962.

13.

B.S. Myers, The German Expressionist

: A Generation in Revolt,

New York, 1957.

14.

Leymarie, Fauvism: Biographical and Critical Stuy,

Skira, 1959.

15.

R. Rosenblum, Cubism and Twentieth Century Art, New York, 1961.

16.

C. Greenberg, Art and Culture; Critical Essa

s, Boston:

Beacon Pr1ess, 1961.

17.

E.P. Richardson, The Way of Western Art, 1771-191, Cambridge,

Mass., 1939.

Monographs:

E. du Gue Trapier, Goya and His Letters, New York, 1964.

Jos'e Lopez-Rey, Goya'S Caprichos, 2 vols., Princeton, 1953.

D. L. Dowd, Pageant Master of the Republic:

-L. D_n_he

French RevolutiO

1948.

R. Huyghe, Delacroiç tr. J. Griffin, New York, 1963.

S. G. Reynolds, Constable, The Natural Painter, New York, 1965.

J. RothenStein and M. Brettin, Turner, New York, 1964.

G. Bazin, Corot, Paris, 1951.

Rewald, Camille Pissaro, New York, 1963.

W. C. Seitz, Claude Monet, New York, 1960.

10.

D. Sutton, James McNeill Whistler, London 1966.

L U-

page 4

11.

0. BenesCh, Edvard Munch, tr. J. Spencer London, 1960.

12.

R. Goldwater, Paul Gaugin, New York, 1957.

13.

W.I. Homer, Seurat and the Science of Painting,

P. Huisman and M.G. Dortu, Lautrec by L

New York, 1964.

15.

M. Shapiro, Vincent vanG2gh, New York, 1950.

16.

P. Courthiofl, Georges Rouault, New York, 1962.

17.

W. Haftrnaflfl, Emil Walde, tr. N. Guterman, New York, 1959.

18.

J. Russell, The World of Matisse 1869-19, New York, 1968.

19.

H.M. Wingler, Oskar Koroschka The Works of the Painter, Salzburg,

1958.

20.

M. Shapiro (ed.), Paul

Cezanne,

3rd ed., New York, 1965.

21.

A.H. Barr, Jr., Picasso: Fifty Years of His Art, New York, 1946.

22.

W. Grahmanfl, Was sily KandinSky Life and Work, tr. N. Guterman,

New York, 1958.

23.

M. Seuphor, Piet Mondrian: Life and Work, New York, 1956.

Essay Assignments and Test.

Two essay assignments were set: one, a discussion paper on a topic

which was selected in a meeting between the student and the instructor.

This paper was handed in midway of the semester. The second papç

was due on the last day of lectures, and was to deal with one of the movements

in XIXth C. painting. The student was encouraged to establish a link between

the earmarks of an art movement and the art historical methods applied to it.

The test

was a

"visual" test, in which slides were shown for identification

of painter, school, title of painting, and for description of the painting in

terms of its reference, its expressiveness, and its pictorial properties.

Corn ents:

cess or failure of the final essay assign-

It is impossible to judge the suc

ment. The first paper was to guide the student to material compatible

with his other academic pursuits. Art history overlaps with many other

fields; or, to put it differently: no other field invites us to roam so widely

for a work of art

cannot

tell its own story unaided; it yields up its message

only to persistent inquiry that draws upon all the resources of cultural

history, from religion to economics.

There were basically two sorts of reaction by the students to the "visual"

test. The majority of students thought that the test aided them in their

study. But a few of them expressed their displeasure at having to "waste

their time".

page 5

Course Enrolment

Total course enrolment was 94

course enrolment by faculties:

Course enrolment by disciplines in the Faculty of Arts:

Enrolment figures by year

of admission to the University:

I am puzzled by the large enrolment of students majoring in English.

It may be a carry-over from the last semester. Or it may indicate that

the real interest of those from the Department of English is in Art History.

There is again a heavy enrolment of "upper level-" students, but not quite as

out of the balance with the enrolment of students of the level- at which the

course is directed.

Slide and Picture Collections.

Approximately 100 new slides were made for this course. There was

a real need for more slides to illustrate specific points. Impossibility of

dimming of lights in the lecture theatre (9201 AQ) presented a problem during

tests. This fault of the large lecture theatres can be corrected with very

little expenditure.

There is also need for slide housing cabinets, and for better projecting

equipment.

,- ?