This course will examine the changing status of printed matter from the flowering of book design and book-bindings in turn-of-the-century England and the Continent through the early 20th-century transformative experiments of the Italian Futurists and the textual agitprop of the Russian Constructivists. Topics will explore the politics and possibilities of collaboration, innovation and design.

This course will comprise weekly group lessons in music composition, with occasional private tutorials. Emphasis will be on the refinement of technical skills such as notation, orchestration, and formal construction. Students will also be encouraged to broaden their conceptual framework for writing music from the study of contemporary music literature. Student composers will have at least two works read and recorded during the semester. Pre-requisite is Contemporary Musical Practices (HACU303).

In her 1924 essay "Mr. Bennett and Mrs. Brown," Virginia Woolf observed, "On or about December, 1910, human character changed." Drawing inspiration from Woolf's famous phrase, this course focuses on modes of redescribing personhood in the work of James Joyce and Virginia Woolf, placing their writings in the larger context of British culture between the First and Second World Wars.

Writing for Film: Text and Image in Transnational Cinema and Installation. This production/theory class will introduce students to scripts and texts by independent filmmakers and installation artists who are questioning what it means to work in a transnational context and to negotiate conflicts between notions of the local and the global, notions of national identity and the postnational. These filmmakers are working in hybrid combinations of essayistic, poetic, fictional and non-fictional forms.

This is a composition course that will also survey the history, theory, and practice of electro-acoustic music. The course will introduce the musical, technical, and theoretical issues of electro-acoustic music, broadly construed to include the Classical avant-garde, Electronica, DJ culture, Re-mixes, Ambient, etc. Digital recording, editing, and mixing will be covered using the Audacity and ProTools programs. Students will also work with sampling techniques using Ableton Live and mixing skills with ProTools. Other topics to be covered include basic acoustics and synthesis techniques.

Immanuel Kant revolutionized philosophy by arguing that human knowledge does not grasp the world as it really is, but only the world as it corresponds to categories and forms imposed on it by the human mind. Kant's successors pushed this idea further, moving toward the view that absolute reality is essentially ideal, mental, or spiritual. In this course, we will begin with an examination of Kant's Critique of Pure Reason, followed by a study of key texts by J.G. Fichte, F.W.J. Schelling, and G.W.F. Hegel.

The inspiration for this class comes from flash-mobs, art interventions, ephemeral public art, improvisation, and art that invites individuals or communities to participate; art that is focused on the experience, fleeting and fragile, not the artifact. Small groups of students will work hands-on to create engaging participatory projects. They will research, plan, create, test, perform --or iterate their projects, as needed-- and document their process. Studio time will be used to present and critique in-progress work. Presentations, readings and documentary screenings will round out our work.

The purpose of this course is to provide broad and deep knowledge of the theory and practice of teaching nonfiction writing, both academic and personal. We will examine composition theories that highlight the importance of writing as well as its diversity in multiple contexts-academic, creative, and personal. The course is based on two primary premises: 1) writing is a recursive process of reflection, revision, and feedback; 2) writing involves conscious choices made in response to the writer's purpose and the audience.

This class will continue the work done in Tonal Theory I. We will be studying part writing and voice leading, as well as continuing the process of understanding and using basic chromatic harmony. Within this study, we will begin to look at large scale forms and structures. Some composition assignments will be included along the way as we assimilate new theoretical knowledge. Topics and repertoire for study are drawn from European classical traditions as well as jazz, popular, and non-western musics. Prerequisite: Tonal Theory I or 5 College equivalent.

This course will trace a genealogy of the "American abroad" in literature (and in a few films) from Mark Twain's time-just before the closing of the U.S. frontier in the late 19th century-up to the present, paying particular attention to the ways in which literature has represented U.S. power and "American" identities beyond the nation's borders. Authors will include Mark Twain, Henry James, Claude McKay, Ernest Hemingway, Paul and Jane Bowles, Graham Greene, Susan Sontag, James Baldwin, Joan Didion, and Audre Lorde.