Listed below are graduate courses offered in the School of Interdisciplinary Arts as well as other graduate course offerings in the College of Fine Arts that are available with permission of the instructor.
The information following the course description gives the faculty name; the quarter offered (F-fall, W-winter, Sp-spring, S-summer); and the frequency with which the course is offered (A-alternate years, Y-yearly, D-on demand).
Aesthetics/Theory | Art | Film | Music | Performance Studies | Theater
Interdisciplinary Arts Courses
520X Problems in Interdisciplinary Arts (The Fine arts in Florence ) (1-6)
Prereq: enrollment in Italy program. Artistic expression in Florentine life as it may be seen in examples of architecture, painting, sculpture, and music.
Staff: Sp; Y.
581 Individual Problems (1-6)
Staff; F, W, Sp, Su; Y.
581X Individual Problems (1-6)
Prereq: perm; study abroad.
Staff; Sp; Y.
700 Teaching and Research Skills (1-4)
Prereq: IA grad students. Seminar-practicum designed to prepare TA for assumption of classroom responsibilities. Examines content, method, audiovisual materials necessary to teaching of Introduction to Fine Arts sequence (IA 117,118).
Staff; F; Y.
701, 702, 703 Music Theoretical Systems (4)
This is a sequence of three courses designed for graduate students in Interdisciplinary Arts who have limited experience in music analysis. They resemble graduate reading courses in foreign languages. Students are taught to analyze musical forms from score. While these are not music history courses, theoretical developments are treated in a chronological way beginning with those of antiquity and ending with the serial systems of the 20th century. The first course deals with antiquity and the Middle Ages, the second with the Renaissance and Baroque Eras, the third with developments in the 19th and 20th centuries. Course requirements include exercises to be prepared for class and an examination covering the quarter's work at the end of the course. Successful completion of these courses satisfies one of the "Scholarly Tool" requirements for the degree. Course grades will be either Credit (CR) or F depending upon the degree of skill demonstrated. A course left incomplete or one in which the skill needs additional work may be repeated. Credit hours (4) count toward "Load" but are not included in the Ph.D. requirement. Students with previous background in music may satisfy the Scholarly Tool requirement by passing a composite examination based upon those used in the course.
[701] Wilson (Profile); F; Y.
[702] Wilson (Profile); W; Y.
[703] Wilson(Profile); Sp; Y.
711 Music in Antiquity and the Middle Ages (4)
The course begins with a brief review of some ancient musical practices including Raga, Maquam, and Jewish psalmody. From ancient Greece , Pythagorean Overtone Series and the organization of the Greater Perfect System are explored. The Medieval portion of the course begins with a study of the plainchant tradition, the Mass as musical form, and the beginnings of polyphony. Studies of the ecclesiastical modes, rhythmic modes and the development of organum, clausula, conductus, and motet follow. The notation system of Franco of Cologne are studied as is the system of Philli de Vitry as seen in the book Ars Nova. The manuscript called Le Roman de Fauvel is studied for examples of Isorhythm. The Missa di Notre Dame of Machaut and examples of his work in smaller forms are discussed. The course concludes with a study of developments in the Burundian School . As always, works of art themselves are considered to be the primary documents. Among the interdisciplinary issues studied are possible influences of the Scholastic Method on musical practice and medieval concepts of time as seen in music and other arts.
Wilson (Profile); F; A.
712 Music in the Renaissance (4)
The principal interdisciplinary issue examined in this course is the influence of Humanism on the practice of music during the period. The course begins with a further examination of the music of the Burgundian School , continues with a study of the work of Josquin des Prez and other Northern composers in Italy . Mass madrigal, motet, chansons are studied with emphasis on the relationship between music and text. The rise of instrumental music is also examined, as is the "architecture" of musical forms. The issue of national differences in musical practice is examined by a study of the works of Palestrina, di Lasso , Victoria , and Byrd. The course concludes with a study of the music of G. Gabrieli and the early works of Montverdi.
Wilson (Profile); W; A.
713 Music in the Baroque Era (4)
The course begins with a study of the music of Monteverdi and concludes with examination of selected works by J.S. Bach and Handel. Development of the tonal system is studied in some detail. The organization of time is treated as in interdisciplinary issue with attention to a concept "mathematics of the infinite" drawn from Cartesian mathematics. Musical forms developing within the "concertato style" are studied through analysis of selected works.
Wilson (Profile); Sp; A.
714 Music in the Classical Period (4)
Beginning with a study of the Empfindsamer Stil and the Stile Gallant, music of the so-called Pre-Classic composers is studied as transitional between Baroque and Classic eras. The course is devoted primarily to a study of the works of Haydn, Mozart, and early works of Beethoven. The principal interdisciplinary issue addressed is the "relationship between form and content."
Wilson (Profile); F; A.
715 Music in the 19th Century (4)
One of the principal interdisciplinary issues dealt with in this course if that of the relationship between "surface" and "substructure" in music in the 19th century, and the usefulness of that concept in illuminating works of art in other media. Similarly, the strong literary/musical ties which may be found in the period are discussed. Study is focused upon the contributions of individual composers, though the various "isms" of the period, romanticism, realism (verismo), nationalism, impressionism, and forerunners of expressionism are explored as is the so-called Classic/Romantic dichotomy.
Wilson (Profile); W; A.
716 Music in the 20th Century (4)
The course begins with an examination of the basic materials of music as "re-defined" by early 20th century composers. Concepts of tonality, consonance/dissonance, and rhythmic practice are given particular attention with emphasis upon differences from 19th century practice. Since there is no single 20th century style, contributions of individual composers are studied, beginning with those of Stravinsky, Bartok, Hindemith, and the serialism of Schoenberg, Berg, and Webern. The course continues with explorations of later developments and concludes with examination of some trends in American music.
Wilson (Profile); Sp; A.
721 The Arts in Antiquity (4)
Focuses on the artistic developments in the visual arts in the civilizations of ancient Greece and Rome using selected works of art and architecture which highlight important aspects of the aesthetic activity of the period from the Minoan/Helladic period through the age of Constantine, giving primary consideration to understanding works of art within their original historical contexts. Students are asked to consider, more specifically, whether the qualities of rationality and order which are so often identified as representative of these two cultures are indeed characteristic of the cultures and of the artifacts they produced. Focus on sculpture and architecture.
Buchanan (Profile); F; A.
722 Medieval Art (4)
An overview of key developments in the visual arts of Europe from the early Christian era through the Gothic age using selected works of art and architecture which highlight some of the aesthetic and cultural concerns of the period, giving primary consideration to understanding works of art within their original historical contexts, and giving particular attention to critical issues and problems surrounding the study of the art of the so-called Middle Ages. Focus on architecture and the art of the Cathedrals, in particular.
Buchanan (Profile); W; A.
724 Northern Renaissance Art (4)
Art of Northern Europe in 15th and 16th centuries.
Buchanan (Profile); Sp; A.
725 Italian Renaissance and Mannerist Art (4)
Investigates significant developments in the visual arts in Italy from ca. 1300-1600, from Giotto to Veronese, with a special interest in the rise of humanism as seen in the arts and culture of the period. Students are asked to consider the interplay between tradition and innovation (prevailing and leading) in view of the designation of the period by the Italians themselves as a renascence, a rebirth, undertaking an iconological study of works on a particular subject or theme.
Buchanan (Profile); Sp; A.
726 Baroque and Rococo Art (4)
Considers important artistic developments in painting, sculpture and architecture in seventeenth and eighteenth-century Europe giving particular attention to the understanding of the works within their original historical contexts. Since the Baroque era is often referred to as "The Age of Expansion" as a result of trade and colonization, scientific discoveries, political and social developments, and religious and philosophical ideals, the student is asked to consider the many and varied ways in which works of art respond to and manifest this expansionism, giving particular attention to the relationship between content and form.
Buchanan (Profile); F; A.
727 Art of 19th Century (4)
Examines key developments in the visual arts of nineteenth-century Europe beginning with the manifestations of enlightenment though in painting and architecture, giving particular attention to understanding works within their original historical contexts. Primary focus on Neo-Classicist, Romanticist, Realist, Impressionist, and Symbolist art; and some of the vicissitudes of classification in the art of the period. Special consideration is given to examining the relationship between the visual art and writings of artists.
Buchanan (Profile); W; A.
728 Modern Art (4)
Investigates key movements and the work of selected artists since 1900, giving primary (but not exclusive) consideration to the developments of the first half of the century in Europe and the United States , and particular attention to understanding works of art within their original historical contexts. In addition, students are introduced to selected critical theories and approaches, and to some of the issues confronting artists working today.
Buchanan (Profile); Sp; A.
741 Art and Beauty in Antiquity and Middle Ages (4)
A graduate seminar devoted to the study of the concepts of 'art', 'beauty', 'experience' in Ancient and Medieval theory and philosophy, as well as the inquiry into the relationships between these concepts and the works of art of the periods. The readings are drawn from the writings of philosophers, theologians, and artists in Ancient Greece, Rome , and Medieval Europe.
Marchenkov (Profile); F; Y.
742 Art, Theory, and Criticism in Modernity (4)
A sequel seminar looks at the writings of philosophers, artists, and critics since the Renaissance through the 19th century. The enormous time span requires big leaps and inevitable exclusions, and its objective is to study the concepts underlying the practice and theory of art in the Renaissance, the Baroque era and the 19th century. Emphasis is given to tracing the relationships between the examined theories and the works of art of these periods.
Marchenkov (Profile); W; Y.
743 Art and Society Now - Special Topics (4)
The third part of the sequence of seminars in the history of aesthetics and art theory looks at the writings of 20th century philosophers, artists, and critics, and traces the relationships between the theory and the contemporaneous artistic practice.
Marchenkov (Profile); S; Y.
744 Critical Theory (4)
This course includes foundational texts that define and inform contemporary critical and theoretical discourse. The course is organized into three major threads that run through the twentieth century: Marxism, psychoanalysis, and post-structuralism. The aim of the course is to provide analytical tools for analysis of primary themes of critical theory, including, but not limited to, the social, the subject, the object, and power. Students will become versant in contemporary discourse for the study of the art.
Peterson (Profile)
745 Theories of Theater I (4)
This course examines theories of drama and theater from Antiquity through the late nineteenth century.
Condee (Profile)
746 Theories of Theater II (4)
This course examines theories of drama and theater in the twentieth century.
Condee (Profile)
751 Performance Studies: Ethnographic Research Methods (4)
This course is an introduction to the basic components of ethnographic research methods, focusing on performance. It covers research methods of fieldwork, participant observation, interviewing, and surveying; analyzing data; and writing. Performance is conceived of broadly, as both formal events and the performance of everyday life.
Peterson (Profile)
754 Performance Studies: The Body (4)
The body is a central concern of performance studies. As a foundation for discussions of the body in performance studies and related disciplines, this course focuses on seminal theories of the body, including but not limited to those of Butler, Foucault, Haraway, Mauss, and Merleau-Ponty.
Peterson (Profile)
760 Indonesian Puppet Theater (4)
This course focuses on Indonesian puppet theater, including wayang kulit (shadow puppets) and wayang golek (rod puppets). The course analyzes the literature (Mahabharata), music (gamelan), puppetry, performance conditions and audience. Students examine the history of wayang, the contexts of culture, politics, religion, gender, and post-colonial Indonesia, and contemporary manifestations. Throughout the course, students learn to manipulate the puppets and complete the course with a short performance.
Condee (Profile); F; A.
770 Greek Theater Drama (4)
An investigation of the fundamental technique of Greek theater--the synthesis of poetry, music and dance and their operation in the structure of tragedy and comedy as seen in the extant plays of Aeschylus, Sophocles, Euripides, and Aristophanes.
Condee (Profile); F; A.
771 Roman and Medieval Theater (4)
Roman contributions to the development of Western drama are examined through the works of Plautus, Terence and Seneca. Interactions with the arts of rhetoric, architecture and government are stressed. The transmission of classical drama through the writings of both the Church Fathers and Scholastics is the bridge to a study of the Mystery Cycles, Miracle and Morality plays of the late Middle Ages. Focus is on the interrelationships among the arts in the context provided by both the religious and secular culture.
Condee (Profile); W; A.
772 Renaissance Theater(4)
The influences of medieval literature and a re-interpreted classicism on the development of Renaissance drama as seen in selected works of Italian, Spanish and English playwrights are studied. Developments in perspective scenery and theater architecture and their influence on production and playwrighting comprise a major component of the course.
Condee (Profile); Sp; A.
773 Restoration and 18th Century Theater (4)
Condee (Profile); D.
774 Baroque Theater (4)
The national character of 17th century theater, including the Golden Age of Spanish Drama, French Classical Drama and English Restoration Drama, is examined. Particular attention is given to the dramatic poetic theory of the period, particularly the concept of decorum and the rhetorical, imagistic nature of the texts.
Condee (Profile); F; A.
775 19th Century Theater (4)
The major movements, Neo-Classicism, Romanticism, Naturalism and Realism, are investigated. Developments in production, acting, directing are co-ordinated with a study of the texts.
Condee (Profile); W; A.
776 Modern Drama (4)
The rise of a Modern aesthetic in theater is studied through an examination of Expressionism, Symbolism, Epic theater, Teatro Grottesco, Cubism, Dada, Surrealism, Theater of Cruelty and Absurdism. Developments in the visual arts and music are co-ordinated with the investigation of dramatic production and texts.
Condee (Profile); Sp; A.
778 Performance Studies (4)
This course examines special topics in the history, theory and criticism of performance studies.
Condee (Profile)
891 Seminar in Interdisciplinary Arts (4)
Staff; F, W, Sp; Y.
892 Individual Problems (1-15)
Staff; F, W, Sp, Su; Y.
892X Individual Problems (4-15)
Prereq: study abroad.
Staff; Sp; Y.
895 Dissertation (1-15)
Dissertation as recommended by department.
Staff; F, W, Sp, Su; Y.