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MEMORANOUM
ATTENTION
FROM
RE
:
8888 U
ni
v
er
s
it
y
Driv
e,
Burnaby, B
C
C
anada
VS
A
1
S
6
S
enate
Bill Krane,
C
hair
T
E
L:
778
.
782.4
6
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A
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'(: 77
8.
78
2.
587
6
DATE
PAGES
S
enate
C
ommittee
o
n
U
nd
e
r
g
raduat
e
S
tudie
s
Facul
ty
of
Co
mmuni
c
ati
o
n,
Art and T
e
chn
o
lo
gy
For
information:
a
v
p
c
i
o@s
fu.
c
a
www
.sf
u
.c
a
/
vp
ac
ademi
c
Jun
e
3
,
201
'
1
1
f
\
c
tin
g
und
e
r d
e
l
e
gated authorit
y
at it
s
m
ee
tin
g o
f J un
c 2,
2011
, S
C
US a
pp
rov
ed th
e
f
o
ll
o
win
g
c
urriculum re
v
i
s
i
o
n
s
effective
Sprin
g
2
0
1
2
:
1.
WQB Designations (
SC
US 11
-
35a)
• W D
es
i
g
nation: IA
T 206, M
e
dia
Ac
ro
ss C
ulture
s
•
W
D
es
ignati
o
n: P
U
B 355
, O
nlin
e l'v
f
a
rk
e
tin
g
2. Ca
nadian
Ce
nrre for
S
tudie
s
in
Publi
s
hin
g (SCUS
11
-35
b
)
(
a
)
Ne
w
Co
ur
se
Propo
s
al:
P
U
B 210
-3,
Writin
g
t
o
Purp
os
e (eff
e
ctive Fa]] 201
2
)
3
.
Sc
h
oo
l f
o
r the
Co
ntemporary
Art
s (SC
U
S
11
-
3
5c
)
(
a
) N
ew
Co
ur
se
Propo
s
al: FP1\ 146
-
3,
Inrr
o
du
c
ti
o
n
t
o
Mu
s
ic
C
ompo
s
iti
o
n
and Th
eo
r
y
Il
(b
)
D
e
leti
o
n
o
f FPA 244
Senators
wishing
to
consult
a
more detailed report of curriculum
revisions
may do
so
http://www.sfu.ca/senate/Senateagenda.html
following the posting
of
the
agenda.
If
you are
unable
to access
the information, please
call
778-782-3168
or
email
shelleygair@sfu.ca
.
S
IM
O
N
('RA
S
EH UNIVEHSITY
T
HI
N
K
ING
O
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OR
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Office of the Dean
TASC28800
8888 University Drive. Burnaby, Be
Canada V5A 156
MEMORANDUM
AlTENTION
Bill Krane. Chair
FROM
RE:
Senate Committee on Vndergraduate Studies
DD
Kugler. Chair
Faculty of Communication. Art, and Technology
TEL 778.782.8790
F.~X
778.782.8789
DATE
May 9. 2011
PAGES
SCUS 11-35
fcatinfo@sfu.ca
WWW.fcaLsfu.ca
The Faculty of Communication, Arts, and Technology Undergraduate Curriculum Committee
has endorsed the W -designation to the following two FCAT courses:
IAT206W
PUB355W
Attached you will find the Memo of Approval for both courses from the University Curriculum
Office.
Please place this item on the next meeting of SCUC.
DD Kugler
SIMON FRASER UNIVERSITY
THINKING OF THE WORLD
MEMO
AD:JRESS
8888 UNIVERSITY DRIVE
BURNABY Be
V5A lS6
CANADA
, .
SFU
UNIVERSITY CURRICULUM &
!NST!TUTIONA~
L:A:SCM
OFFICE
O~
THE VICE PRESIDENT ACADEMIC AND PROVOST
SCUS 11-35a
A~T!NTION
Don Ku ler, Associate Dean, FeAT
TEL
FROM
SUSAN RHODES, Assistant Director, University Curriculum and
Institutional Liaison
I
RE W designation apDroval
I DATE May 9, 2011
I TIME 10: 27 AM
The University Curriculum Office has approved the following:
PUB 355 Online Marketing - W - effective 1117
IA T
206 Media Across Cultures - W - effective 1121
Please forward this memo to your Faculty
uee and then to seus for final
approval.
1.
SIMON FRASER UNIVERSITY
THINKING OF THE WORLD
FACULTY
or
COMMUNICATION, ART AND TECHNOl.OGY
Office of the: Dean
TASC28800
8888 University Drive, Burnaby, BC
Canada V5A lS6
TEl.
778.782.8790
PAX 778.782.8789
MEMORANDUM
AITENTlON
Bill Kmne, Chair
DATE
May 27,
2011
Senate Committee on Undergraduate Studies
FROM
DO Kugler, Chair
PAGES
15
FacuJty
of
Communication,
An,
and
Technology
RE:
SCUS 11-35b
www.fcat.sfu.ca
On May 16,2011, the Faculty of Communication, Arts, and Technology Undergraduate
Curriculum Committee approved the following curricular revisions:
• Canadian Centre for Studies in Publishing
o
PUB 210: New Course
• School for the Contemporary Arts
o
FPA 146:
New Course
o
FPA 244:
Delete
Attached you
will find the Memo of Approval for both courses from the University Curriculum
Office.
Please place these items on the next meeting of SCUS.
s r
M () N 1: R A S
Ii
U
U N
1 V E R SIT Y
IHINKING OF THI: WORLD
PUBLISI fING PROGlt-\l\f
Publishing
program
515 W. Hastings Street
Vancouver,
BC V6B 5K3
MEMORANDUM
ATTENTION
FROM
RE:
Don Kugler
t
Chair
Faculty of Communication, Art and Technology
Undergraduate
Curriculum
Committee
Rowland
Lorimer,
Director
Publishing
Program
Minor in Print and Digital Publishing proposal
TEL
778.782.5242
Email:
ccsp-info@sfu.ca
DATE
March
7.
2011
PAGES
At its meeting of March 1, 2011 the Publishing Program Committee of the
Whole approved the attached course proposal for Publishing 210.
Would you please place this proposal on the agenda of the next meeting of the
Faculty of Communication, Art and Technology Undergraduate Curriculum
Committee?
Thank you,
Rowland Lorimer
Director, Publishing Program
S I M 0 N
1~
n
ASH U
lJ
N I V
nits
1 T Y
IHINKING OF IHI:
WO~l.D
COURSE NUMBER PUB 210-3
SENATE COMMlTTHI: ON
UNDEIWRADUAl'l!
STUDIES
NEW COURSE PROPOSAL
I OF 3 PAGES
--------------------------------------------------------------
COURSE TITLE
LONG - for Calendal./schedule. no more than 100 characters including spaces and punctuation
UNPJe;(..si"N
LeVel.-
Writing to Purpose: raFs\CiEiiR6 Basis skills and practice in writing effectively for partisylar ja'=lrpesee
AND
SHORT - for enrollment/transcript, no more than 30 characters including spaces and punctuation
Writing to Purpose
CREDITS
Indicate number of credits for: Lecture _2 ___ _
Scminar _____ _
Tutorial_
1
___ _
Llb ____ _
COURSE DESCRIPTION (FOR CALENDAR). 31ltaLiNES MAXIMUM. ATTACH A COURSE OUTLINE TO THIS PROPOSAL.
B
VN,~,.n.,t
J.GveL.
A f9YREiatioR GQ\::JFS9 jaF9viGlIRsaaiQ skills ana practice in writing clear, concise, logical, and direct
text suited to particular purposes. Students will learn to assess the rhetorical situation (audience,
purpose, occasion) and identify the appropriate style, tone and format of writing for the situation, in
writing reports, instructions, proposals, and presentations In both print and online environments.
PREREQUISITE
None
COREQUISITE
None
SPECIAL
INSTRUCTIONS
That is. does this course replicate the content of a previously-approved course to such an extent that students should not receive: credit for both
courses.? If so, this should be noted in the prerequisiite.
COURSESIS) TO BE DELETED IF THIS COURSE IS APPROVED
NOTE: APPROPRIATE DOCUMENT FOR DELETION MUST BE SUBMITTED TO SCUS
None
RATIONALE FOR INTRODUCTION OF THIS COURSE
Simple, direct. lucid writing Is needed In every workplace. This course. in which students learn the
essential skills of technical writing, is a fundamental component of the undergraduate program.
Enrolment Is estimated at 150 students per session.
SENATE COMMITTEE ON
UNDERGRADUATE STUDIES
SCHEDULING
AND
ENROLLMENT
INFORMATION
NEW COURSE PROPOSAL
2 OF
3
PAGES
Indicate effective term and year coune would
fir~t
be
offered and planned frequency of offering thereafter:
First offering: Fall 2012. It would be taught once or twice a year.
(NOTE:There teo a two-term wait for implementation of any new course.)
lndicate if there
is
3. waiver required: DyES
III
NO Will this be a required or elective course in the curricuhlm?
0
Required 11/ Elective
What is the probable enrollment when offered? Estimate _1_5_0 ____ _
Which of your present CFL faculty have the expertise to offer thjs course?
Mary Schendlinger
Are
there any proposed student fees associated with this course other than tuition fees?
DYES
III NO
(If yes. attach mandatory supplementary fee approval form.)
RESOURCE
IMPLICATIONS
NOTE: Senate has approved (S.93-11) that no new course should be approved
by
Senate until funding has been committed fOI'necessary library
materials. Each new course proposal mu.n
be
accompanied by a library report and, if appropriate. confirmation that funding arrangemenfs have been
addressed.
Cllmpus
where course will be
aught _"'_a_n_c_o_u_v_e_r
_c_a_m__.p_u_s _______________________ _
Library report status' _____________________________________ _
Provide details on how existing instructional resources will be rediltributed to accommodate this new course. For example. will another course
be eliminated or will the frequency of offering of other courses be reduced; are there changes in pedagogical style or class sizes that allow for this
additional
course
offering?
The introduction of this course will not result In the elimination of existing courses, or reduction
in the frequency with which other courses in the faculty are offered. Our estimate Is that all the
required
materials are available online and in the library
List any outstanding
resOUl"Ce
issue!'
to
be addressed prior to implementation: space, laboL'atocy equipment. ctc:
None
Articulation agreement reviewed?
DYES
0
NO
OTHER IMPLICATIONS
None
III
Not applicable
APPROVALS
:illNATE COMMlTTI!U ON
UNDBRC RADUATE STUDIES
NEW COURSE PROPOSAL
3
OF
3
PAGES
1
Departmental approval indicates that the Department or School has
~pproved
the content of the course, and has consulted with
other Depar
/
ools/Faculties regarding proposed course content and overlap issues.
Chair,
Department/School
Dato
Chair, Faculty Curriculum Committee
Date
2
Faculty approval indicates that aU tho necessary course content and overlap concerns have been resolved, and that tho
Faculty/School/Department commits to providing the requirod library funds.
Dean
or designate
Date
LIST which other Departments, Schools and Faculties have been consulted regarding the proposed course content. including overlap issues. Attach
documentary evidence of
~sponses.
Other Faculties approval indicated that the Dean(s) or Designate of other Faculties AFFECTED
by
the proposed new course support(s) the approval of
the new course:
Date ___________ _
~te
___________________ __
3
SCUS approval indicates that the course has been approved for implomentation subject, where appropriate, to financial issues
being addressed.
COURSB APPROVED
BY SCUS (Chair of seUS):
rn~
______________________
_
APPROVAL IS SIGNIFIED BY DATE AND APPROPRIATE SIGNATURE.
PUB 210-3 / Writing to Purpose
COURSE
OUTLINE
Deparbnent: Publishing Program
Prerequisite: None
Credit Hours: 3
Instructor: Mary Schendlinger
Course Number: PUB 210-3 Credit Hours: 3
Course Title: Writing to Purpose
Calendar Description
Page lof3
A foundation course providing basic skills and practice in writing clear, concise, logical, direct text suited
to
p~rticu~ar
purposes. Students will learn to assess the rhetorical situation (audience, purpose, occasion)
and IdentIfy appropriate style, tone, length, and format of writing in writing reports, instructions,
proposals, and presentations
in both print and online environments.
Grading
Class discussions and workshops: 10%
Group assignments: 1596
Individual in-class exercises: 15%
Individual take-home assignments: 20%
Midterm exam: 15%
Final exam:
25%
Marks awarded in this course are expected to correspond to established university-wide practices in both
their
levels and their distribution. In addition, the course will also follow Policy TI0.02 with respect to
"Intellectual Honesty" and "Academic Discipline." For further details, please refer to the current SFU
calendar and the section entitled "General Regulations."
Course Textbook
Faigley, Lester, Roger Graves, and Heather Graves.
The BriejPenguin Handbook,
Canadian ed. Upper Saddle
River NJ: Pearson Educational, 2006.
Class Schedule and Readings
Week One: Speaking, Reading, Writing, Thinking
We explore the basis of writing: the origins and evolution of human language, and the connections
between oral traditions, written and read language, thought and imagination.
From the shift to written
culture
in the ancient world, to the invention of movable type and the printing press, to the wired world of
today, the uses and
effects of writing have had a profound impact on thought.
Readings:
Martin, Henri-Jean. "Writing Systems" and "The Written and the Spoken Word," in
The History and
Power ojWriting,
trans. Lydia G. Cochrane. Chicago: University of Chicago Press, 1995.
Week Two: The Building Blocks o/Writing
To read critically and to write well, we need the best tools we can find. We spend quality time
with
the
basics - words, sentences, paragraphs - to understand what parts they play.
Readings:
Hale, Constance. "Words" and "Sentences," in
Sin and Syntax: How to Craft Wickedly Effective Prose.
New York: Broadway Books, 2001.
Week Three: Principles of Writing Strong Prose
With the building blocks in place, we explore strategies to fit them together. We apply principles of all
good prose writing in order to combine ideas and information logically and smoothly, for maximum
readability and effectiveness.
PUB 210-3 / Writing to Purpose
Page 2of3
Readings:
Zinsser, William. "Forms," and "Attitudes,"
On
Writing Well,
30
th
anniversary edt New York:
HarperColIins, 2006.
Barzun, Jacques. "Meaning, or What Do I Want to Say?" and "Composition, or How Does
It
Hang
Together?" in
Simple
&
Dil'ect: A Rhetoric/or Writers.
Toronto: HarperCollins Canada, 2001.
Weeks Four and Five: Identifying the Rhetorical Situation
There are as many approaches to good writing as there are contexts. We figure out how to identify the
rhetorical situation for the writing: audience, purpose, occasion, including
the medium, the role of design,
and the time, money, support services, and other resources available.
Readings:
Gowers, Ernest. "The Elements," in The
Complete Plain Words.
London: Penguin,
200
4.
Bolter, David. "Writing in the Late Age of Print," in
Writing Space: Computers, Hypertext, and the
Remediation o/Print,
New York: Taylor
&
Francis, 2001.
Weeks Six, Seven and Eight: Writing Short In/ormation Documents for Print and Web
Applying the principles we have learned so far, we write reports, manuals, instructions, newsletters, and
other short documents
for print; and email messages, reports, manuals, instructions, e-newsletters,
infonnational
blog entries, and other short documents for the Web.
Readings:
Ong, Walter J. "Writing Restructures Consciousness," in
Orality and Literacy: The Technologizing o/the
Word.
New York: Routledge, 2002.
Mill, David. "Differences Between Copywriting for Online and Offline" and CfThe Fundamentals," in
Content Is King: Writing and Editing On-line.
New York: Reid/Elsevier/Butterworth-Heinemann, 2005.
Weeks Nine and Ten: Writing and Critiquing Persuasive Materials for
Print
and Web
Applying the principles we have learned so far, we write persuasive materials for print and Web: product
descriptions, fundraising letters and email messages, applications, proposals, and press
releases. To
sharpen each other's writings, we work in small groups to critique them paragraph by paragraph, sentence
by sentence,
word by word.
Readings:
Hatton, Angela. "Preparing to Pitch," "Pitching with Punch" and "Winning Proposals,"
The Definitive
Business Pitch: How to Make the Best Pitches, Proposals and Presentations.
Toronto: Pearson Canada,
2006.
Weeks Eleven and Twelve: Writing Longer Documents/or Print and Web
The demands of the longer document - a substantial report, a website consisting of several pages, a
detailed application
for extended funding - require different approaches to rhythm, order, and
momentum.
We apply our skills to this new rhetorical situation.
Readings:
Kilgour, Frederick G. "The Electronic Book/' in
The Evolution o/the Book.
Oxford UK: Oxford University
Press, 1998.
Week Thirteen: Writing Speeches and other Oral Presentations
By preparing short oral presentations, we will comprehend the ways in which writing meant to be
presented
orally, in an informational or persuasive presentation, differs from writing to be read.
Readings:
Detz, Joan. "Assessing Your Audience" and fCWriting the Speech," in
How
to
Write and Give
a
Speech: A
Practical Guidefor Executives.
New York: St. Martin's Press, 2002.
Final Exam
Open-book, online, short answer and essay questions, passages to write. Worth 25% of final grade.
PUB 210-3 / Writing to Purpose
Possible Assignments and Individual In-Class Exercises
1.
Week Two: The Building Blocks of Writing
Parse the following sentences:
Page 3 of3
Theodore was said to have moved to the Gulf Islands, where he and a group of back-to-the-landers built a
geodesic
dome.
How much wood would a woodchuck chuck if a woodchuck could chuck wood?
The river wound through a bucolic landscape, roared through the canyon, then relaxed and made its
stately
way into the gulf.
2.
Weeks Four and Five: Identifying the Rhetorical Situation
A federal election campaign is underway. Write two email messages, each 100 words long; to be sent to
Fraser
Valley supermarket shoppers
with
no known political affiliation. In one email, urge the recipient to
vote for the Liberal candidate. In the other, urge the recipient to vote for the NDP candidate. Write subject
lines as
well as "body'. text. Use graphics if necessary.
3. Weeks Six, Seven and Eight: Writing Short Information Documents/or Print and Web
a) Report: You are a self-publishing consultant whose client, an attorney who wishes to print 20 copies of
his memoirs for family and friends within the next week. Research the availability of local Print-on-
Demand
services and write a 250-word report for the client.
b) Instructions:
You are an editor at a monthly magazine. Write a lso-word set of basic instructions for
freelance writers on how to use the Track Changes function in Word documents.
4. Weeks Nine and Ten: Writing and Critiquing Persuasive Materialsfor Print and Web
a) Press release: You are an Information Officer at ICBC. Write a 2so-word press release announcing the
adoption of
new software designed to detect fraudulent automobile accident claims.
b) Fundraising letter: You are a fundraising consultant for a small arts and technology university. Write a
letter to alumni requesting donations for a state-of-the-art media arts computer
lab.
5. Weeks Eleven and Twelve: Writing Longer Documentsfor Print and Web
You are the new web editor for a non-profit association that trains and places dogs for people with
disabilities. Write copy for a website that will launch
with
these pages: Home, About, Services, Photo
Gallery,
Donate.
6. Week Thirteen: Writing Speeches and Other Oral presentations
Study the sample provided, a set of research notes on a new pharmaceutical. Working
in
a group of three
students, write and
deliver three 5-minute PowerPoint presentations, one for each of the following
audiences:
(a) a group oflocal health professionals,
(b) members of a nonprofit health advocacy group,
(c) a group of grade twelve students who are considering careers in bioengineering.
SCfrOOJ. FOR
TrmCONTEMPOR:\RY
ARTS
Simon Proser University
8888 University Drive
Burnaby, BC, VSA 1S6
TEL 778.782.3363
MEMORANDUM
ATTENTION
FROM
RE:
DD Kugler, Chair
Faculty of Communication, Art a.nd Technology
Undergraduate
Curriculum
Committee
Denise
Oleksijczuk,
Associate
Chair
School for the Contemporary Arts
Curriculum
Revisions
PAGES
seus 11-35c
E.mail:
ca@Sfu.ca
At its meeting January 28, 2011, the School for the Contemporary Arts approved
the attached curricular revisions:
• New Course: FPA 146-3 Introduction to Music Composition and
Theory
II
• Delete FPA 244-3 Theory of Contemporary Music
Would you please place these proposals on the agenda of the next meeting of the
Faculty of Communication, Art and Technology Undergraduate Curriculum
Committee?
Thank you,
Denise Oleksijczuk
Associate Chair, School for the Contemporary Arts
SIMON fUASTIn
lJNIVEl~SlTY
!HINKING Of IH£: WORLD
:> bN(\'l H CO M M JTlhE 0 N
NEW COURSE PROPOSAL
UN 1>
l: n c
rtA D lIs\ T E S" U
l> ,
L S
I IH
J
£lAG 1.:5
COURSE
NUMBER
--------------------------------------------------------------
FPA
146-3
COURSE TITLE
LONG - for Calendar/schedule, no more than 100 characters including spaces and punctuation
Introduction to Music Composition and Theory II
AND
SHORT - for enrollment/transcript, no more than 30 characters including spaces and punctuation
Intro Composition II
CREDITS
Indicate number of credits for: Lecture ___ 2 __ _
Seminar ____ _
"nuOrial ___
1
____
Lab _____ _
COURSE DESCRIPTION IFOR CALENDAR). 3-4 LINES MAXIMUM. AITACH A COURSE OUTLINE TO THIS PROPOSAL.
A continuation of FPA 145 where students compose short works for instruments within given
parameters that address specific compositional issues. Analysis of a wide range of music, score
reading and recorded music of selected compositions will be included.
PREREQUISITE
FPA 140 and FPA 145
COREQUISITE
SPECIAL
INSTRUCTIONS
That is, does this course replicate the content of a previously-approved course Co such an extent that students should not receive credit for both
courses.? If so, this should be noted in the prerequisiite.
COURSES(SI TO BE DELETED IF THIS COURSE IS APPROVED
NOTE: APPROPRIATE DOCUMENT FOR DELETION MUST BE SUB MinED TO SCUS
FPA 244 Theory of Contemporary Music. Students who took FPA 244 may not take FPA 146 for credit.
RATIONALE FOR INTRODUCTION OF THIS COURSE
Coupled with FPA 145, FPA 146 will create a second course of introductory music composition in the first year, not in the
second year under FPA 244. This ensures that students will be sufficiently prepared and literate in music for sophisticated
study of composition when declaring a Music Major In 2nd year. This will also create a cohort of composers as majors.
SENr\TE COMMITTEE ON
NEW COURSE PROPOSAL
UNDERGRADUATE STUUrES
2 Of' J I'AGES
SCHEDULING
AND
ENROLLMENT
INFORMATION
Indicate effective term and year course would first be offered and planned frequency of offering thereafter:
Spring 2012 and offered every year.
(NOTE:There is a two-term wait for implementation of any new course.)
(ndicate if there
is
a waiver required: IIlYES
0 NO Will
this
be
a required or elective course in the curriculum?
III
Required
0
Elective
.
.
36 students
What
IS
the probable enrollment when offered? Estimate _____ _
Which
of your present CFL faculty have the expertise to offer this course?
Professor David Macintyre, Professory Owen Underhill, Professor Arne Eigenfeldt,
Professor
Martin
Gotfrit
Are there any proposed student fees associated with this course other than tuition fees?
DYES
{II NO
(If yes. attach mandatory supplementary fee approval form.)
RESOURCE
IMPLICATIONS
NOTE: Senate has approved (5.93-11) that no new course should be approved by Senate until funding h2S been committed for necessary library
materials. Each new course proposal must be accompanied by a library report and,
if
appropriate. confirmation that funding arrangements have been
addressed.
.\1 b
h
Vancouver campus, SFU Woodwards
Campus where course WI! e taug
t ______________________________ _
'b
FPA 146 replaces FPA 244; no new library resources will be required.
LI rary report 5tatu5 ____________________________________ _
Provide details on how existing instructional resources wiU be redistributed to accommodate this new course. For example. will another course
be eliminated or will me frequency of offering of other courses be reduced; are there changes in pedagogical style or class sizes that allow for this
additional course offering?
FPA 244 Theory of Contemporary Music is being dropped from the calendar and its content is
included in this new course. By making it a follow-up course, the second in a series of
introductions in composition and theory, we ensure more literate majors and better enrollment.
List any outstanding resource issues to be addressed prior to implementation: space. laboratory equipment.
etc:
The computers and software necessary for offering this course are already in place at SFU
Woodwards
in
Contemporary
Arts.
Articulation agreement reviewed?
DYES D NO
o
Not applicable
OTHER IMPLICATIONS
APPROVALS
SeN,HI! COMMITTEE ON
UNDuRGRADUATE
STUJ)I1~S
NEW COURSE PROPOSAL
) () I' 3 P A G
P.
S
Departmental approval indicates that the Department or School has approved the content of the course, and has consulted witb
other Departments/Schools/Faculties regarding proposed course content and overlap issues.
Chair,
Department/School
Date
Chair, Faculty Curriculum Committee
Date
2
Faculty approval indicates that aD the necessary course content and overlap concerns have been resolved, and that the
Faculty
/SchoollDeparhnent commits to providing the required Library funds.
Dean
or designate
Date
LIST which other Departments, Schools and Faculties have been consulted regarding the proposed course content, including overlap issues. Attach
documentary evidence of responses.
Other Faculties approval indicated that the Dean(s) or Designate of other faculties AfFECTED by the proposed new course support(s} the approval of
the new
course:
Date ____________ _
Date ____________ _
J
SCUS approval indicates that the course has been approved for implementation subject, where appropriate, to financial issucs
being addressed.
COURSE APPROVED BY SCUS (Chair of SCUS):
Date ____________ _
APPROVAL IS SIGNIFIED BY DATE AND APPROPRIATE SIGNATURE.
Course
Outline
FP A 146 - Introduction to Music Composition and Theory II
FPA 146 is a continuation ofFPA 145 where students compose short works on
given parameters that address specific compositional issues. In addition, the
course continues theoretical investigation of the basic materials of the tempered
chromatic scale, alternative tuning systems,
and contemporary practices of texture
and rhythm. Analysis of a wide range of music, score-reading and exposure to
recorded music will be part of the course.
Required Text (available
from Simon Fraser University Bookstore)
Stefan Kostka:
Materials and Techniques a/Twentieth Century Music,
Second
Edition.
Grading:
Attendance and Participation
20%
Compositions 1-4
60%
Final composition
20%
All compositions are performed on CDs using MIDI interpretations of
Finale
or
Sibelius
music notation software prepared by the students as assignments.
Week One:
Lecture:
Introduction
Text Chapters 3,4 and 5
Tutorials: Assignment 1 and presentation dates for compositions assigned to each student.
Week Two:
Lecture:
Rhythm,
Chapter
6
Tutorials: Each tutorial has 12 students. For the first assignment, students are divided into
two groups of 6.
Assignment 1 Group 1
Motion and Stasis
for two instruments (violin/cello)
3 sketches at 30 seconds each
Week Three:
Lecture:
Scales,
Chapter 2
Tutorials: Assignment
1
Group
2
Motion and Stasis
for two instruments (violin/cello)
3 sketches at 30 seconds each
Week Four:
Lecture:
Schenkerian Analysis
- Korngold
Tutorials:
The next series of assignments are done in
3
groups of
4
students in each.
Assignment
2
Group
1
Only Six Pitches
for two instruments
2 contrary sketches at 1 minute each (flute/clarinet)
Week Five:
Lecture:
Melody
- Messiaen
Quatour pour Ie FIn du Temps
2. Vocalise
Coulthard
Twelve Essays on a Cantabile Theme
Tutorials:
Only Six Pitches
Assignment 2 Group 2
2 contrary sketches at 1 minute each (flute/clarinet)
I
Week Six:
Lecture:
Improvisation
- Cage and Cardew
The Great Learning
Tutorials:
Only Six Pitches
Assignment 2 Group 3
2 contrary sketches at 1 minute each (flute/clarinet)
Week Seven:
Lecture:
Set Theory
- Maxwell Davies
Ave Maris Stella
and Ligeti
Desordres
Tutorial:
Rhythm is it!
Assignment 3 Group 1
one piece - 2 minutes (3 percussion instruments)
Week Eight:
Lecture:
Processes
- John Adams and Louis Andriessen
Tutorial:
Rhythm is it!
Assignment 3 Group 2
one piece - 2 minutes (3 percussion instruments)
Week Nine:
Lecture:
Textures
- Varese
Ionization;
Gubaidulina
In Croce
Tutorial:
Rhythm is it!
Assignment 3 Group 3
one piece - 2 minutes (3 percussion instruments)
Week Ten
Lecture:
Microtones
- Ben Johnson,
String Quartet
#9,
iii;
James Tenney
Critical Band
Tutorial:
Processes
Assignment 4 Group 1
one piece - 2:30 minutes for 4 instruments (student choice)
Week Eleven:
Lecture:
Tonality
- Part
Spiegel im Spiegel;
Southam
Simple Lines of Inquiry
Tutorial:
Processes
Assignment 4 Group 2
one piece - 2:30 minutes for 4 instruments (student choice)
Week Twelve:
Lecture:
World Music
- Someh Satoh
Toward the Night;
Xiao Song-Qu
Life on a String
Tutorial:
Processes
Assignment 4 Group 3
one piece - 2:30 minutes for 4 instruments (student choice)
Week Thirteen:
The whole class attends the lecture and the three hours of tutorials for a semester end
concert spread over two days.
Lecture:
Free
- a composition 3 minutes long - 18 students (one half class)
Tutorial:
Free
- a composition 3 minutes long -
18
students (second half)
Senate Committee on
Undergraduate studies
COURSE ClIANGEIDELETION FORM
Existing Course Number: FP A 244-3
Existing Title:
Theory of Contemporary Music
Please check appropriate revision(s):
Course Number: __
Credit Hours:
Description:
Prerequisite:
Course deletion: _x_
FROM:
TO:
If Title Chang§,
indicate:
Title:
Vector:
(LectlSemlTutlLab )
a) Long Title for calendar/schedule: max. 100 characters, including spaces/punctuation:
b) Short Title for enrollment/transcript: max. 30 characters, including spaces/punctuation:
RATIONALE:
Course FPA 244-3 will be dropped from the calendar because the content of this
course will be taught in the proposed new first year course FPA 146-3.
Learning music is like learning a
language, and it is important that all music
students are sufficiently literate after the first year of training to achieve success
later on.
Jf this course replicates the content of a previously approved course to the extent that students
should not receive creclJt for both courses, this should be noted in the prerequisite.
Students who have previously taken FPA 244 may not take FPA 146 for further credit.
Effective
term and year: Spring 2012
