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Catalogue 2013-2014 [ARCHIVED CATALOG]
Course Descriptions
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Media Studies: III. Advanced |
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MEDS 382 - Latin America and the Media Semester Offered: Fall
1 unit(s)
(Same as LALS 382 ) This course explores how media production and theory in Latin America has, in contrast to Anglo-American-European media theory, required a theorization located in the conditions of Postcoloniality, Subalterity, Diaspora, and Transnationalism. We approach the cultural, economic and political dimensions of mass media through the works of media analysts such as: Jesús Martín Barbero (Colombia), Néstor García Canclini (Argentina and Mexico), Beatriz Sarlo (Argentina), Ariel Dorfman (Chile), Jorge González (Mexico), Nelly Richard (Chile), Renato Ortiz (Brazil) Carlos Monsivais (Mexico) and Guillermo Gómez Peña (Mexico) , Manuel Castells (Spain) among others. The course couples the exploration of Latin American media theory with analysis of media producers and phenomena as seen in local/global Television and Internet exchanges, media performance groups (for example, Yuyachkani), the Telenovela and B-movie industry, Third Cinema, pre-Colombian texts, graphics and comics, and urban-mediascapes. Questions we ask are: What are the forms of autochthonous media that have arisen out of the Latin American social reality? How do we theorize local and global media convergence, transmedia interactivity, and remediation in the context of the Hispanic Transatlantic. Ms. Woods Peiró.
Not offered in 2012/13.
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MEDS 385 - Media and War
1 unit(s)
Senator Hiram Johnson’s 1917 remark “The first casualty when war comes is truth” is often repeated. But the processes through which (mis)information and images circulate in wartime are less well known. This course explores the role of popular media in the production and circulation of knowledge about war. Drawing on both news and entertainment media, we examine how war is represented and remembered in various media, including newspapers, photographs, radio, television, film, and online. Through a series of historical and contemporary case studies, we explore topics such as the practices of the war correspondent, strategies of news management by military planners, the relationship between media images and public attitudes toward war, media as a propaganda tool, and the role of popular media in constructing and contesting national myths and memories of war. Mr. Hoynes.
Prerequisite(s): MEDS 160 or permission of the instructor.
Not offered in 2013/14.
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MEDS 389 - Computer Games: Design, Production and Critique Semester Offered: Fall
1 unit(s)
(Same as CMPU 389 ) Investigates all stages of the game development process, including conception, design, physical and digital prototyping, implementation and play-testing, among others. The course emphasizes the integration of formal, dramatic and dynamic game elements to create a specific player experience. The course also examines various criteria and approaches to game critique, including issues of engagement, embodiment, flow, and meaningful play. Course work includes a series of game development projects carried out in groups, along with analysis of published games and readings in critical game-studies literature. No previous experience in media production or computer programming is necessary. Mr. Ellman
Prerequisite(s): permission of the instructor.
Two 75-minute periods.
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MEDS 399 - Senior Independent Work
1/2 or 1 unit(s)
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Medieval/Renaissance Studies: I. Introductory |
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MRST 116 - The Dark Ages Semester Offered: Spring
1 unit(s)
(Same as HIST 116 ) Was early medieval Europe really Dark? In reality, this was a period of tremendous vitality and ferment, witnessing the transformation of late classical society, the growth of Germanic kingdoms, the high point of Byzantium, the rise of the papacy and monasticism, and the birth of Islam. This course examines a rich variety of sources that illuminate the first centuries of Christianity, the fall of the Roman Empire, and early medieval culture showing moments of both conflict and synthesis that redefined Europe and the Mediterranean. Ms. Bisaha.
Two 75-minute periods.
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Medieval/Renaissance Studies: II. Intermediate |
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MRST 202 - Thesis Preparation Semester Offered: Fall
1/2 unit(s)
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MRST 220 - Medieval and Renaissance Culture: Women in the Middle Ages and Renaissance Semester Offered: Spring
1 unit(s)
Topic for 2013/14b: Detectives in the Archive: Reading Medieval and Renaissance Texts. Study of medieval manuscripts of various types. The course involves direct work with manuscripts from Vassar’s collection. Mr. Ahern and Mr. Patkus.
Two 75-minute periods.
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MRST 246 - Music and Ideas I: Medieval and Early Modern Europe: The Power of Church and Court Semester Offered: Fall
1 unit(s)
(Same as MUSI 246 ) This course introduces major historical and intellectual ideas of music from the Ancient world through 1660. The focus is on essential repertoire as well as the cultures that fostered principal genres of sacred and secular music during the Middle Ages, Renaissance, and early Baroque. Mr. Mann.
Prerequisite(s): MUSI 105 /MUSI 106 or permission of the instructor.
Includes an additional listening/discussion section.
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MRST 290 - Field Work
1/2 or 1 unit(s)
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MRST 298 - Independent Work
1/2 or 1 unit(s)
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Medieval/Renaissance Studies: III. Advanced |
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MRST 300 - Senior Thesis Semester Offered: Fall
1/2 unit(s)
An interdisciplinary study written over two semesters under the supervision of two advisors from two different disciplines.
Yearlong course 300-MRST 301 .
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MRST 301 - Senior Thesis Semester Offered: Spring
1/2 unit(s)
An interdisciplinary study written over two semesters under the supervision of two advisors from two different disciplines.
Yearlong course MRST 300 -301.
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MRST 302 - Senior Thesis Semester Offered: Fall or Spring
1 unit(s)
An interdisciplinary study written during one semester under the supervision of two advisors from two different disciplines.
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MRST 339 - Shakespeare in Production
1 unit(s)
(Same as DRAM 339 and ENGL 339 ) Students in the course study the physical circumstances of Elizabethan public and private theaters at the beginning of the semester. The remainder of the semester is spent in critical examination of the plays of Shakespeare and several of his contemporaries using original staging practices of the early modern theater. The course emphasizes the conditions under which the plays were written and performed and uses practice as an experiential tool to critically analyze the texts as performance scripts. Ms. Walen.
One 3-hour period.
Enrollment limited to Juniors and Seniors
Not offered in 2013/14.
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MRST 380 - English Seminar Semester Offered: Spring
1 unit(s)
(Same as ENGL 380 and WMST 380 ) Topic for 2013/14b: Representing Elizabeth I. This course considers the verbal and visual strategies that Elizabeth I used to legitimize her rule and that her subjects used to persuade the queen. Major topics include women’s education in the 16th century, problems of female rule in the 16th century, Elizabeth as defender of the English Bible, Elizabeth as the focus of court culture, and the myth of Elizabeth in the 20th century. Ms. Robertson.
One 2-hour period.
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MRST 399 - Senior Independent Work
1/2 or 1 unit(s)
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Music: I. Introductory |
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MUSI 101 - Fundamentals of Music Semester Offered: Fall and Spring
1 unit(s)
A beginning study of the elements of music including notation, rhythm and meter, scales and modes, intervals, melody, chord progression, musical terms, and instruments. To facilitate reading skills, class exercises in ear training and sight singing are included. May not be counted in the requirements for concentration. Mr. Pisani, Mr. Mann.
Open to all classes. Previous musical training unnecessary.
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MUSI 105 - Harmony Semester Offered: Fall
1 unit(s)
A study of tonal harmony as found in the music of the eighteenth and nineteenth centuries. Primary emphasis is on writing, including harmonization of bass lines and melodies; analysis of representative examples and ear training. Mr. Wilson, Ms. Libin.
Prerequisite(s): each student must demonstrate to the instructor a familiarity with treble and bass clef notation, scales, and basic rhythmic notation.
Yearlong course 105/MUSI 106 .
Open to all classes.
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MUSI 106 - Harmony Semester Offered: Spring
1 unit(s)
A study of tonal harmony as found in the music of the eighteenth and nineteenth centuries. Primary emphasis is on writing, including harmonization of bass lines and melodies; analysis of representative examples and ear training. Ms. Libin, Mr. Wilson.
Prerequisite(s): MUSI 105 , or successful completion of departmental advanced placement exam at beginning of fall semester.
Yearlong course MUSI 105 /106.
Open to all classes.
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MUSI 136 - Introduction to World Music Semester Offered: Fall
1 unit(s)
This course examines the development and practices of musical styles in diverse locales around the world from an ethnomusicological perspective. We study the intersection of musical communities and social identity/values, political movements (especially nationalism), spirituality, economy, and globalization. We explore these general issues through case studies from Latin America, Africa, and Asia. Mr. Patch.
Two 75-minute periods.
This course is open to students with or without musical training.
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MUSI 140 - Introduction to Western Art Music
1 unit(s)
A study of selected topics in the history of Western music. Open to all classes. Previous musical training not required. May not be counted in the requirements for concentration. Music 140 is not required for MUSI 141 , therefore these two courses may be taken in any order.
Two 75-minute periods.
Not offered in 2013/14.
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MUSI 141 - Introduction to Western Art Music
1 unit(s)
Open to all classes. Previous musical training (or ability to read music) not required. May not be counted in the requirements for concentration. MUSI 140 is not required for Music 141, therefore these two courses may be taken in any order.
Two 75-minute periods.
Not offered in 2013/14.
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MUSI 180 - The Art of Writing About Music Semester Offered: Fall
1 unit(s)
How is it possible to write about music in ways that are both well-informed-and accessible by a majority of readers? In this course, we listen to a wide variety of music, with the purpose of learning how to write clearly and persuasively about music. To this end we develop a vocabulary for music that is broadly non-technical, yet characterized by a clear understanding of the basic elements that give life to all kinds of music. Our reading list ranges widely, and includes both journalism and musicological writing. Over the course of the semester we examine more and more complex kinds of music, beginning with songs of all kinds, and ending with works of greater scope (operas, symphonies, concertos, and more). The goal is both to challenge ourselves as writers, and to find ways to write about the almost maddening varieties of music that confront us in modern life. Mr. Mann.
Two 75-minute periods.
Open only to freshmen; satisfies college requirement for a Freshman Writing Seminar. May not be counted in the requirements for concentration.
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Music: II. Intermediate |
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MUSI 201 - Opera
1 unit(s)
A study of the history, style, drama, and music in selected operatic masterworks from 1600 to the present. Mr. Pisani.
Prerequisite(s): one unit in one of the following: art; drama; Italian, French, German, or English literatures; music; or permission of the instructor.
Alternate years. Not offered in 2013/14.
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MUSI 202 - Black Music Semester Offered: Fall
1 unit(s)
(Same as AFRS 202 ) An analytical exploration of the music of certain African and European cultures and their adaptive influences in North America. The course examines traditional African and European views of music performance practices while exploring their influences in shaping the music of African Americans from the spiritual to modern.
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MUSI 205 - Advanced Harmony Semester Offered: Spring
1 unit(s)
A continuation of MUSI 105 /MUSI 106 , using more complex harmonic resources and analyzing more extended works. Mr. Wilson.
Prerequisite(s): MUSI 105 /MUSI 106 or permission of the instructor.
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MUSI 206 - Musicianship Skills I Semester Offered: Spring
1/2 unit(s)
An aural-skills class based on diatonic melody and harmony. Class exercises include sight singing, ear training, clef reading, keyboard skills and basic conducting patterns. Ms. Howlett.
Prerequisite(s): MUSI 105 or permission of the instructor.
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MUSI 207 - Musicianship Skills II Semester Offered: Fall
1/2 unit(s)
A continuation of MUSI 206 adding chromatic melody and harmony with intermediate keyboard skills such as figured bass realization, improvised accompaniment, and score reading. Ms. Howlett.
Prerequisite(s): MUSI 206 .
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MUSI 208 - Musicianship Skills III Semester Offered: Spring
1/2 unit(s)
A continuation of MUSI 207 , developing aural, keyboard, and clef-reading skills to a higher degree of proficiency. Mr. Navega.
Prerequisite(s): MUSI 207 .
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MUSI 210 - Modal Counterpoint Semester Offered: Fall
1 unit(s)
A study, through analysis and written exercises, of contrapuntal techniques of the sixteenth century. Mr. Wilson.
Prerequisite(s): MUSI 105 /MUSI 106 or permission of the instructor.
Alternate years.
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MUSI 211 - Tonal Counterpoint
1 unit(s)
A study, through analysis and written exercises, of contrapuntal techniques of the eighteenth century. Mr. Wilson.
Prerequisite(s): MUSI 105 /MUSI 106 or permission of the instructor.
Alternate years. Not offered in 2013/14.
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MUSI 212 - Advanced Topics in World Music Semester Offered: Spring
1 unit(s)
(Same as ANTH 212 and LALS 212 ) Topic for 2013/14b: Music of Latin America. This course takes a broad view of music from across Latin America. Through case studies of various popular, folk, art, and roots music, the course examines the role that music plays in past and current social life, political movements, economic development, international representation and identity formation. It also considers the transnational nature of music through demographic shifts, technological adaptation and migration. Mr. Patch.
Prerequisite(s): MUSI 136 is highly recommended, or permission of the instructor.
Two 75-minute periods.
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MUSI 213 - American Music
1 unit(s)
(Same as AMST 213 ) The study of folk, popular, and art musics in American life from 1600 to the present and their relationship to other facets of America’s historical development and cultural growth. Mr. Pisani.
Prerequisite(s): one unit in one of the following: music; studies in American history, art, or literature; or permission of the instructor.
Alternate years. Not offered in 2013/14.
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MUSI 214 - History of American Jazz
1 unit(s)
(Same as AMST 214 ) An investigation of the whole range of jazz history, from its beginning around the turn of the century to the present day. Among the figures to be examined are: Scott Joplin, “Jelly Roll” Morton, Louis Armstrong, Bessie Smith, Duke Ellington, Fletcher Henderson, Count Basie, Thomas “Fats” Waller, Charlie Parker, Dizzy Gillespie, Thelonious Monk, Charles Mingus, and Miles Davis. Mr. Mann.
Prerequisite(s): one unit in one of the following: music, studies in American history, art, or literature; or permission of the instructor.
Alternate years. Not offered in 2013/14.
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MUSI 215 - Composition I Semester Offered: Fall
1 unit(s)
Creative work in various contemporary idioms. Analysis of selected works; study of instrumental resources.
Prerequisite(s): MUSI 105 /MUSI 106 or permission of the instructor.
Yearlong course 215/MUSI 216 .
If a senior project in composition is planned, the student should elect Music 215/ MUSI 216 in the sophomore year and MUSI 315 in the junior year.
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MUSI 216 - Composition I Semester Offered: Spring
1 unit(s)
Creative work in various contemporary idioms. Analysis of selected works; study of instrumental resources.
Prerequisite(s): MUSI 105 /MUSI 106 or permission of the instructor.
Yearlong course MUSI 215 /216.
If a senior project in composition is planned, the student should elect MUSI 215 /Music 216 in the sophomore year and MUSI 315 in the junior year.
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MUSI 217 - Studies in Popular Music
1 unit(s)
Prerequisite(s): recommended one unit in either music or sociology.
Two 75-minute periods.
Not offered in 2013/14.
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MUSI 219 - Electronic Music Semester Offered: Fall
1 unit(s)
A practical exploration of electronic music, composition, and production techniques. Compositional and creative aspects are emphasized with extensive lab time provided for student projects. No prior knowledge of computer music or programming is required. Mr. McCulloch.
Prerequisite(s): permission of the instructor.
Yearlong course 219/MUSI 220 .
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MUSI 220 - Electronic Music Semester Offered: Spring
1 unit(s)
A practical exploration of electronic music, composition, and production techniques. Compositional and creative aspects are emphasized with extensive lab time provided for student projects. No prior knowledge of computer music or programming is required. Mr. McCulloch.
Prerequisite(s): permission of the instructor.
Yearlong course MUSI 219 /220.
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MUSI 231 - Women Making Music Semester Offered: Spring
1 unit(s)
(Same as WMST 231 ) A study of women’s involvement in Western and non-Western musical cultures. Drawing on recent work in feminist musicology and ethnomusicology, the course studies a wide range of music created by women, both past and present. It explores such topics as musical instruments and gender, voice and embodiment, access to training and performance opportunities, and representations of women musicians in art and literature. Ms. Libin.
Prerequisite(s): one unit in music, or women’s studies, or permission of the instructor.
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MUSI 238 - Music in Film Semester Offered: Spring
1 unit(s)
(Same as FILM 238 ) A study of music in sound cinema from the 1920s to the present. The course focuses on the expressive, formal, and semiotic function that film music serves, either as sound experienced by the protagonists, or as another layer of commentary to be heard only by the viewer, or some mixture of the two. Composers studied include Max Steiner, Bernard Herrmann, Jerry Goldsmith, Danny Elfman, and others, as well as film scores that rely upon a range of musical styles, including classical, popular, and non-Western. Specific topics to be considered this semester include music in film noir and the movie musical. Mr. Mann.
Prerequisite(s): one course in music (not performance) or film.
Two 75-minute periods plus outside screenings.
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MUSI 246 - Music and Ideas I - Medieval and Early Modern Europe: The Power of Church and Court Semester Offered: Fall
1 unit(s)
(Same as MRST 246 ) This course introduces major historical and intellectual ideas of music from the Ancient world through 1660. The focus is on essential repertoire as well as the cultures that fostered principal genres of sacred and secular music during the Middle Ages, Renaissance, and early Baroque. Mr. Mann.
Prerequisite(s): MUSI 105 /MUSI 106 or permission of the instructor.
Includes an additional listening/discussion section.
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MUSI 247 - Music and Ideas II - Enlightenment and the Influence of Rationalism Semester Offered: Spring
1 unit(s)
A study of musical genres and trends over the course of the “long eighteenth century” from 1660 to 1830. The course explores significant shifts in musical language from the high Baroque through the age of revolution and early Romanticism, as revealed in great works from Purcell through Beethoven. Ms. Libin.
Prerequisite(s): MUSI 105 /MUSI 106 or permission of the instructor.
Includes an additional listening/discussion section.
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MUSI 248 - Music and Ideas III - Modernism and its Challenges Semester Offered: Fall
1 unit(s)
This course begins with progressive composers Berlioz, Liszt, and Wagner and traces the development of their schools of thought through the late nineteenth century. The rising importance of popular song and jazz in the twentieth century along with major composers who have found new expression within classical traditions, and “postmoderns” who have worked to bridge genres. Mr. Pisani.
Prerequisite(s): MUSI 105 /MUSI 106 or permission of the instructor.
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MUSI 259 - Soundscapes: Anthropology of Music Semester Offered: Fall
1 unit(s)
(Same as ANTH 259 ) This course investigates a series of questions about the relationship between music and the individuals and societies that perform and listen to it. In other words, music is examined and appreciated as a form of human expression existing within and across specific cultural contexts. The course takes an interdisciplinary approach to the social life of music, addressing historical themes and debates within multiple academic fields via readings, recordings, and films. Mr. Patch.
Prerequisite(s): previous coursework in Anthropology or Music, or permission of the instructor.
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MUSI 290 - Field Work Semester Offered: Fall or Spring
1/2 or 1 unit(s)
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MUSI 298 - Independent Work Semester Offered: Fall or Spring
1/2 or 1 unit(s)
Special projects in theory, history, or performance that supplement the curriculum.
Open to qualified students with permission of department. Proposals for a project must first have the approval of a faculty advisor and then be submitted for departmental approval by the end of the previous semester.
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Music: III. Advanced |
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MUSI 302 - Senior Project Semester Offered: Fall or Spring
1/2 unit(s)
A paper, composition, or recital. Proposals for a project must first have the approval of an appropriate faculty adviser and then be submitted for departmental approval by the end of the junior year.
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MUSI 315 - Composition II Semester Offered: Fall
1 unit(s)
Further work in original composition; analysis of examples illustrating current practice. Music 315 may be taken twice for credit. Mr. Wilson.
Prerequisite(s): MUSI 105 /MUSI 106 and MUSI 215 /MUSI 216 or equivalent.
Yearlong course 315/MUSI 316 .
Permission of the instructor required; qualification to be determined by submission in advance of original work.
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MUSI 316 - Composition II
1 unit(s)
Further work in original composition; analysis of examples illustrating current practice.
Prerequisite(s): MUSI 105 /MUSI 106 and MUSI 215 /MUSI 216 or equivalent.
Yearlong course MUSI 315 /316.
Permission of the instructor required; qualification to be determined by submission in advance of original work.
Not offered in 2013/14.
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MUSI 320 - Advanced Studies in Musical Genres Semester Offered: Spring
1 unit(s)
Topic for 2013/14b: 20th-Century and Recent Opera. A study of several modern operas from the standpoint of both dramatic and musical forms. Operas considered are those of Strauss, Berg, Bartók, Janáček, Stravinsky, Shostakovich, Puccini, Hindemith, Poulenc, Gershwin, Britten, Menotti, Penderecki, Glass, Adams, Heggie, among others. Course involves listening, viewing, reading, short papers, class discussion, and in-class presentation. Knowledge of languages not required. Mr. Pisani.
Prerequisite(s): MUSI 105 /MUSI 106 and either MUSI 201 or MUSI 248 ; or permission of the instructor.
One 3-hour period.
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MUSI 321 - Composer in Focus Semester Offered: Fall
1 unit(s)
Topic for 2013/14a: Gustav Mahler. The songs, song cycles, and symphonies of Gustav Mahler (1860-1911) present one of the richest and most idiosyncratic repertoires of any late nineteenth-century composer. In particular, the symphonies, drawing on formal, expressive and narratological models bequeathed to him by Beethoven, Berlioz, Schumann, Wagner, and others, offer an almost endless field for study and analysis. After examining Mahler’s career as conductor and composer, this course focuses on his nine symphonies and Das Lied von der Erde. Mr. Mann.
Prerequisite(s): MUSI 105 -MUSI 106 , MUSI 205 , MUSI 246 -MUSI 247 , or permission of the instructor.
Two 75-minute periods.
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MUSI 322 - Advanced Studies in Theory
1 unit(s)
Analysis of Modern and Contemporary Classical Music. Study of analytical approaches helpful in understanding and performing music of the 20th and 21st centuries. Topics include modal and post-tonal analysis, set theory and serialism, and innovative approaches to rhythm, meter, timbre, texture, and form. The course culminates in individual projects devoted to detailed study of a work of each student’s choosing. Students enhance their abilities to express their understanding of music through essays and presentations commenting on analytical insights and their implications for performance.
Prerequisite(s): MUSI 205 and MUSI 248 or permission of the instructor.
Not offered in 2013/14.
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MUSI 399 - Senior Independent Work Semester Offered: Fall or Spring
1/2 or 1 unit(s)
Special projects in theory, history, or performance that supplement the curriculum.
Open to qualified students with permission of department. Proposals for a project must first have the approval of a faculty adviser and then be submitted for departmental approval by the end of the junior year.
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Music: Performance Auditions are required for both credited and uncredited study and are arranged at the beginning of each semester for students who register for the desired course. Each course in performance includes a program of literature suited to the individual student, and requires a reasonable improvement in technical proficiency and interpretative understanding for continuation.
Corequisite courses in music theory or history (see Individual Instruction below) should begin as early as possible, but no later than the third semester of credited study. All students who take lessons for credit are required to take two courses in theory or history, preferably before their senior year.
Enrollment is limited in each area of instruction, especially voice. Music majors and students studying for credit are given preference. Beginners are accepted as schedules permit.
Fees: See section on fees. Scholarships to cover charges are made available through the Office of Financial Aid and are granted only for credited study. Individual instruction is given as follows:
Other Instruments (037, 137, 237, 337)
Jazz Guitar (034, 134, 234, 334): Mr. DeMicco.
Jazz Piano (042, 142, 242, 342): Mr. Tomlinson.
Saxophone (Music 043, 143, 243, 343): Mr. Xiques.
Piano (Music 060, 160, 260, 360): Mr. Crow, Ms. Polonsky, Mr. Sauer, Ms. Charney.
Organ (Music 061,161, 261, 361): Ms. Archer.
Harpsichord (Music 062, 162, 262, 362): Ms. Archer.
Voice (Music 063, 163, 263, 363): Mr. Minter, Ms. Nessinger, Mr. Osborne, Ms. Rosales, Mr. Ruff.
Violin (Music 064, 164, 264, 364): Ms. Lee, Ms. Quan.
Viola (Music 065, 165, 265, 365): Ms. Farina.
Violoncello (Music 066, 166, 266, 366): Ms. Shao.
Double Bass (Music 067, 167, 267, 367): Mr. Pappas.
Classical Guitar (Music 068, 168, 268, 368): Mr. Champlin.
Harp (Music 069, 169, 269, 369): Ms. Jackson.
Flute (Music 070, 170, 270, 370): Mr. Solum.
Oboe (Music 071, 171, 271, 371): Ms. Bishkoff.
Clarinet (Music 072, 172, 272, 372): Mr. Guy.
Bassoon (Music 073, 173, 273, 373): Ms. Romano.
French Horn (Music 074, 174, 274, 374): Mr. Reit.
Trumpet (Music 075, 175, 275, 375): Mr. Osborn.
Trombone (Music 076, 176, 276, 376): Mr. Bellino.
Tuba (Music 077, 177, 277, 377): Mr. Bellino.
Percussion (Music 078, 178, 278, 378): Mr. Cassara, Mr. Files.
Electric Bass (Music 079, 179, 279, 379): Mr. Mortenson.
Note: Performance levels are described under numbers Music 000, 100, 200, 300. The first year of credited instruction in piano, for example, should be elected as Music 160; whereas uncredited study in any year should be elected as Music 060.
The department will attempt to arrange instruction in certain instruments not listed above. Students wishing such instruction should consult with the chair of the department. Auditions are usually required. |
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MUSI 135 - The International Phonetic Alphabet Semester Offered: Fall
1/2 unit(s)
An introduction to the International Phonetic Alphabet (IPA). Geared toward students of voice, choir, and choral conducting. Ms. Howlett.
Alternate years: Not offered in 2012/13.
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Music: Individual Instruction |
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MUSI 000 - Performance Semester Offered: Fall, Spring
0 unit(s)
Uncredited lessons. Open to all classes by audition.
One 50-minute period.
Unscheduled.
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MUSI 100 - Performance Semester Offered: Fall, Spring
1/2 unit(s)
Open to all students who have passed the audition or upon recommendation of the instructor.
Corequisite(s): a course in music theory or history should be taken during the first year of credited lessons. MUSI 101 , MUSI 105 , MUSI 140 , or MUSI 141 , are strongly recommended.
One 50-minute period. Unscheduled.
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MUSI 200 - Performance Semester Offered: Fall, Spring
1/2 unit(s)
Prerequisite(s): two semesters of credited study in this instrument. Corequisite(s): a course in music theory or history is required unless two such courses have previously been completed.
One 50-minute period.
Unscheduled.
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MUSI 300 - Performance Semester Offered: Fall, Spring
1/2 unit(s)
Prerequisite(s): four semesters of credited study in this instrument.
One 50-minute period.
Unscheduled.
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MUSI 380 - Performance Semester Offered: Fall, Spring
1/2 unit(s)
Prerequisite(s): six semesters of credited study in this instrument.
One 50-minute period.
Unscheduled.
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Music: Ensembles In the following six large ensembles (Wind Ensemble, Jazz Ensemble, Orchestra, Choir, Women’s Chorus, and Madrigal Singers) the first semester is an uncredited prerequisite for the second: credited study is offered only in the second semester. Students wishing to enroll for credit in the second semester must register for the uncredited prerequisite in the first semester. No student should exceed 2 units of this credit in his or her four years at Vassar. Membership is open to all classes and assumes a full year commitment. Admission is by audition. |
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MUSI 038, 138/039, 139 - Jazz Combo Semester Offered: Fall, Fall/Spring, Spring
0 or 1/2 unit(s)
The study and performance of jazz improvisation. Mr. Osborn.
Open to qualified students with permission of the instructor. Students may register for credit each semester, but no student may exceed 2 units of this credit in his or her four years at Vassar.
Two sections.
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MUSI 044, 144, 045, 145 - Chamber Music Semester Offered: Fall, Fall, Spring, Spring
0 or 1/2 unit(s)
The study and performance of selected works from the ensemble repertoire of instrumental or vocal mediums or their combinations. Mr. Navega.
One 50-minute period.
Open to qualified students with the permission of the instructor. Students may register for credit each semester, but no student may exceed 2 units of this credit in his or her four years at Vassar.
Unscheduled.
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MUSI 048, 049, 149 - Wind Ensemble Semester Offered: Fall, Spring, Spring
0 or 1/2 unit(s)
The fifty-member ensemble of students and community players performs works of the wind and band repertoire. Open to all woodwind, brass, and percussion players. Mr. Osborn.
Open to all students by audition.
One meeting per week plus sectional rehearsals.
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MUSI 050, 051, 151 - Jazz Ensemble Semester Offered: Fall, Spring, Spring
0 or 1/2 unit(s)
The jazz ensemble performs literature ranging from the Big Band Era to jazz-rock fusion. Improvisation and ensemble playing in a jazz style are featured. Mr. Osborn.
Open to all students by audition.
One meeting per week.
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MUSI 052, 053, 153 - Orchestra Semester Offered: Fall, Spring, Spring
0 or 1/2 unit(s)
The 60-member orchestra performs masterworks of the symphonic literature. Mr. Navega.
Open to all students by audition.
Two meetings per week.
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MUSI 054, 055, 155 - Women’s Chorus Semester Offered: Fall, Spring, Spring
0 or 1/2 unit(s)
The Women’s Chorus is an ensemble of 30-50 women that studies and performs repertoire from the medieval period to the present. The choir performs on campus and occasionally makes concert tours. Ms. Howlett.
Open to all students by audition.
Three meetings per week.
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MUSI 056, 057, 157 - Choir Semester Offered: Fall, Spring, Spring
0 or 1/2 unit(s)
The choir is a mixed ensemble of between 40 and 60 voices that studies and performs choral/orchestral and a cappella literature for a larger chorus from the Renaissance through the present. The choir performs on campus and occasionally makes concert tours. Ms. Howlett.
Open to all students by audition.
Three meetings per week.
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MUSI 058, 059, 159 - Madrigal Singers Semester Offered: Fall, Spring, Spring
0 or 1/2 unit(s)
The Madrigal Singers is a select mixed ensemble of between 10 and 20 voices that studies and performs literature for solo and chamber vocal ensemble. Mr. Minter.
Two meetings per week.
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MUSI 254 - Opera Workshop Semester Offered: Spring
1/2 unit(s)
The study and performance of selected operatic repertoire. Open to qualified students by audition. Mr. Minter, Ms. Charney.
No student may exceed 2 units of this credit in his or her four years at Vassar.
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Neuroscience and Behavior |
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NEUR 201 - Neuroscience and Behavior Semester Offered: Fall or Spring
1 unit(s)
A multidisciplinary approach to the methods, issues, empirical findings and neuroscience and behavior literature. The course explores selected topics from a variety of theoretical and empirical models, from behavioral, evolutionary, social/environmental, physiological and cellular/molecular levels of analysis. The ways in which the different methods of analysis inform each other are a focus of the course. Neuroscience and Behavior faculty.
Prerequisite(s): BIOL 105 ,BIOL 106 , PSYC 105 or PSYC 106 , and PSYC 241 or PSYC 243 .
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NEUR 290 - Field Work Semester Offered: Fall or Spring
1/2 or 1 unit(s)
By permission of the adviser and the instructor who supervises the work.
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NEUR 298 - Independent Work Semester Offered: Fall or Spring
1/2 or 1 unit(s)
Library, field or laboratory projects.
By permission of the Neuroscience and Behavior faculty.
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NEUR 301 - Seminar in Neuroscience and Behavior Semester Offered: Fall or Spring
1 unit(s)
Explorations in the primary literature of topics to be selected annually. Neuroscience and Behavior faculty.
Prerequisite(s): by permission of instructor.
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NEUR 399 - Senior Independent Work Semester Offered: Fall or Spring
1/2 or 1 unit(s)
Library, field, or laboratory projects.
By permission of the Neuroscience and Behavior faculty.
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Philosophy: I. Introductory |
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PHIL 101 - History of Western Philosophy: Ancient Semester Offered: Fall
1 unit(s)
PHIL 101-PHIL 102 : This course provides an introduction to the first three centuries of Western philosophy, a period of extraordinary insight and creativity. We will begin by exploring the fragmentary writings of some of the earliest Greek philosophers, and attempt to reconstruct their accounts of the nature of the cosmos and of our place within it. We will then study several of Plato’s most influential dialogues, focusing on the trial and death of Socrates, and the radical claim that the human good consists in knowledge or wisdom. The Republic will give us the tools we need to make better sense of Plato’s thesis, while raising complex questions of its own. Towards the end of the semester we will consider how his student, Aristotle, responds to some of these issues in his investigations of knowledge and substance, form and matter, and the best life for creatures like us. Throughout the course we will ask how the literary form in which ancient philosophical texts were written (e.g., poetic verse, aphoristic statement, dialogue, and treatise) should affect our understanding of their content. Mr. Raymond.
Two 75-minute periods.
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PHIL 102 - History of Western Philosophy: Modern
1 unit(s)
102-51b & 52b: Descartes inaugurated modern philosophy by turning philosophical attention away from questions about what the world is like and directing it onto the question: how is it possible for us to know what the world is like? He made this question urgent by offering arguments that suggest that we cannot know what the world is like - arguments suggesting that there is an unbridgeable “gap” between the mind and the material world. We will carefully examine the ways in which Descartes himself, Hume, and, finally, Kant, seek to answer these arguments and bridge the “gap” that Descartes’ arguments open up. We will see how their various approaches to this task shape and are shaped by their conceptions of the human mind, the material world, the relation of the mind to the human body, and the nature of the ‘self.’ Mr. Seidman.
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PHIL 105 - Philosophical Questions
1 unit(s)
105-01a: The attitudes that we adopt towards other people, towards our surroundings, and towards ourselves reveal much about the sort of people we are and the sort of world we inhabit. This course explores the philosophical significance of some particularly important yet problematic attitudes: trust and suspicion, resentment and sympathy, anger and forgiveness, pride and guilt, anxiety and irritation, sentimentality and irony. When are each of these attitudes justified, and when not? Why are certain people (or certain parts of our lives) dominated by one attitude rather than another? Which attitudes are most important for knowledge, for morality, for politics, and for art?
105-02a: What is philosophy? This course will introduce you to philosophy as the assimilation of human experiences-perceptual, imaginative, moral, and emotional-with the power and limitations of human reason. We will look at how philosophers apply reason and argumentation to perceptual experiences in their search for knowledge and rationality. We will investigate the issues of personal identity, and the existence of unperceivable things, to see how philosophers use reason to make sense of our imaginative experiences. Finally, we will look at the application of reason to moral and emotional experiences in the search for the right account of moral good, freedom, and moral responsibility. The topics in this course will be quite abstract, and students will need to participate actively in class discussion to do well. Students will leave the course with an appreciation for the breadth and scope of philosophical thinking.
105b: An exploration of some central philosophical concerns, such as the role of feelings versus reason in determining values, the nature of knowledge and the limits of knowledge, the relation between mind and body, appropriate attitudes towards death and suffering, and the possibility of objectivity. 105-01a: Ms. Church. 105-02a: Mr. Lam. 105b: TBA.
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PHIL 106 - Philosophy and Contemporary Issues Semester Offered: Fall and Spring
1 unit(s)
106a: The course is aimed at exposing students to a number of social, ethical, and political questions that define our age. Topics studied will include child soldiers, terrorism, global migrants, the environment, and ecological injustice. Emphasis throughout will be placed upon argumentative rigor and the development of critical skills, in both oral and written communication.
106-51/52b: The course covers a number of contemporary issues on which there is significant philosophical disagreement and moral debate We will examine a range of positions on topics such as abortion, euthanasia, animal rights, affirmative action, and issues of sexual morality, free speech and distributive justice This course aims to promote the understanding of the philosophical arguments for a variety of positions on contemporary moral issues and to illuminate the different moral concepts and types of argument at work in these readings We will also think about the legal and public implications of various positions on these issues.
106-53b: This course introduces students to the philosophical study of moral issues, focusing upon topics such as war, terrorism, our food choices, abortion, and euthanasia. Emphasis throughout will be placed upon argumentative rigor, clarity, and precision. Ms. Narayan. Mr. Kelly. Ms. Borradori.
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PHIL 110 - Early Chinese Philosophy Semester Offered: Fall
1 unit(s)
An introduction to Chinese philosophy in the period between (roughly) 500 and 221 B.C., covering Confucians, Taoists and others. Among the topics discussed by these philosophers are human nature, methods of ethical education and self-cultivation, virtues and vices, and the role of conventions and institutions in human life. Mr. Van Norden.
Two 75-minute periods.
Open only to freshmen; satisfies college requirement for a Freshman Writing Seminar.
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PHIL 150 - The Limits of the Universe and the Limits of Understanding Semester Offered: Spring
1 unit(s)
(Same as PHYS 150 ) This course allows students to combine their interests in physics and in philosophy, recognizing common concerns and actively engaging in joint difficulties. The guiding questions of this course can be formulated as follows: In what ways, and to what extent, do recent developments in physics (e.g. the notion of space that is both infinite and bounded because curved) either solve or bypass traditional philosophical paradoxes concerning space and time, causality, and objectivity? In what ways, and to what extent, do traditional philosophical worries (e.g. worries about incoherence, worries about theories that cannot be falsified, or worries about concepts whose application cannot be imagined) cast doubt on the accuracy or the methodology of current physics? Readings are from physics and philosophy. May not count towards a physics concentration. Ms. Church, Ms. Schwarz.
Two 75-minute periods.
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Philosophy: II. Intermediate |
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PHIL 205 - Nineteenth Century Philosophy Semester Offered: Spring
1 unit(s)
After a brief overview of Kant’s “critical revolution” and its immediate aftermath, we will study the thought of five major European thinkers: Hegel, Kierkegaard, Marx, Schopenhauer, and Nietzsche. Themes will include the sense of alienation felt in the wake of the Enlightenment; the limits of human reason; the critique of Kantian morality; philosophical pessimism; and the hope that art can fill the spiritual void left by the collapse of the Christian worldview. Mr. Raymond.
Prerequisite(s): one 100-level course in philosophy or permission of the instructor.
Two 75-minute periods.
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PHIL 210 - Neo-Confucianism and Chinese Buddhism Semester Offered: Spring
1 unit(s)
210-51: Introduction to Neo-Confucianism, one of the most influential intellectual movements in China and all of East Asia. Neo-Confucianism combines a profound metaphysics with a subtle theory of ethical cultivation. There will also be some discussion of Theravada and Mahayana Buddhism whose views of the self and ethics are the primary targets of the Neo-Confucian critique. No familiarity with Chinese culture is assumed, but a previous 100-level course in philosophy is a prerequisite because this course assumes students have the ability to tackle subtle issues in metaphysics, personal identity, and ethics. Mr. Van Norden.
Prerequisite(s): one 100-level philosophy course.
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PHIL 215 - Phenomenology and Existential Thought Semester Offered: Fall
1 unit(s)
Since the ancient Greeks, philosophy has interpreted the drama of human life in terms of knowledge rather than will, truth rather than passion. During the 20th century, phenomenology and existentialism offer the most radical critique of this “intellectualist” view of both philosophy and the self. A new cognitive value is attributed to moods, beliefs, and states of consciousness as well as to some spheres of human interaction such as authenticity, temporality, and intentionality. In this course, we shall explore the great arch of existential and phenomenological thought as developed by such figures as Kierkegaard, Nietzsche, Heidegger, Sartre, Merleau-Ponty, and Levinas. Ms. Borradori.
Prerequisite(s): one unit of philosophy or permission of the instructor.
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PHIL 220 - Metaphysics Semester Offered: Fall
1 unit(s)
Metaphysics is the philosophical study of the nature of reality. In this course, we will examine a number of interlocking metaphysical issues. Are there in reality only particular things, or are there universals–essences that many different things may have in common? What endows a thing with its identity, rendering it different from other things? Is the natural order mere happenstance, or does some kind of necessity make it hang together the way it does? Is an experience a private affair, discernible only by the one who has it? And what is the subject, self, or ego? Does it exist, or is it some kind of illusion? Are we capable of discovering the answers to these questions? Do such questions even have answers? What, ultimately, is the status of metaphysics itself? Mr. Winblad.
Prerequisite(s): one unit of philosophy or permission of the instructor.
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PHIL 222 - Philosophy of Language Semester Offered: Spring
1 unit(s)
Language is our primary means of expressing our thoughts. Language is also one of our primary means of representing the world. As a result, philosophers in the analytic tradition have attempted to gain a better understanding of standard philosophical issues through the study of how we understand and use language to express our thoughts, communicate, and represent the world. We will look at the philosophical study of meaning and truth as well as the philosophical problems that such studies purport to illuminate, solve, or dissolve. We will discuss referential theories of meaning originating with Frege and Russell, use-theories of meaning associated with Strawson and Austin, Grice’s theory of implicature, Tarski and truth-conditional theories of meaning, and the theory of direct reference. Philosophical problems will include ontology and essence, knowledge of objects, the problem of perception, freedom and determination, and necessity and a priority. Mr. Lam.
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PHIL 224 - Philosophy of Mind Semester Offered: Spring
1 unit(s)
An exploration of competing theories of the mind-including theories that equate the mind with the brain, theories that regard the mind as a social construction, and theories that define the mind by reference to its characteristic functions. The strengths and weaknesses of each of these theories are compared-especially with respect to their understandings of consciousness, self-knowledge, emotion and moral responsibility. Ms. Church.
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PHIL 226 - Philosophy of Science
1 unit(s)
(Same as STS 226 ) A study of the principles of scientific reasoning. Topics include explanation, justification, scientific rationality, realism versus instrumentalism, and laws. Mr. Winblad.
Not offered in 2013/14.
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PHIL 228 - Epistemology Semester Offered: Fall
1 unit(s)
Epistemology is the study of knowledge, justification, and rationality. The theories we will study in this course will be understood as responses to increasingly radical skeptical arguments. We will begin with the problem of induction, which claims that we can never justifiably infer generalizations from particular cases, infer beliefs about the future from ones about the past, and infer from observable patterns to unobservable explanations. We will uncover various paradoxes about such inferences, and attempt to respond to them. We will then look at skeptical arguments that we do not know anything on the basis of sense perception, and the various theories of knowledge and justification that are built in response to such arguments. Of particular interest will be the Gettier problem, externalism versus internalism about knowledge and justification, foundationalism versus coherentism about justification, fallibism, and whether one can solve skeptical problems by noting that knowledge admits of degrees. Mr. Lam.
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PHIL 230 - Symbolic Logic Semester Offered: Fall and Spring
1 unit(s)
230a: A study of the concepts and methods of formal logic. Topics include truth functional and quantificational validity, soundness, and completeness.
230b: The study of concepts of symbolic logic. We will study the techniques of logical paraphrase and natural deduction. The investigation of properties of the formal systems are developed in this course. 230a: Mr. Winblad. 230b: Mr. Lam.
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PHIL 234 - Ethics Semester Offered: Spring
1 unit(s)
Why be moral? What does morality ask of us? What is the relation between morality and self-interest? What is happiness? What is the relation between a happy life and a meaningful life? Are there objective answers to ethical questions? or are whatever answers we give no more than the expressions of our subjective attitudes? These are some of the questions this course seeks to address. We proceed by reading seminal texts in the Western moral philosophical tradition alongside writings by contemporary moral philosophers. Mr. Seidman.
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PHIL 238 - Social and Political Philosophy Semester Offered: Spring
1 unit(s)
This course introduces students to both the history of political philosophy and to contemporary debates within it. Our focus is upon the relationship between justice and equality. Mr. Kelly.
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PHIL 240 - Philosophy of Art and Aesthetics Semester Offered: Spring
1 unit(s)
At the onset of modernity art was regarded by philosophers as a well demarcated field of philosophical investigation and named “aesthetics”. In the age of Kant, aesthetics is born as the study of the reasons that make some sensory experiences distinctly artistic, beautiful or sublime. In the 19th century, with Hegel and Schopenhauer, the meaning of the work of art is not to be found autonomously from the facts of life, but rather in their midst. We shall follow this attempt to de-aestheticize art in the context of both architecture’s modernist revolution and philosophy’s debate on the nature of metropolis. To this extent we shall examine projects by Walter Gropius and Mies Van der Rohe, and read texts by Georg Simmel, Walter Benjamin, and Martin Heidegger. In the last portion of the course, we shall explore the most radical dismantling of the aesthetic edifice in the work of artists and theorists in linguistics, philosophy, and architecture, including Luigi Ontani, Michel Foucault, Roland Barthes, Jacques Derrida, and Peter Eisenman. Ms. Borradori.
Two 75-minute periods.
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PHIL 242 - The Philosophy of Music Semester Offered: Fall
1 unit(s)
Music is an important part of our experience – familiar and yet strange, releasing us from thinking but also revealing new ways of thinking. This course addresses some philosophical themes as they appear in music, providing a more visceral sense of alternative perspectives on the world, and expanding our appreciation what music has to offer. We will listen to many different types of music – old and new, classical and popular, with discussion focused around topics such as the difference between music and sound, the nature of musical ‘meaning’, the erotics of music, the significance of repetition and variation, resolutions and dissolutions, time and timelessness. Readings will be drawn from a variety of philosophers, including Kierkegaard, Schopenhauer, Adorno, Kivy, Levinson, Tanner, and Scruton. Ms. Church.
Prerequisite(s): One philosophy class or one course on musical theory or musical culture.
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PHIL 250 - Feminist Theory Semester Offered: Fall
1 unit(s)
(Same as WMST 250 ) The central purpose of the course is to understand a variety of theoretical perspectives in feminism - including liberal, radical, socialist, psychoanalytic and postmodern perspectives. We explore how each of these feminist perspectives is indebted to more ‘mainstream’ theoretical frameworks (for example, to liberal political theory, Marxism, and psychoanalysis). We also examine the ways in which each version of feminist theory raises new questions and challenges for these ‘mainstream’ theories. We attempt to understand the theoretical resources that each of these perspectives provides the projects of feminism, how they highlight different aspects of women’s oppression and offer a variety of different solutions. We look at the ways in which issues of race, class and sexuality figure in various theoretical feminist perspectives and consider the divergent takes that different theoretical perspectives offer on issues such as domestic violence, pornography, housework and childcare, economic equality, and respect for cultural differences. Ms. Narayan.
Prerequisite(s): one unit of philosophy or women’s studies.
Two 75-minute periods.
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PHIL 260 - Philosophy and the Arts: Censorship in the Arts Semester Offered: Fall
1 unit(s)
Acts of artistic censorship-social, religious, and political-are based on certain truth claims and on reactions to offending rival truth claims made by the arts. This includes issues about what are proper and improper forms of representation, what is representable and unrepresentable. Art is not the only target of censorship but is a privileged key because it is associated with three areas of offence-obscenity, blasphemy, and sedition. Censorship not only plays an inhibitive, restricted role but less appreciated, plays a productive role in the very formation of artworks. We shall explore a sense of truth in these discussions that is creative, revisionary, and dissentual and make use of theoretical writings by Plato, Rousseau, Mill, and Heidegger. We focus on five momentous cases of censorship: James Joyce’s Ulysees, Salmon Rushdie’s The Satanic Verses, Anselm Kiefer’s painting about the German past, Robert Mapplethorpe’s homoerotic photographs, and the paintings and installations of Ai Wei Wei. Mr. Murray.
Two 75-minute periods.
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PHIL 270 - Queer Theory: Choreographies of Sex and Gender
1 unit(s)
This course examines contemporary theoretical work on the meaning of gender and sexuality with special reference to gay and lesbian studies. We consider questions such as the identity and multiplication of gender and sexes, forms of erotic desire, the performativity of gender norms, styles of life, marriage, and their relationship to medical, psychiatric, legal and criminological discourses. Mr. Murray.
Not offered in 2013/14.
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PHIL 281 - Confucius Semester Offered: Fall
1/2 unit(s)
This six-week course is an introduction to the sayings and dialogues of Confucius and his immediate disciples as recorded in the Analects. We shall examine the historical context of Confucius, and his views on the virtues, human nature, ethical cultivation and his Way for living and organizing society. Mr. Van Norden.
Two 75-minute periods.
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PHIL 282 - Taoism Semester Offered: Spring
1/2 unit(s)
This six-week course is an introduction to two of the seminal texts of ancient Taoism. We shall examine the historical context of these works, their critiques of conventional ethics, and their distinctive mystical visions. Mr. Van Norden.
Two 75-minute periods.
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PHIL 290 - Field Work Semester Offered: Fall and Spring
1/2 or 1 unit(s)
Supervised by the department faculty.
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