"All philosophers are wise and Socrates is a philosopher; therefore, Socrates is wise." Our topic is this mysterious "therefore." We shall expose the hidden structure of everyday statements on which the correctness of our reasoning turns. To aid us, we shall develop a logical language that makes this underlying structure more perspicuous. We shall also examine fundamental concepts of logic and use them to explore the logical properties of statements and the logical relations between them.
Research in an area relevant to neuroscience, under the direction of a faculty member, and preparation of a thesis based upon the research. Full course.
Fall and spring semesters. The Committee.
(Offered as PSYC 325 and NEUR 325) In this course we will examine the ways in which drugs act on the brain to alter behavior. We will review basic principles of brain function and mechanisms of drug action in the brain. We will discuss a variety of legal and illegal recreational drugs as well as the use of psychotherapeutic drugs to treat mental illness.
The course will survey behavioral neurobiological systems. Students will explore recent research findings in areas pertaining to the role of neural circuits in several behavioral processes including but not limited to echolocation, mating, prey location, flight control, spatial navigation, song development in birds, mineral appetites, social functions, aggression, and learning and memory mechanisms in several species. Through instructor supervision, discussion, group presentations, and peer review, each student develops a specific research project that results in a research proposal.
(Offered as BIOL 214 and NEUR 214) An introduction to the structure and function of the nervous system, this course explores the basic functions of neurons and synapses as well as neural mechanisms of sensation at molecular, cellular, circuit and system levels. Basic topics in neurobiology and neurophysiology will be covered with emphasis on neuroscience history and understanding how neuroscientists approach the study of the nervous system. Three class hours per week.
Requisite: BIOL 191. Limited to 45 students. Fall semester. Professor Roche.
Independent reading course. A full course.
Fall and spring semesters.
Romantic composers loved to escape from the realities of every life into the perilous virtual worlds they created in their music. How can we explore these worlds and understand the technical means with which they were created? How can we interpret the splendid sound of music by using words whose discursive strength seems to endange music's ephemeral nature? Through close reading of nineteenth-century music by Schubert, Schumann, Chopin, Liszt, and Brahms, we will explore the possibilities of musical expression and meaning, searching for parallels between poetic and musical interpretation.
Immersive composition projects according to the needs and experience of the individual student, deepening the experience gained in courses of study like Music 269. One class meeting per week and weekly private conferences. Guest composer presentations in a workshop environment and discussions on compositional topics. This course may be repeated; topics and projects change each semester. Music 387 and Music 388 need not be taken in order.
Requisite: MUSI 269 or the equivalent, and consent of the instructor. Fall semester. Visiting Professor Pukinskis.
How can I participate in the conversations about music and sound I am studying? This seminar creates space for students to answer that question by experiencing a range of music and sound research in the context of the liberal arts. Our focus is on students developing research projects that can lead to thesis work, summer fellowship and internship opportunities, and other new directions in their intellectual and artistic lives.
What does it mean to compose? What do you need to know in order to do it? We will investigate the practice of music composition across recent decades and create original work inspired by the music and techniques we encounter. We will study the use instruments and voices, how to provide a clear musical score for interpretation by performers, and how improvisation and technology can inform and become part of a composition. Students may bring any style or tradition to the table.
