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| | (3-0-3) (Lec-Lab-Credit Hours)
This course seeks to provide a multidisciplinary introduction to today’s world and how it came to be. The ecological, technological, and scientific bases of the contemporary world are emphasized. Other themes include: humankind’s biological and cultural origins, the Industrial Revolution, today’s global socioeconomic context, challenges to the nation-state, and cultural and gender issues. Group B, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Topics include significant issues in history and political science. This course satisfies spring sequence requirements for freshman/sophomore history and social science courses. Group B, 100-level course.
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| (3-0-3) (Lec-Lab-Credit Hours)
By permission of the instructor. Group B, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
In this course, students explore the tools and techniques of advanced writing and research. Students write four research papers and give several oral presentations. This course or its equivalent is required for si
ngle degree B.A. students and strongly recommended for double degree students.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course examines the works of some of the world’s greatest scientific thinkers. We begin in the ancient world with writings of Hippocrates, Aristotle, and Archimedes, and continue through the Middle Ages and Renaissance, ending at the threshold of the Scientific Revolution with the great astronomers Copernicus and Kepler. Special attention is be paid to the way these scientists contributed to the body of knowledge known as “natural philosophy.”
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| | | (3-0-3) (Lec-Lab-Credit Hours)
This course continues the journey of examining the works of scientists in light of their philosophical contributions. Works taken from Galileo, Newton, Darwin, Mendel, Laplace, Poincare, Einstein, Bohr, and Heisenberg, as well as contemporary works from Gould and Hawking. While it is a historical continuation of HUM 315, that course is not a prerequisite for taking this one.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course examines how the media report on science, and especially controversial topics such as global warming, the nature-nurture debate, genetic engineering, psychiatric drugs, and the clash between science and religion.
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| | (4-0-4) (Lec-Lab-Credit Hours)
The student completes a major research thesis in the area of concentration under the guidance of a faculty advisor. Open to B.A. degree students.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An individual program of study arranged between student and instructor. A tutorial plan must be prepared (and presented to the Tutorial Committee of the Department of the Humanities) outlining the program and indicating the nature and scope of the project (generally a written paper). Upon completion of the program, the student receives a grade and credit for a Humanities elective.
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| | (6-0-1) (Lec-Lab-Credit Hours)
Basic English Skills is an intensive communication skills course for speakers of English as a second language. It focuses on basic grammar and syntax, as well as introducing the forms of the essay. Not for Humanities credit.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course will introduce the formal vocabularies specific to works of art and familiarize the student with the complex interaction between form, meaning, and historical context. Course readings will consist of historical documents, as well as recent critical and historical writing. Western and non-Western objects and architecture dating from pre-history to the mid-nineteenth century will be discussed at length in the classroom and at museums. Group B, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course introduces students to key moments in the history of modern art in the newly industrial societies of America, Europe, and the [former] Soviet Union. Painting, sculpture, and photography from the 1850s to the 1980s will be examined. Focusing on a wide range of methodological questions, this course will also consider the relationship between avant-garde culture and mass culture, the implications of emergent technologies for cultural production, and the development of radical avant-gardism in the context of authoritarian political formations and advancing global capitalism. Group B, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An orientation to the interdisciplinary field of art and technology, this course explores the territory at the intersection of the technical, scientific, entertainment, and fine arts communities. Topics covered include contemporary media forms, online communities, the history and innovation of the art and technology field, dystopic and uptopian visions; theories of media, technology, and culture; literature of science and technology; biomorphic art, defining and creating through transmedia; explorations of green art and culture; and current creative practices. Technologies utilized in the Internet, print, entertainment, design, and communications industries are also discussed. The course will encourage critical and analytical thinking through a range of hands-on and scholarly activities, including seminar lectures, readings, exposure to various kinds of media, discussions, field trips, a series of research papers and presentations, and a final project.
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| | (2-2-3) (Lec-Lab-Credit Hours)
This is an introductory course in digital imaging, including digital photography and the electronic rendering/manipulating of images. Students are introduced to both hardware (Macintosh platform) and software applications through classroom lectures and hands-on lab experience and exercises, but the emphasis is on the computer software applications as tools for experimentation in creating digital art and applying students' ideas. One trip to Manhattan and one scheduled Media Industry Forum on campus is required. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
This is an intermediate course in digital print media, with an emphasis on how it informs and evolves visual language for artistic expression. Students will consider multiples, sequencing, notation, gesture, and narrative concerns, combining formal elements with experimentation across media; these media may include: printmaking, drawing, painting, photography, and sculpture. Students continue to work with computer software applications as tools to develop a more in-depth knowledge and vocabulary of the technical, theoretic, and aesthetic possibilities inherent in the medium. Classroom lectures and hands-on lab exercises compliment readings and problem-solving projects. One trip to Manhattan and one scheduled Media Industry Forum on campus is required.Prerequisite: HAR 310 or permission of the instructor. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
This is an advanced studio art course in digital image-making concepts and techniques, allowing in-depth exploration of extended computer-based
photo and compositing projects. Aesthetic issues are balanced with technical issues, and artistic criteria such as composition, lighting, and the creative process are emphasized. The class combines demonstrations/ presentations/tutorials followed by independent hands-on project-based
activities applying acquired techniques. There will be opportunity for in-class discussions, critiques and presentations. Students are expected to demonstrate time management skills, work independently and meet deadlines. Prerequisite: HAR 311 or permission of the instructor. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
This course will serve as an introduction to video production and post-production using current video technologies. Traditional camera, sound, and lighting techniques in production are taught, and non-linear video editing is introduced. Students will engage with a variety of video art genres, including experimental, narrative, and documentary forms. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
This class continues with technical, theoretical, historical, and aesthetic approaches to video as a time-based art medium. Students continue to: recognize and control video's formal parameters of image, sound, shot, transition, and sequence; explore the history of video as an experimental art form; and gain an understanding of how concepts and compositions can be developed in time as well as space. Traditional camera, sound, and lighting techniques in production are reviewed, and non-linear video editing using Apple's Final Cut Pro is refined. One trip to Manhattan and one scheduled screening/lecture/event on campus is required. HAR 320 or permission of the instructor. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
This course is projects-centered for advanced students who have already built up technical skill, historical knowledge and formal vocabularies in the video medium through their earlier studies, and are now motivated to produce more intensive video projects of their own design. Video III will build on the skills and concepts introduced in Video I and II, giving students the opportunity to explore the theory, history and practice of video as a timebased art medium in more depth through screenings of artists’ work and reading of artists’ texts. Video III will also give students the opportunity to develop projects with more formal and technical complexity through technical lectures in special topics in advanced production and post-production, focused around issues relevant to the interests of students enrolled in the course – for example, surround sound mixing, interactive authoring or multichannel editing. Does not fulfill general humanities requirements; may be taken as a free elective.
Prerequisites:
HAR 321 Video II
(2-2-3)(Lec-Lab-Credit Hours)
This class continues with technical, theoretical, historical, and aesthetic approaches to video as a time-based art medium. Students continue to: recognize and control video's formal parameters of image, sound, shot, transition, and sequence; explore the history of video as an experimental art form; and gain an understanding of how concepts and compositions can be developed in time as well as space. Traditional camera, sound, and lighting techniques in production are reviewed, and non-linear video editing using Apple's Final Cut Pro is refined. One trip to Manhattan and one scheduled screening/
lecture/event on campus is required. HAR 320 or permission of the instructor. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
This course introduces students to modeling and simple computer animation using the industry-standard tool, Autodest Maya. It also provides a foundation for further work with 3-D and imaging tools. In addition to technical subjects, students will learn about the history, artistic practice, and developmental trajectory of 3-D graphics. It is recommended (but not required) that the student consider Animation as a two-semester sequence, with the student planning to register for HAR 331 Animation II the second semester. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
Building upon the fundamentals of animation and how they can be applied through Autodesk Maya, the focus of this course will be for the students to develop the skills necessary to create a final project that shows the ultimate type of animation character. Students will accomplish this task through observation and practice and are encouraged, in their own creative expression, to explore non-discursive modes of articulation and communication. Does not fulfill general humanities requirements; may be taken as a free elective.
Prerequisites:
HAR 330 Animation I
(2-2-3)(Lec-Lab-Credit Hours)
This course introduces students to modeling and simple computer animation using the industry-standard tool, Autodest Maya. It also provides a foundation for further work with 3-D and imaging tools. In addition to technical subjects, students will learn about the history, artistic practice, and developmental trajectory of 3-D graphics. It is recommended (but not required) that the student consider Animation as a two-semester sequence, with the student planning to register for HAR 331 Animation II the second semester. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
This rigorous and intensive computer animation course builds upon Animation I & II. The course is designed for the serious 3-D animation student who is expecting to continue working in animation. It continues the approach of increasing skills and artistic practice in all areas of 3-D animation: concept, modeling, animation, and rendering. This is not just a software training course. While understanding advanced software tools will be necessary to attain the objectives of this course, grade evaluation is based on the student’s development and successful demonstrations of mastery of timing, visual design, and storytelling abilities. Throughout the class, students will be encouraged to find their own artistic voice. Does not fulfill general humanities requirements; may be taken as a free elective.
Prerequisites:
HAR 331 Animation II
(2-2-3)(Lec-Lab-Credit Hours)
Building upon the fundamentals of animation and how they can be applied through Autodesk Maya, the focus of this course will be for the students to develop the skills necessary to create a final project that shows the ultimate type of animation character. Students will accomplish this task through observation and practice and are encouraged, in their own creative expression, to explore non-discursive modes of articulation and communication. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
This is an introductory studio-based class designed to teach students the methods and applications for creating graphic- and text-based animation for digital video, film and the Internet, and introduces students to the aesthetics and creative philosophies in the field. Through lectures, in-class tutorials, readings, discussions, and weekly projects, students learn professional techniques to develop creative projects and practical approaches to visual problem solving. The class covers techniques ranging from simple animations to complex special effects, and students are required to create all resources for animation purposes including digital image and recorded content. Does not fulfill general humanities requirements; may be taken as a free elective.
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| (3-0-3) (Lec-Lab-Credit Hours)
This course introduces students to the history of photography from its beginnings in the 1830s to the recent practices of artists working with photographic technologies in the context of postmodernity. The primary task of the course will be to develop visual literacy and familiarity with the complex and contradictory genres and social functions of photographic image production. At the same time, this course will introduce the difficulty of writing the history of photography as a separate discipline that operates both inside and outside histories of modern art.
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| | (0-0-3) (Lec-Lab-Credit Hours)
This course surveys a range of issues and creative practices that bring art and biology into close alignment. A number of areas are investigated, including: the literature of the outdoors; emergent, biomorphic cultural forms and systems; neuronets and the Internet as virtual nervous systems; and recent innovations in green art, culture and architecture. This course combines a survey with hands-on art projects. Students read and discuss selected writings and visual images, then make projects with self-selected materials and tools. Collaborations with biologists, ecologists, bio- ethicists, artists, and others are encouraged. This course is taught by an artist.
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| | | (3-0-3) (Lec-Lab-Credit Hours)
This course is a survey of the myriad art and architectural forms of the Middle East. From earliest origins in Mesopotamia and Egypt, the course examines Byzantine and Sassanid influences on the development of Islamic Art under the Umayyids and Abbassids, as well as the Ottomans and Persians. It follows these influences through the nineteenth and twentieth centuries, examining the current state of art, including film, in the Middle East.
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| | (2-2-3) (Lec-Lab-Credit Hours)
This studio course moves through the elemental study of two-dimensional art and design--structura
l elements, organizational principles, psychological effects, and communicative functions--focusing on both the technical and the imaginative. Problem-solving assignments (most of which are created on computers) and critiques, combined with visits to museums and galleries, enable students to develop criteria for the analysis and evaluation of images created both by themselves and by others. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
This studio course explores the concepts of form and space, focusing on hands-on experiences using different types of materials to create three-dimensional sculptural works. Students are encouraged to be experimental with their combination and use of materials. This course will address formal elements of design and construction in relation to contemporary art works through video documentation, slides and books. Readings that accompany class discussions and a visit to Manhattan will be assigned throughout the semester. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
This course will approach the basics of drawing as an integrative tool where ideas and processes are explored and expanded through the drawing medium. Skills will be rendered through observation, manipulation, and coordinating and understanding these practices. Through problem solving within a range of projects, each student will begin to develop a visual language and the drawing skills that can be applied to conceptual, visual, and technical disciplines. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
Students will focus and expand their visual and conceptual knowledge and technical skills by drawing from the nude model, as well as explore new issues, dialogues, and skills surrounding the medium of drawing. The class will include studio course work and independent projects, as well as group field trips to see current drawing exhibitions in New Y
ork City. A class presentation of a chosen artist, as well as a supporting written paper, will be required of each student. The final project will be an interdisciplinary independent project designed and created by each student. All students will be expected to have completed Drawing I successfully, or have the professor\u2019s permission to register, i.e. presenting a portfolio that demonstrates working knowledge of the basic principals of beginning drawing. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
An introduction to the principles and strategies of net art through readings, encounters with artwork, projects, and practical instruction in graphic, multimedia, and interaction design for the Web. Techniques and design problems will be studied through historical and current examples of networked artistic practices. This is a studio course, focused on creative production and peer critique, which meets for four hours, once a week, and also requires students to put in weekly lab time outside of class to complete their assignments. Students will be expected to produce and present three net art projects over the course of the semester, including one final project that must be launched online. Students are not expected to have previous programming experience but should already be familiar with the digital imaging, audio, and/or video tools necessary to produce media that they wish to include in their projects. While this course will introduce students to some of the technologies used by net artists, it should not be taken as a programming class, and cannot be used as an equivalent to technical courses offered by other departments.
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| | (2-2-3) (Lec-Lab-Credit Hours)
Students will learn how to design and produce interactive artwork working in a mixed media discipline. These site-specific installations will integrate image and sound through audience interaction within a predetermined space and time, and includes research, writing, sketches, presentations, and finding and experimenting with the right tools and locations, as well as working as a team. This course will introduce students to: analog image processing, radio wave transmission, live video software, basics in physical computing, and historical and current trends in interactive installations. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course will survey key benchmarks and documents in the history of media technologies, while also introducing critical readings of 20th- and 21st-Century media culture, both from the theoretical field of media studies and the creative works of artists, filmmakers, and writers. We will explore how media technologies from print and photography through film, radio, television, video, the Internet, games, and social software have been successively introduced, disseminated, and commodified, and how their mediations have profoundly affected the way we experience and interpret our contemporary society and culture. Students will be required to complete readings every week, to contribute to a class Web project including blogs and wiki, and to produce short papers and presentations that respond to and analyze the readings, in-class screenings, and other material we discuss.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course is an overview of a broad range of topics about contemporary fine art. We examine theoretical issues, modern and post-modern styles, and the industry and practice of visual art through bi-weekly visits to galleries and museums in Manhattan. Readings, papers, and presentations are required. This course approaches its subject matter from the artists' standpoint and is taught by a professional artist.
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| | (0-0-3) (Lec-Lab-Credit Hours)
An internship is a short-term work experience that emphasizes learning. It is an essential way to try out a career, develop new skills, combine academic theory with “hands-on” experience, and build up a resume. This is an independent and individually-initiated program of work arranged between the student and an institution, organization, or business. Internship requires a plan (prepared with the job supervisor) to be presented to the Internship faculty sponsor, per approval, in the Program in Art & Technology, outlining the scope of work before starting the internship. It is expected that Internship will run approximately 8 to 12 hours per week for 14 weeks (or 112 to 168 hours per academic session) per 3 credits. A scheduled bi-weekly meeting with a group to discuss internships and career interests is expected. The student's internship performance will be evaluated
by the following: a) a weekly journal describing the student's involvement in various activities and projects; b) an approximately five-page reflective essay in which the student integrates prior coursework with the internship experience (a theory and practice exercise); c) a basic report indicating the extent to which scope of work was accomplished; d) attendance and participation in group meetings; e) a written evaluation from the student's supervisor; f) a portfolio of work accomplished during the internship, if appropriate. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
This course has a different topic or theme each semester, and can be taken twice, subject to advisor approval. Visiting artists who have been invited to work at Stevens will design this course, which will be studio-based or in a seminar format. Teaching methods and evaluation will vary with the instructor. Registration by permission of the instructor or ARTC director only. Topics might include: “The Artist’s Book,” “The Body and New Physicality,” "Database Art,” “Negotiating the Everyday,” “Transmedia.” Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course examines American fiction films in terms of their historical development through the studio system and in terms of current narrative theory. The course is concerned with ways in which narratives are constructed and ways in which they provide the appearance of “meaning.” Particular attention is given to film noir. Various European films that strongly influenced, or parallel, American works are also examined.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course is an advanced elective concerned with cultural aspects of American arts from the nineteenth century to the present. The course centers on the ways in which images in literature, painting, photography, films, and other arts reflect, reinforce and stimulate cultural norms. Trends in European arts are studied in relation to their influence on American art.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course and HHS 124 investigate the social, economic, intellectual, political, and cultural trends in Europe from the Middle Ages to the present, in lectures and discussion. Group B, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A continuation of HHS 123. Group B, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course and HHS 126 examine the main trends in the socioeconomic, political, and diplomatic history of the U.S. from the Pre-Revolutionary period to the present. Group B, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A continuation of HS 125. Group B, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A topical introduction to the humanistic study of science and technology. Group B, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A historical survey of science and technology. Principal topics include science and technology in prehistory, Egyptian and Babylonian science and culture, Greek science, Medieval technology and science, the Scientific Revolution, the making of the modern physical science, Darwin, and the Darwinian Revolution. Group B, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course provides a survey of the origin and development of the modern Islamic World. Beginning in sixth-century Arabia, the course follows the theological and political development of the Muslim community. It explores the reasons for the great appeal Islam has had and the reasons for its spread throughout the Middle East, North Africa, and Southern Asia as well as other regions of the world. Group B, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This is an intensive writing and research
seminar designed to introduce students to the world of historical research and the historian's craft.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A study of the life and works of Sir Isaac Newton. Attention focuses on the scientific, philosophical and religious background of Newton, on his biograph,y and on his work. Newton’s Principia and Opticks will be read.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course analyzes science as a social entity. The connections between science and society are studied in the first instance through a historical survey of the externals of science: the non-cognitive social, institutional, and professional dimensions of the scientific enterprise. On a case-study basis, the course proceeds to investigate more theoretical problems concerning relations between scientific knowledge and social structure, particularly as interpreted in the Strong Program of the Sociology of Knowledge. Students complete individual projects arising out of themes developed in class.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An examination of the historical process whereby the scientific enterprise became a central concern of the state in modern industrial societies.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course surveys the origins and significance of technological developments in American history from the first settlements to the present. It emphasizes the social, cultural, political, and economic significance of technology in American history.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course examines instances in American history in which “scientific” conclusions were widely perceived to be authoritative and true but were later shown to be fraudulent or false. The course examines effects that conclusions of this sort had
not only on the culture at large but particularly on creative writers whose work in turn evokes tension between personal insight and faith in empirically derived “truth.”
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| | (3-0-3) (Lec-Lab-Credit Hours)
A study of early Roman civilization from the founding of the city of Rome in 753 B.C. to the collapse of the Republic under Julius Caesar. Readings in ancient sources and modern texts.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course focuses on the history of the United States from the perspective of women's experiences and the role gender plays in shaping and defining American history from the colonial era to the present. It examines women's social, political, and economic lives; their roles in society, their familial roles, their struggle to achieve civil rights; changes in their legal status; and the rise of feminism.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An exploration of the African-American experience in the United States from the time of the Atlantic Slave Trade to the present. Topics include social and political dynamics shaping African-American history with particular attention focused on Reconstruction, the Great Migration, and the Civil Rights Movement. Numerous African-American leaders and their concepts for an African-American identity are also emphasized, including the W. E. B. Du Bois and Booker T. Washington debates, as well as speeches from Malcolm X and Martin Luther King, Jr.
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| | (3-0-3) (Lec-Lab-Credit Hours)
The course begins with the contradictions inherent in semi-feudal Russia during the age of imperialism which culminated in the collapse of the Tsarist autocracy during World War I. There is a close analysis of the revolutionary year 1917 to determine the reasons for the failure of the liberal Kerensky regime on the one hand, and the rise of the Soviets and Bolsheviks on the other. Marxist-Leninist ideology is studied and compared to economic, social, and political programs during the revolution and during its consolidation in the period of the civil war and in the Stalinist era. The course also covers more recent Russian history.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course is a general survey of the Middle East beginning in pre-Islamic Arabia in the year 600 and ending with the Napoleonic invasion of Egypt in 1798. The course examines the early formation of the Muslim community and follows its growth under the Umayyid and Abbasid empires. It also explores the influence of the Persians and the Turks in the region, examining the Ottoman and Safavid empires, the Mongol invasion, and ultimately the influence of Western European powers leading to Napoleon's conquest of Egypt in 1798.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course is a survey of the development of the modern Middle East from the Napoleonic invasion of Egypt in 1798 to the present. The course examines the early efforts for political reform and the beginnings of nationalism with particular emphasis on the period following World War I and the development of modern Middle Eastern nation states.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Selected topics in American diplomatic history are studied, including nationalism, imperialism, economic diplomacy, missionary diplomacy, isolationism, world war, cold war, and detente. Readings include diplomatic correspondence, documents, interpretive articles, and monographs.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An in-depth study of the career of Galileo Galilei (1564-1642) and his place in seventeenth-century science.
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| | (3-0-3) (Lec-Lab-Credit Hours)
German history from its origins, but concentrating on the period from 1870 to the present. German industrialization, the dominant role of Prussia in unification, World War I, the Weimar and Nazi periods, World War II and the post-war era, including current developments, are covered.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A retrospective of major world events during the century including world war, revolution, economic and social changes, the decline of colonialism, and the emergence of developing nations in the non-Western world. Trends for the twenty-first century are also examined.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An analysis of the intellectual and methodological transformations of sixteenth- and seventeenth-century science and the development of the modern world view. This course focuses on the major scientific figures of the age (Galileo, Descartes, Newton), with particular attention to the study of original texts. The social and institutional transformations of science in this period are also considered.
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| | (0-0-3) (Lec-Lab-Credit Hours)
An historical and theoretical analysis of the U.S. Constitution, its foundations, conceptual and idealistic basis for the Bill of Rights and the national government. Decision-making and policy-making roles of the Supreme Court in selected areas including the executive and legislative branches, federal-state relations, civil liberties and civil rights.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An exploration of the modern American political experience from the turn of the twentieth century to the present. This course examines the historical significance of the American policymaking process. Discussions center on presidential administrations, Congress and political parties addressing domestic agendas and policies. Highlighted eras promoting government activism include Progressivism, New Dealism, Great Society measures and recent political proposals.
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| | | (3-0-3) (Lec-Lab-Credit Hours)
An interdisciplinary inquiry into individual and group motivations underlying socially significant historical experiences. Selected issues include personality formation through the ages (Martin Luther and Andrew Jackson), individual and collective consciousness (Anne Hutchinson and the Salem witchcraft hysteria), and psychobiographies of Woodrow Wilson, Adolf Hitler, and others.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Selected contemporary persepctives on European history since the French Revolution up to the creation of the European Union.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Analyses of the foundation, expansion, and decline of the Roman Empire with an evaluation of its place in history.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course examines American fiction films in terms of their historical development through the studio system and in terms of current narrative theory. The course is concerned with ways in which narratives are constructed and ways in which they provide the appearance of "meaning." Particular attention is given to film noir. Various European films that strongly influenced, or parallel, American works are also examined.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course explores the history of mediums of exchange and the consequent development of credit and credit exchange mechanisms from earliest times until the present. In particular, this course examines the relationship of money and credit to the technological environment and how evolving technologies, ranging from metallurgy to electronics, have created and shaped historical eras. Periods covered include pre-feudal, feudal, early capitalist, and modern times.
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| | (0-0-3) (Lec-Lab-Credit Hours)
An historical analysis of post World War II suburban-urban growth policies. Examines the successes and failures of developmental proposals, especially social and environmental implications of Federal Housing Administrative incentives: de-facto segregation, commercial-residential sprawl; Smart Growth; New Urbanism and other high density concepts. Urban redevelopment policies, include brownfield, waterfront sites and the public provision of cultural and tourism infrastructure; incentives to promote gentr
ification; historic preservation; mixed income/community feasibility; and economic development policies, such as business improvement, tax abatements, enterprise zones and transit villages.
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| | (0-0-3) (Lec-Lab-Credit Hours)
This course is an advanced elective concerned with cultural aspects of American arts from the nineteenth century to the present. The course centers on the ways in which images in literature, painting, photography, films, and other arts reflect, reinforce and stimulate culture norms. rends in European arts are studied in relation to their influence on American art.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An analysis of history taking material factors into account. Course probes this theme from the point of view of historical change over time, case studies of material factors shaping history, and historiographically, that is, how the historical and theoretical literature has treated the exigencies of the material world and parameters governing human interaction with the material world.
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| | (3-0-3) (Lec-Lab-Credit Hours)
In the late nineteenth and early twentieth centuries the United States was fundamentally transformed. This course examines the nation’s genesis as an industrial and economic power and society’s adaptation to the industrial age. It also considers the impact of industrialism on such historical problems as technological change, economic development, race and gender relations, political participation, reform movements, urbanization, immigration, imperialism, and globalization.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course explores the modern economic and political development of China, Korea, and Japan from the late nineteenth century to the present and responses to Western imperialism. The rise of Chinese and Korean communism and Japanese fascism during the twentieth century are especially emphasized. There is also a close examination and comparison of development in additional Asian countries such as the Philippines and Vietnam.
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| | (3-0-3) (Lec-Lab-Credit Hours)
To confront the student with social, political, legal, and ethical issues that professional scientists and engineers are being forced to reexamine in the light of the computer revolution. The course reviews traditional principles while challenging the student to recognize that technological innovation often drives social change and, specifically, that innovations as sweeping as the rapid and continuing changes in computer technology sometimes lead scientists and engineers into completely uncharted territory.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A study of the emergence and development of the Turkish Republic. The course examines the Republic’s origins in the Ottoman Empire and traces its development from the period after the First World War to the present.
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| | (3-0-3) (Lec-Lab-Credit Hours)
(Formerly HSS 474 Modern Middle East): A survey of the development of Arab Nationalist movements in the Middle East beginning in the period following WWI and the collapse of the Ottoman Empire, and tracing the different approaches to nationalism adopted in response to late Colonial forces and the emerging state of Israel.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A comparative review of the differing histories and alternative approaches to nationalism in the three major Middle Eastern States.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A survey of the History of Central Asia from the period of Persian domination through the Mongol period, the development of the Khanates leading to the Russian conquest, and finally to today’s reemergence of autonomous states.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An examination of the economic, social and political transformations that created one of Europe’s most powerful empires from 1299 until 1918. The course follows the growth and later dismemberment of the Empire, with special focus on the continuities found in the region today.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Legal and moral issues associated with just and unjust wars in historical perspective and the issue of war crimes in international, legal, and moral terms.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Taught through problem-based learning techniques, the course entails intensive readings on Am
erican genesis of technologies through mainly biographical accounts ranging from Eli Whitney’s rifles with interchangeable parts to Jim Clark’s development of Netscape in Silicon Valley, and the contemporary role of universities in generating intellectual property. Such topics as the inventive-entrepreneurial process, patents, and the role of government in sponsoring research and development, and the development of Management of Technology techniques are covered.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A study of the significance of technology and the engineering profession in history from ancient times to the present.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A survey of major developments in the history and geography of Planet Earth.
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| | (3-0-3) (Lec-Lab-Credit Hours)
The impact of the Norman Conquest on kingship, government, and social structure; the reign of the Tudors on church and state; the Puritan and Lockean revolutions on the development of Parliament and Common Law; the two party system on reform; the industrial revolution on economic power and Empire; and Britain’s role in world wars and the twentieth century. Particular attention is paid to the development of individual rights.
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| | (3-0-3) (Lec-Lab-Credit Hours)
The life and times of the Renaissance artist-engineer, the institutions and influences which created his imagination, inventiveness, and great works of art. The course also covers what he was not, exploding popular myths about his achievements, and investigates his life on a personal, more human level.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Examination of the history of medical science in the Western World from Greek antiquity to the present.
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| | (0-0-3) (Lec-Lab-Credit Hours)
This course examines the work of Thomas Edison as a vehicle for understanding the social, cultural, and economic transformation of the United States in the late nineteenth and early twentieth centuries. We will explore Edison’s activities as an inventor, entrepreneur, manufacturer, and cultural icon. Some of Edison’s most popular inventions including the phonograph, incandescent electric lamp, motion picture camera and projector, and storage battery will be followed from the laboratory workbench to the realm of everyday life. We will also consider a few of Edison’s less successful inventions and business adventures. In addition, we will compare the Edison chronicled in academic history with that presented in popular culture venues including museums, documentary films, motion pictures, and the press.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A survey of recent trends in the application of ecological and geographical perspectives in historical studies. Some emphasis on historiography is appropriate for thesis writers.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Research topics in history and methods of historical scholarship.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Readings in core texts of western literature produced by civilizations of the ancient world.. Representative texts include works by: Homer, Sophocles and Virgil, and readings in the Hebrew and Christian Bibles. Sections of this course may takes up great books of science such as Vitruvius' Ten Books on Architecture read in conjunction with Virgil's Aeneid. Instruction in basic elements of rhetoric and composition is also emphasized. Group A, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Readings in core texts of western literature from medieval times to the present. Representative authors include Chretien, Dante, Racine, Shakespeare, de Lafayette, and Kafka. Instruction in basic elements of rhetoric and composition is also emphasized. Group A, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Examination of how words signify and work. Instruction in basic elements of rhetoric and composition is emphasized. Group A, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Uses of language in a variety of fictional and nonfictional forms. Instruction in basic elements of rhetoric and composition is also emphasized. Group A, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A survey of major developments in American literature from 1789 to 1900. Instruction in basic elements of rhetoric and composition is also emphasized. Group A, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A survey of major developments in American literature from 1900 to the present. Instruction in basic elements of rhetoric and composition is also emphasized. Group A, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A survey of Modernism in European Literature. The authors to be considered include Rimbaud, Mallarme, Rilke, and Mann. Developments in architecture, music, and art are provided, as well.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A survey of poets and prose writers such as Thomas Carlyle,
Alfred Lord Tennyson, Elizabeth Barrett Browning, John Stuart Mill, Charles Dickens, Oscar Wilde, and Christina Rossetti who in the days of Queen Victoria created texts that reflect our own concerns with religion and science, spirituality and materialism, labor and capital, gender and space, Christmas and goblins.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course is a form of argument about meaning that emphasizes two points: 1) the language we have available determines our idea of reality and 2) semantic structures seem to convey their own independent meanings in spite of what speakers of the language may think they intend.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A study of the fiction of science and the science of fiction through the reading of authors from Mary Shelley (Frankenstein) to William Gibson (Neuromancer), the viewing of films such as Metropolis and Dune, and the writing of a piece of science fiction.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A study of twentieth-century literary works concerned with sources of creativity. Works to be considered include Mann’s Death in Venice, Rilke’s Sonnets to Orpheus, and other works.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Course examines the relationship of literary works and the ethnic heritage of their authors.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course investigates the views man has expressed about the advent impact of technology and science across recorded history. Questions that might be addressed include: What is the relationship between religion and technology? Has man always viewed technological innovations as positive? What relationship is there between man’s vision of utopian society and technology? Readings may include, but are not limited to, novels, philosophical treatises, and the literature of various societies.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Myths are much more than entertaining stories; they teach much about their cultures. Myths pervade our lives and represent a discrete way of thinking, different from rational logic. In this course, students will see how Western civilization was enriched by Greek and Roman myths. Myths from the ancient Near East also reached the West through the Judeo-Christian tradition. This course provides an introduction to ancient civilizations and their literary, religious, and artistic legacies.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Selected plays by Shakespeare are read and analyzed with the emphasis placed on their success as scripts to be performed in theaters. Students will read a selection of tragedies, comedies, and histories, as well as being introduced to the sonnets and other poems.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Geoffrey Chaucer’s Canterbury Tales is read in modern English against a historical background of Chaucer’s life and times. The course also considers Chaucer’s dream vision poetry.
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| | (3-0-3) (Lec-Lab-Credit Hours)
During the summer, Shakespeare is presented in parks and parking lots throughout New York City. In this course, we read and discuss plays and then go to see them. We view both traditional and experimental productions. Sometimes we see more than one production of a play, if a number of companies decide to do it.
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| | (3-0-3) (Lec-Lab-Credit Hours)
The study of prose fiction in short story form. Texts consist of representative selections of the short story genre that offer a wide variety of techniques and themes. All students will participate in classroom critical analysis.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A study of the Indo-European origins and development of English from Old English Anglo-Saxon, to Chaucer\u2019s Middle English and the Modern English Period. Supplemental readings examine how languages in general evolve and how humans learn and change language.
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| | (0-0-3) (Lec-Lab-Credit Hours)
This course examines the beginnings of the environmental movement in America by focusing on the writings of Henry David Thoreau and his contemporaries. Primary readings include works by Meriwether Lewis and William Clark, John James Audubon, James Fenimore Cooper, William Cullen Bryant, Ralph Waldo Emerson, Emily Dickinson, John Muir, Sarah Orne Jewett, and Jack London. Contextual material includes works by Hector St. Jean de Crevecoeur, Thomas Jefferson, William Bartram, Philip Freneau, Louis Agassiz, Susan Fenimore Cooper, George Perkins Marsh, Gifford Pinchot, and Theodore Roosevelt.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Consideration of texts by writers of the romantic movement in England: Blake, Coleridge, William and Dorothy Wordsworth, Percy Bysshe and Mary Shelley, Keats, and Byron.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A survey of theatrical innovation in modern and contemporary Europe and the United States. Students will analyze dramatic literature and create scenic designs for one or more plays studied in class. Group attendance at a theatrical performance in New York City outside of class time is required.
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| | | (3-0-3) (Lec-Lab-Credit Hours)
Readings from the novel's beginnings in England up to contemporary works. Selections include works such as Defoe's Robinson Crusoe, Richardson's Pamela, Austen's Pride and Prejudice, Bronte's Wuthering Heights, Dickens' Hard Times, and Woolf's To the Lighthouse.
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| | (0-0-3) (Lec-Lab-Credit Hours)
Readings of plays from the dramatic productions of Aeschylus to modern works of theatre. Students attend professional productions in New York City and often have an opportunity to interact with those involved in bringing them to the stage.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Readings in authors such as Bradstreet, Bryant, Longfellow, Poe, Whitman, and Dickinson.
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| (3-0-3) (Lec-Lab-Credit Hours)
A study of works produced during the British and European romantic movements by. PAINTERS such as David, Turner, Delacroix, Gericault; WRITERS such as Hugo, Goethe, Byron, Sand; COMPOSERS such as Berlioz, Wagner, Chopin. Students attend a professional concert or opera in New York City.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An introduction to works by such writers as Emerson, Thoreau Whitman, Poe, Hawthorne, Melville, and Dickinson. An examination of 19th-century race relations in America from a literary perspective is emphasized.
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| | (0-0-3) (Lec-Lab-Credit Hours)
An interpretation of Amercan civilization through its literature and cultural forms. The course involves close reading of a few works of American literature written since World War II.
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| | (0-0-3) (Lec-Lab-Credit Hours)
This course examines American fiction films in terms of current narrative theory. The course is concerned with ways in which narratives are constructed and ways in which they provide the appearance of “meaning.” Particular attention is given to film noir. Various European films that strongly influenced, or parallel, American works are also examined.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A study of works of major Amer
ican poets of the twentieth century including Pound, Eliot, Williams, Moore, Stevens, Lowell, Ashbery, and Ginsberg.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Development of British fiction from James Joyce to Doris Lessing.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An introduction to classical and modern expository and argumentative writing and speech, as well as an introduction to contemporary technical and science writing.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course surveys the work of the medieval period in Europe and includes such works as Beowulf, The Song of Roland, and selections from the works of Dante, Boccaccio, Chaucer, Marie de France, and other poets.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course focuses on the developing interest in the individual in society in medieval romance. Works and authors studied include: Sir Gawain and the Green Knight, Chretien de Troyes and Gottfried von Strassburg. The course follows the adventuring knight on his quests.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course examines the role of empire building and its influence on the novel, prose, and poetry of the late nineteenth century. Readings present an overview of both colonial and post-colonial literature against the historical background. This course also examines relevant films to explore how the twentieth and twenty-first centuries portray imperialism.
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| | (0-0-3) (Lec-Lab-Credit Hours)
Analysis of selections from the Hebrew and Christian Bibles as literary texts.
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| | (3-0-3) (Lec-Lab-Credit Hours)
The course covers a variety of literary and historical texts beginning with the earliest chronicle reports of Arthur, king of Britain, and ending with romance material such as the Vulgate Quest for the Holy Grail and The Death of King Arthur. The course explores the birth and development of the Arthurian legend. Was there ever a historical Arthur? Did he arise to save his people? Will he come again as legend has promised? What role does his story play in literature and popular culture? Delving into the mythic past of the British Isles, we will discuss folk-tales, read historical chronicles, and immerse ourselves in some of earliest (and certainly the best) sword and sorcery literature.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A survey of English literature from its beginnings to the restoration of the monarchy in the seventeenth century.
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| | (3-0-3) (Lec-Lab-Credit Hours)
The application of contemporary literary theory derived from Heidegger and modern linguistics to the study of postmodern American literature. Students are introduced to various literary theories developed by Barthes, Kristeva, Lacan, Derrida, and Foucault, and then asked to apply these theories in considerations of works by such postmodern American writers as Pynchon, Bronk, Gass, Spicer, and Ashbery.
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| | (0-0-3) (Lec-Lab-Credit Hours)
Examination of a few major twentieth-century Turkish, Persian, and Arabic texts in English translation. Readings would include poetry and fiction by such authors as Ece Ayhan, Orhan Pamuk, Mohsen Makhmalbaf, and Mahmoud Darwish.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A survey of English literature from the restoration of the monarchy to the present.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A study of major works and authors, including Beowulf, Chaucer, Spenser, Milton, Shakespeare, Wordsworth, and Wolf.
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| | (0-0-3) (Lec-Lab-Credit Hours)
A survey of the development of the novel in America from the late eighteenth century to the present. Included are works by authors such as: Nathaniel Hawthorne, Harriet Beecher Stowe, William Faulkner, Henry James, Edith Wharton, and Philip Roth.
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| | (3-0-3) (Lec-Lab-Credit Hours)
During this course, we will review Western Medieval and Renaissance art music from the 2nd century B.C. to 1600 A.D. from several perspectives: as individual masterworks, as representatives of various composers, as examples of particular styles and forms, as analytic "problems," and as artworks derived from changing social circumstances. We will emphasize the development of skills in talking and writing "about" monophonic, liturgical and polyphonic music. The course will include lectures and class discussions, assigned readings, written assignments, and periodic examinations. Prerequisite: basic ability to read music. Group B, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
In this course, we will review western Baroque to Classic music from 1600 to 1780, from several perspectives: as individual expressions of various composers, as examples of particular styles and fo
rms, as analytic "problems", and as artworks derived from changing social circumstances. We'll emphasize the development of skills in talking and writing "about" piano, pipe organ, orchestral and early opera music. Some composers include Bach, Vivaldi, Purcell Pachebel & Handel. The course will in discussions, assigned readings, oral presentations, and periodic examinations. Pre Requisites basic ability to read music. Group B, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
The course aims to guide and strengthen students in developing the skills of active listening in order to increase their enjoyment of various genres of music. To this end, the course strengthens the students' ability to identify and respond to the basic musical building blocks - melody, harmony, rhythm, tempo, tone color and form - and to the ways individual composers combine these elements to express and communicate substantive musical ideas. The course is not intended as a historical survey of the Western musical canon. Rather, it focuses on important core works from the common practice period extending from the Baroque period to the late Romantic period, without excluding important trends and developments in earlier (medieval and renaissance) and later (modern, post-modern) periods. The aim throughout is to focus on works that an interested music lover is liable to hear in live performance, and that form a basis for further musical exploration. At the same time, the course provides, without losing this central focus, at least brief exposure and consideration of selected examples of both world music and commercial pop music in some of its various forms. Finally, and unique to the Music and Technology program at Stevens, the course draws special attention, wherever appropriate, to important milestones in the development of music technology and their impact on the development of musical style. Prerequisites: None. Group A, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This is part two of the Music Appreciation sequence. The course aims to guide and strengthen students in developing the skills of active listening in order to increase their enjoyment of ballet music, film music, music theater and opera. To this end, the course strengthens the students' ability to identify and respond to the basic conventions of ballet, film, music theater and opera and the way that the basic musical building blocks - melody, harmony, rhythm, tempo, tone color and form - take creative advantage of these conventions for expressive purposes, including the creation of mood, characterization, narration and storytelling. The course is not intende
d as a historical survey of the genres of ballet, film music, music theater or opera. Rather, it focuses on important core works from these genres, placed in their historical and stylistic context for purposes of comparison and appreciation. The aim throughout is to focus on works that an interested music lover is liable to hear in the normal course of their musical experience and that form a basis for further in-depth exploration of these genres. At the same time, the course provides, without losing this central focus, at least brief exposure and consideration of selected examples of contemporary pop and commercial music in these and related genres, including hip-hop and music video, that will build on the students' pre-existing interest and enthusiasm. Finally, and unique to the Music and Technology program at Stevens, the course draws special attention, wherever appropriate, to important milestones in the development of music technology and their impact on the development of music in the genres of ballet, film music, music theater and opera as well as related contemporary genres. Prerequisites: None. Group A, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course begins with a review of the rudiments of music (scales, modes, key signatures, time signatures, rhythm, meter, intervals, and basic acoustical principles) and a review of important compositional trends that have affected the course of Western musical history. Students are then introduced to the triad and seventh chords in all inversions. All theoretical study is accompanied by listening, score analysis, and actual writing. All incoming students should already know how to read music (treble and bass clefs). Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (3-0-3) (Lec-Lab-Credit Hours)
With the presumption of no previous formal study, Music Theory I presents the fundamental materials and procedures of tonal music. The students are introduced to elements of music theory, including scales, key signatures, intervals, triads, seventh chords, Roman numeral and figured bass analysis, 4-part writing, and first species counterpoint. Aural skills are developed with the introduction to "fixed-do" solfege. Sight singing in treble and bass clef, primarily in Major, develops pitch and rhythmic articulation. Prerequisites: basic ability to read treble or bass clef. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Music Theory II continues the presentation of the material and procedures of tonal music with the study of harmonic syntax as it pertains to tonal cadences, intermediary harmonies modulation and tonicization in major and minor, and fundamental concepts of diatonic sequences. Students continue their mastery of 4-part writing with Roman numeral and figured bass analysis and undertake writing assignments in second and third species counterpoint in two voices. Aural skills are developed with alto clef "fixed-do" solfege primarily in minor. Does not fulfill general humanities requirements; may be taken as a free elective.
Prerequisites:
HMU 201 Music Theory I (formerly HMU 301)
(3-0-3)(Lec-Lab-Credit Hours)
With the presumption of no previous formal study, Music Theory I presents the fundamental materials and procedures of tonal music. The students are introduced to elements of music theory, including scales, key signatures, intervals, triads, seventh chords, Roman numeral and figured bass analysis, 4-part writing, and first species counterpoint. Aural skills are developed with the introduction to "fixed-do" solfege. Sight singing in treble and bass clef, primarily in Major, develops pitch and rhythmic articulation. Prerequisites: basic ability to read treble or bass clef. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
This course is the first of a two part survey of the software and hardware production tools most commonly used in the production of music for media, sound recording and live performance. As a part of the core music curriculum this course also explores the software and hardware tools required thoughout the students tenure in the Music program. Topics include; general recording studio protocol; MIDI (Musical Instrument Digital Interface); basic recording techniques with Digital Audio Workstations, software based Midi sequencers, Notation and Sample playback/recording programs. Students will demonstrate their expertise in the discipline through a series of practical projects and written exams. Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
This course is the second of a two part survey of the software and hardware production tools most commonly used in the production of music for media, sound recording and live performance. As a part of the core music curriculum this course also explores the software and hardware tools required thoughout the students tenure in the Music program. Topics include; advanced studio recording protocol and systems integration; advanced recording techniques with Digital Audio Workstations, software based Midi sequencers, Notation and Sample playback/recording programs. As well, the course will explore cross implementation techniques between the aforementioned software tools. Students will demonstrate their expertise in the discipline through a series of practical projects. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (3-0-3) (Lec-Lab-Credit Hours)
In order for students to acquire the most basic and fundamental piano techniques, students will undertake rudimentary exercises designed to facilitate the most common fingering techniques and hand positions. Students will be required to demonstrate the ability to play major scales, simple arpeggios, and develop muscle memory for basic intervals. By the end of the semester, students should be able to read 2 part treble and bass compositions. Prerequisites: None. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Piano II is the second in a series of Piano Instruction for Beginner/Intermediate Music Technology Students and all students interested in learning how to play piano and/or keyboards. This class will focus on the Development of Functional Keyboard skills. Prerequisites: HMU 220 or permission of the instructor. Does not fulfill general humanities requirements; may be taken as a free elective.
Prerequisites:
HMU 220 Piano Class I
(3-0-3)(Lec-Lab-Credit Hours)
In order for students to acquire the most basic and fundamental piano techniques, students will undertake rudimentary exercises designed to facilitate the most common fingering technique
s and hand positions. Students will be required to demonstrate the ability to play major scales, simple arpeggios, and develop muscle memory for basic intervals. By the end of the semester, students should be able to read 2 part treble and bass compositions. Prerequisites: None. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
In today's music composition world, artists may accelerate their potential by having a basic understanding of sound recording technology, since this competitive field is becoming more dependent on composer-operated tools to generate the art. This course will give students an understanding of the terms and basic skills needed to make quality recordings of their art on the "Pro Tools" non-linear-based system. Microphone, Monitor, Mixer, Digital Signal Processing "Plug-Ins," Dynamics, and basic studio acoustics will be explored. Students will meet in small groups for at least four hours a week to execute organized studio "hands-on" lab exercises. Students will experience the producing and recording of a basic multi-track song project at the completion of the course. Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
Mixing consoles in project studios will be explored and more advanced techniques in dynamics, equalization, reverberation, and signal processing. Students will meet in small groups for at least four hours a week to execute organized studio "hands on" lab exercises. Students will experience the producing and recording of a more advanced multi-track song project at the completion of the course. Does not fulfill general humanities requirements; may be taken as a free elective.
Prerequisites:
HMU 231 Sound Recording I (Formerly HMU 410)
(2-2-3)(Lec-Lab-Credit Hours)
In today's music composition world, artists may accelerate their potential by having a basic understanding of sound recording technology, since this competitive field is becoming more dependent on composer-operated tools to generate the art. This course will give students an understanding of the terms and basic skills needed to make quality recordings of their art on the "Pro Tools" non-linear-based system. Microphone, Monitor, Mixer, Digital Signal Proc
essing "Plug-Ins," Dynamics, and basic studio acoustics will be explored. Students will meet in small groups for at least four hours a week to execute organized studio "hands-on" lab exercises. Students will experience the producing and recording of a basic multi-track song project at the completion of the course. Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Music Theory III continues the presentation of the material and procedures of tonal music with the study of elements of melodic and rhythmic figuration, dissonance and chromaticism, modal mixture, and an advanced examination of applied chords and diatonic modulation. Students undertake writing assignments in 4th and 5th species counterpoint in two voices. Species counterpoint is incorporated into 4 part-writing exercises. Aural skills are developed with and chromatic alterations. Does not fulfill general humanities requirements; may be taken as a free elective.
Prerequisites:
HMU 202 Music Theory II (formerly HMU 302)
(3-0-3)(Lec-Lab-Credit Hours)
Music Theory II continues the presentation of the material and procedures of tonal music with the study of harmonic syntax as it pertains to tonal cadences, intermediary harmonies modulation and tonicization in major and minor, and fundamental concepts of diatonic sequences. Students continue their mastery of 4-part writing with Roman numeral and figured bass analysis and undertake writing assignments in second and third species counterpoint in two voices. Aural skills are developed with alto clef "fixed-do" solfege primarily in minor. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Music Theory IV continues the presentation of the material and procedures of tonal music with a continued study of dissonance and chromaticism including 7th, 9th, 11th and 13th chords, Neapolitan II, Augmented Sixth chords, and chromatic voice leading techniques. Students undertake writing assignments in species counterpoint in three voices. Aural skills are developed with more complex "fixed-do" solfege primarily in mixed modes with chromatic alterations. Does not fulfill general humanities requirements; may be taken as
a free elective.
Prerequisites:
HMU 303 Music Theory III
(3-0-3)(Lec-Lab-Credit Hours)
Music Theory III continues the presentation of the material and procedures of tonal music with the study of elements of melodic and rhythmic figuration, dissonance and chromaticism, modal mixture, and an advanced examination of applied chords and diatonic modulation. Students undertake writing assignments in 4th and 5th species counterpoint in two voices. Species counterpoint is incorporated into 4 part-writing exercises. Aural skills are developed with and chromatic alterations. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Music Composition is a one semester course that presents a detailed analysis of the techniques of music composition. The course will focus on Form and Structure, Stylistic Movements, and Compositional Techniques. Students will be expected to demonstrate their understanding of all concepts presented in class via a series of quizzes and two significant works they will compose during the course of the semester. Music Composition will deepen the students understanding and implementation of the various techniques of musical composition. Since all students will have completed HMU202 (formerly 302), HMU420 will allow for a stronger and more coherent understanding of the implementation of those concepts and will greatly enhance the students understanding of the concepts presented in HMU 303 & 304 & 405. Does not fulfill general humanities requirements; may be taken as a free elective.
Prerequisites:
HMU 202 Music Theory II (formerly HMU 302)
(3-0-3)(Lec-Lab-Credit Hours)
Music Theory II continues the presentation of the material and procedures of tonal music with the study of harmonic syntax as it pertains to tonal cadences, intermediary harmonies modulation and tonicization in major and minor, and fundamental concepts of diatonic sequences. Students continue their mastery of 4-part writing with Roman numeral and figured bass analysis and undertake writing assignments in second and third species counterpoint in two voices. Aural skills are developed with alto clef "fixed-do" solfege primarily in minor. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Piano III is the third in a series of Piano Instruction for Beginner/Intermediate Music Technology Students and all students interested in learning how to play piano and/or keyboards. This class will focus on the Development of Functional Keyboard skills. Prerequisites: HMU 221 or permission of the instructor.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Piano IV is the fourth in a series of Piano Instruction for Beginner/Intermediate Music Technology Students and all students interested in learning how to play piano and/or keyboards. This class will focus on the Development of Functional Keyboard skills. Prerequisites: HMU 322 or permission of the instructor.
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| | (2-2-3) (Lec-Lab-Credit Hours)
Lecture will be based around advanced implementation of recording techniques and procedures in the professional studio environment. Students will end the semester with; a thorough understanding of large frame in-line audio mixing consoles, additional advanced microphone placement techniques, and understanding of transducer experimentation. Synchronization between analog machines and digital audio workstations and MIDI interfaces will be explored. The student will gain the ability to troubleshoot and avoid externally generated noise in an audio system. Students will experience the entire engineering process that goes into integrating tracks from a live recording session with songs, from running the original recording session to producing the final mix. Does not fulfill general humanities requirements; may be taken as a free elective.
Prerequisites:
HMU 232 Sound Recording II (formerly HMU 411)
(2-2-3)(Lec-Lab-Credit Hours)
Mixing consoles in project studios will be explored and more advanced techniques in dynamics, equalization, reverberation, and signal processing. Students will meet in small groups for at least four hours a week to execute organized studio "hands on" lab exercises. Students will experience the producing and recording of a more advanced multi-track song project at the completion of the course. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
As the final semester of Sound Recording Arts, students are expected to fully understand the basic principles of audio engineering and the studio environment as a workplace. This class is designed to specifically address digital audio production. Although many of the topics have been mentioned in previous classes, course work will require in depth analysis of the many elements of this production format. Additionally, we will be studying in depth, advanced audio techniques. Students will be required to bring an audio example every class to be evaluated and attempt to recreate using the studio as lab. By the end of the semester, students will understand advanced principals of digital recording and the practical application thereof. Additionally, students will have in depth experiential knowledge of recording practices and advanced production techniques. Does not fulfill general humanities requirements; may be taken as a free elective
Prerequisites:
HMU 333 Sound Recording III (formerly 412)
(2-2-3)(Lec-Lab-Credit Hours)
Lecture will be based around advanced implementation of recording techniques and procedures in the professional studio environment. Students will end the semester with; a thorough understanding of large frame in-line audio mixing consoles, additional advanced microphone placement techniques, and understanding of transducer experimentation. Synchronization between analog machines and digital audio workstations and MIDI interfaces will be explored. The student will gain the ability to troubleshoot and avoid externally generated noise in an audio system. Students will experience the entire engineering process that goes into integrating tracks from a live recording session with songs, from running the original recording session to producing the final mix. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | | (3-0-3) (Lec-Lab-Credit Hours)
This course is an introductory survey of the music of the Eastern Mediterranean as explored by Traditional and Modern Turkish music. It explores the Balkan, Greek, and Persian influences from earliest times as well as Western composition and idioms. Modern jazz, rock, dance, and video influences will be examined, as well.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course deals with the basic principals of physics as it relates to sound. Sound wave transmission, musical instrument sound vibration, transducer theory, room acoustic design and isolation design are discussed and explored. Recording Studio design will be explored and the mysteries of the room "appearance" will be explained. The more informed an individual is about the topic of acoustics; the art of music production becomes more efficiently achieved. The student will complete the course with a thorough understanding of acoustical design techniques. This knowledge will not only prepare the student for professional studio design and construction (music, audio/video for post production), it is also applicable in understanding the environments in which they might create productions. Does not fulfill general humanities requirements; may be taken as a free elective
Prerequisites:
MA 115
(3-0-3)(Lec-Lab-Credit Hours)
Functions of one variable, limits, continuity, derivatives, chain rule, maxima and minima, exponential functions and logarithms, inverse functions, antiderivatives, elementary differential equations, Riemann sums, the Fundamental Theorem of Calculus, vectors and determinants.
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(3-0-3)(Lec-Lab-Credit Hours)
This course is designed for undergraduate students in Business and Liberal Arts majors. It includes the following basic topics in calculus: the definition of functions, their graphs, limits and continuity; derivatives and differentiation of functions; applications of derivatives; and definite and indefinite integrals. Properties of some elementary functions, such as the power functions, exponential functions, and logarithmic functions, will be discussed as examples. The course also covers methods of solving the first-order linear differential equations and separable equations, and some basic concepts in multi-variable calculus, such as partial derivatives, double integrals, and optimization of functions.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course traces the development of black popular music from its earliest roots in northwest Africa to the urban centers of the
U.S. Prerequisites: none
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| | (3-0-3) (Lec-Lab-Credit Hours)
Techniques in how to listen and what to listen for. History of the idiom. Analysis of outstanding performances and styles. Prerequisites: none
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course is an exploration of traditional orchestral instruments. The student will learn fine details related to the characteristics of instruments in the orchestral family with classroom examples of masterpieces in the classical repertoire, as well as by experiencing either live demonstrations or sampled demonstrations by the instructor. The student will learn the basics of expanding a piano score to woodwind, brass, and string quartets. Prerequisite:. Basic ability to read treble or bass clef. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This is part two of a two-semester sequence. Whereas Orchestration I explored the mechanical aspects of the orchestra and presented the physical and technical boundaries of each instrument contained therein, Orchestration II explores the aesthetic principals engaged when writing for this most unique subject, and the student will be introduced to the art of conducting. In addition to completing the Adler text, students will spend significant time in the MAC Lab realizing their orchestrations of the standard literature from Mozart to Penderecki. To this extent, we will use the new interactive edition of the classic Principles of Orchestration by one of history's greatest orchestrators, Rimsky Korsakov. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (2-2-3) (Lec-Lab-Credit Hours)
The exciting art of techno music has dynamically transformed over the years, incorporating elements of classical electronic music and cutting-edge high-tech innovations. This course will explore the techniques and enable the student to have a greater understanding of the tools of the trade. Each class will preview examples of the most well known works over the years, and demonstrate the technique, since sounds often recycle years later, i.e., sample loops in current compositions, for example. The students will participate in weekly lab exercises by creating music in the Media Arts Center with state-of-the-art software and will apply advanced music theory skills. The final project shall be a three-song student composition professional "demo." Guest producers will be invited to join us in class. Basic keyboard or iGuitar skills are required. Prerequisite. Does not fulfill general humanities requirements; may be taken as a free elective.
Prerequisites:
HMU 210
(2-2-3)(Lec-Lab-Credit Hours)
This course is the first of a two part survey of the software and hardware production tools most commonly used in the production of music for media, sound recording and live performance. As a part of the core music curriculum this course also explores the software and hardware tools required thoughout the students tenure in the Music program. Topics include; general recording studio protocol; MIDI (Musical Instrument Digital Interface); basic recording techniques with Digital Audio Workstations, software based Midi sequencers, Notation and Sample playback/recording programs. Students will demonstrate their expertise in the discipline through a series of practical projects and written exams. Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a free elective.
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(2-2-3)(Lec-Lab-Credit Hours)
This course is the second of a two part survey of the software and hardware production tools most commonly used in the production of music for media, sound recording and live performance. As a part of the core music curriculum this course also explores the software and hardware tools required thoughout the students tenure in the Music program. Topics include; advanced studio recording protocol and systems integration; advanced recording techniques with Digital Audio Workstations, software based Midi sequencers, Notation and Sample playback/recording programs. As well, the course will explore cross implementation techniques between the aforementioned software tools. Students will demonstrate their expertise in the discipline through a series of practical projects. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An introduction and survey of the art of sound synthesis, Electronic Music will focus on synthesizer programming utilizing subtractive synthesis, filter manipulation, voltage control amplifiers and ADSR generators. As well, a historical presentation will expose the student to the evolution of non-acoustic sounds. Weekly labs and assignments will allow the student to implement those synthesis techniques presented in class. Does not fulfill general humanities requirements; may be taken as a free elective.
Prerequisites:
HMU 211
(2-2-3)(Lec-Lab-Credit Hours)
This course is the second of a two part survey of the software and hardware production tools most commonly used in the production of music for media, sound recording and live performance. As a part of the core music curriculum this course also explores the software and hardware tools required thoughout the students tenure in the Music program. Topics include; advanced studio recording protocol and systems integration; advanced recording techniques with Digital Audio Workstations, software based Midi sequencers, Notation and Sample playback/recording programs. As well, the course will explore cross implementation techniques between the aforementioned software tools. Students will demonstrate their expertise in the discipline through a series of practical projects. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (3-0-3) (Lec-Lab-Credit Hours)
HMU 406 explores the integration of audio production for such visual mediums as television, film and interactive games. Through an analysis of various commercial visual media The course introduces 1) the techniques and terminology representing the technical parameters common to both audio and visual producers 2) the psychological impact of sound association 3) the implementation of audio tools in the creation of . ADR (automatic dialog replacement), Music Editing, Sound effects and/or Foley.. 4) An understanding of the commercial marketing impact of sound. Does not fulfill general humanities requirements; may be taken as a free elective.
Prerequisites:
HMU 210
(2-2-3)(Lec-Lab-Credit Hours)
This course is the first of a two part survey of the software and hardware production tools most commonly used in the production of music for media, sound recording and live performance. As a part of the core music curriculum this course also explores the software and hardware tools required though
out the students tenure in the Music program. Topics include; general recording studio protocol; MIDI (Musical Instrument Digital Interface); basic recording techniques with Digital Audio Workstations, software based Midi sequencers, Notation and Sample playback/recording programs. Students will demonstrate their expertise in the discipline through a series of practical projects and written exams. Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a free elective.
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(2-2-3)(Lec-Lab-Credit Hours)
This course is the second of a two part survey of the software and hardware production tools most commonly used in the production of music for media, sound recording and live performance. As a part of the core music curriculum this course also explores the software and hardware tools required thoughout the students tenure in the Music program. Topics include; advanced studio recording protocol and systems integration; advanced recording techniques with Digital Audio Workstations, software based Midi sequencers, Notation and Sample playback/recording programs. As well, the course will explore cross implementation techniques between the aforementioned software tools. Students will demonstrate their expertise in the discipline through a series of practical projects. Does not fulfill general humanities requirements; may be taken as a free elective.
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(2-2-3)(Lec-Lab-Credit Hours)
In today's music composition world, artists may accelerate their potential by having a basic understanding of sound recording technology, since this competitive field is becoming more dependent on composer-operated tools to generate the art. This course will give students an understanding of the terms and basic skills needed to make quality recordings of their art on the "Pro Tools" non-linear-based system. Microphone, Monitor, Mixer, Digital Signal Processing "Plug-Ins," Dynamics, and basic studio acoustics will be explored. Students will meet in small groups for at least four hours a week to execute organized studio "hands-on" lab exercises. Students will experience the producing and recording of a basic multi-track song project at the completion of the course. Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Sound Design calls upon major technical elements from HMU 410-413 from psychoacoustics to sound wave manipulation within the digital to create soundscapes that enhance the art of story telling. The student will learn to create original sound effects, use and manipulate existing sound effect l
ibraries, and identify the audio needs of a visual image. They will use the Digital Audio Workstation (DAW), as instructed in the Sound Recording course series, to integrate audio and visual elements. They will also be able to create a stand-alone soundscape for radio or audio only internet applications. Via lab assignments, students will complete the course with the foundation for an audio portfolio - demo CD. Does not fulfill general humanities requirements; may be taken as a free elective.
Prerequisites:
HMU 231
(2-2-3)(Lec-Lab-Credit Hours)
In today's music composition world, artists may accelerate their potential by having a basic understanding of sound recording technology, since this competitive field is becoming more dependent on composer-operated tools to generate the art. This course will give students an understanding of the terms and basic skills needed to make quality recordings of their art on the "Pro Tools" non-linear-based system. Microphone, Monitor, Mixer, Digital Signal Processing "Plug-Ins," Dynamics, and basic studio acoustics will be explored. Students will meet in small groups for at least four hours a week to execute organized studio "hands-on" lab exercises. Students will experience the producing and recording of a basic multi-track song project at the completion of the course. Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a free elective.
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(2-2-3)(Lec-Lab-Credit Hours)
Mixing consoles in project studios will be explored and more advanced techniques in dynamics, equalization, reverberation, and signal processing. Students will meet in small groups for at least four hours a week to execute organized studio "hands on" lab exercises. Students will experience the producing and recording of a more advanced multi-track song project at the completion of the course. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Contemporary Music Theory is a one semester presentation of the materials and procedures of music emanating from the evolution of Romanticism through Impressionism and arriving at the dismantling of tonality in the 20th century. In this class, melodic, rhythmic and harmonic analysis will transcend the triadic structures of the common period as presented in Music Theory I-IV. Students will be expected to demonstrate their understanding of all concepts presented in class via a series of quizzes and two significant works they will compose during the course of the semester. Does not fulfill general humanities requirements; may be taken as a free elective.
Prerequisites:
HMU 304
(3-0-3)(Lec-Lab-Credit Hours)
Music Theory IV continues the presentation of the material and procedures of tonal music with a continued study of dissonance and chromaticism including 7th, 9th, 11th and 13th chords, Neapolitan II, Augmented Sixth chords, and chromatic voice leading techniques. Students undertake writing assignments in species counterpoint in three voices. Aural skills are developed with more complex "fixed-do" solfege primarily in mixed modes with chromatic alterations. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course is an overview of the vast music business world and what a real and successful producer must know to compete in today's commercial music environment. Topics include: discovering an act, training, development, music union memberships, performance, music attorney expectations, management contracts, booking agents, promoters, publishing deals, performance rights organizations, production deals, recording studio management, record deals and labels, interactive media and Web promotion, and distribution. Guest speakers may be invited to class and students may visit "indie" and major label headquarters. All students will be encouraged to participate in the student organized Media Label Club. Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a free elective.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course will survey key benchmarks and documents in the history of media technologies while also introducing critical readings of 20th and 21st century media culture, both from the theoretical field of media studies and the creative works of artists, filmmakers, and writers. We will explore how media technologies from print and photography through film, radio, television, video, the Internet, games, and social software have been successively introduced, disseminated, and commodified, and how their mediations have profoundly affected the way we experience and interpret our contemporary society and culture. Students will be required to complete readings every week, to contribute to a class web project includi
ng blogs and wiki, and to produce short papers and presentations that respond to and analyze the readings, in-class screenings, and other material we discuss. Prerequisites: none.
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| | (0-0-0.5) (Lec-Lab-Credit Hours)
The study and performance of popular Concert Band repositories.
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| | (0-1-0.5) (Lec-Lab-Credit Hours)
The study and performance of modern music.
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| | (0.5-1-3) (Lec-Lab-Credit Hours)
The study and performance of choral masterworks.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This lecture course, with interactive studio demonstrations, is an introduction and overview of the world of multimedia. The student explores the basics of audio, graphics, photography, and video production through the use of digital audio, medi and music production, digital graphics, and photography and video software. Prerequisites: none. Does not fulfill general humanities requirements; may be taken as a
free elective.
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| | (3-0-0.5) (Lec-Lab-Credit Hours)
The student is required to play a musical instrument and is expected, according to the audition process, to have moderate skills on his/her primary instrument. The student may continue with private lessons on his/her primary instrument or they may take lessons on their secondary instruments. A faculty member or a member of the tri-state area's community of professional musicians may conduct regular lessons as per the student's level and artistic desires. The lessons may be on campus, or the student may commute to the musician's training studio. There will be one hour of lessons weekly with the instructor and the student is expected to rehearse for at least four additional hours. The lessons shall lead to a performance on campus during the same semester. The performance may be solo or part of an ensemble.
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| | (0-1-0.5) (Lec-Lab-Credit Hours)
Each student is encouraged to either give solo performances or to join a student ensemble and take part in a series of performances on campus, as well as in other metropolitan New York City stages. Many of the performances will be recorded and marketed by the student-run media label. The student will need to attend weekly rehearsals and participate in at least one performance each semester.
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| | (0-0-3) (Lec-Lab-Credit Hours)
Thesis tutorial.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An examination of the origins, nature, and progress of urban society. Selected readings focus on recurrent and persistent urban problems: overcrowding, traffic congestion, political corruption, faulty sanitation systems, etc. A student may also engage in field analysis projects that relate either to hometown areas or to the North Jersey region. Group B, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A continuation of HSS 121. Major emphasis is on current economic, environmental, and social problems. Group B, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An introduction to the evolution and operation of the U.S. federal government. This course focuses on problems in energy policy, foreign policy, elections, and civil rights. Group B, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A survey of the evolution of juries and recent legal and social scientific analysis of jury rules. Case studies are used to explain the scope of issues decided by juries and conceptions of justice used to evaluate their performance. Group B, 100-level course.
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| (3-0-3) (Lec-Lab-Credit Hours)
This course emphasizes the biological underpinnings of behavior and of mental processes. What do we know? How do we come to know? What do we want? Why do we act the way we do? In this course these fundamental questions of psychology are mainly looked at from a biological perspective that emphasizes the study of the brain and nervous systems. Historical, philosophical, and evolutionary perspectives on mental processes are considered, as well. Group B, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An introduction to issues and theories in Life Span Development, Personality Theory, and psychological disorders. Topics include cognitive and social development, attachment, moral thinking, and psychoanalytical theory. Focus is placed on those seminal theories that have had lasting import for psychology as well as other disciplines. These theories include, but are not limited to, those of Piaget, Erikson, and Freud. Group B, 100-level course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course examines aspects of modern subcultural American life including deviancy and delinquency, crime, drug abuse, and ethnicity.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Drawing on theory and practice from such diverse disciplines as history, media studies, literary criticism, psychology, and sociology, Cultural Studies investigates the production, distribution, and consumption of cultural artifacts. Issues concerning race, class, gender, and sexual orientation are explored with attention to the analysis of social phenomenon.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course is a survey of various cultural traditions. Typical study units include Afro-American, Asian, Hispanic, and American ethnic cultures in historical perspective.
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| (3-0-3) (Lec-Lab-Credit Hours)
This course offers perspectives utilized in the analysis and evaluation of public policymaking and policy results. Policy approaches include cost-benefit allocations, budgetary procedures and feasibility impact studies. Normative constraints and political implications of systematic policy analysis are also examined, particularly in relation to public infrastructure projects.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An introduction to arguments about the relationship between computing and society, the impact of computing activities on social relationships, and the evolution of institutions to regulate computer-mediated activities.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An introduction to the history of and theoretical principles associated with using voting techniques to resolve conflicts. Emphasis is placed on the analysis of operational rules. Student projects constitute a major part of the course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An analysis of the historical development of psychology. Issues such as perception, learning, cognition, and memory are explored within the context of various schools of thought.
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| | (3-0-3) (Lec-Lab-Credit Hours)
What is theory? What is personality? A review of Freud, Adler, Sullivan, Jung, Rogers, etc., on the nature of personality.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An analysis of major socioeconomic trends impacting modern American cities. Topics covered include: the nature of globalism, major economic and social trends, U.S. competitiveness, urban economic restructuring, and the roles of government.
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| | | (3-0-3) (Lec-Lab-Credit Hours)
An analysis of the contemporary international political framework. The course explores the character of the state system, the nation-state, the role of leadership personality, transnational actors, the balance-of-power, security and economic issues, the nature and limitations of power, the uses of terrorism, and Third World issues.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course will study the human phenomenon of leadership, focusing on the two main (and oft-times competing) analyses of leadership: the Humanistic approach and the Behaviorist approach.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course will explore the birth, triumph, and fall of Arab nationalism, focusing not only on intellectual and political leaders of the movement, but also incidents in history which in one way or another shaped political and/or social traits of the movement. The factors that contributed to the development and/or decline of the movement that will be examined are: the rise of colonialism, the dissolution of the Ottoman Empire, World War I and World War II, the Cold War, emergence of the state of Israel, and the recent incidents in the region and the world. The ideological links between Arab nationalism and modern radical movements will also be examined.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course surveys the philosophical foundations and developmental stages of Islamic political thought from the Prophet to the modern ages. In the first part of this course, the theories of early ‘Muslim’ philosophers, i.e. Avicenna, Al-Farabi, Al-Ghazali, Averreos, and Ibn Khaldun, on the state, government, and politics will be examined. The second part will concentrate on pre-modern (Al-Mawardi) and modern Muslim intellectuals who contributed to the genre of Islamic political philosophy, including liberal and radical trends.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A survey of different approaches to the psychological interpretations of religious phenomena such as the image of God, rituals, myths, faith healing, meditation, mysticism, and conversion.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An analysis of gender differences and perceptions in contemporary society.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An examination of the varieties of organization of human societies in a comparative ethnographic context.
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| | (3-0-3) (Lec-Lab-Credit Hours)
An introduction to recent Darwinian and sociobiological theories of human nature.
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An in-depth and extensive study and discussion of the theories of Sigmund Freud and Carl Jung. Each theory is examined individually; the nature of the unconscious, dream interpretations, religious symbolism, and the aim of psychotherapy are critically examined. Students read from primary sources including Freud’s Interpretation of Dreams, Totem and Taboo, Jung’s Man and His Symbols and Modern Man in Search of a Soul, as well as from biographical material, and other secondary sources. Emphasis on points of confluence and of departure between the two. The course is limited to 15 students.
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This course will provide more advanced students with an opportunity to pursue in-depth study of a particular problem and/or topic within the field of Social Science (Political Science, Psychology, Sociology) that has either not been covered in other courses or has only been superficially "touched upon." Entry to the class is provided only by instructor's permission.
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This course is intended as a general introduction to the discipline of philosophy through an examination of various attempts throughout history to answer the very fundamental question, “What does it mean to be human?” Topics discussed include happiness, the soul, virtue, good and evil, and the like. Readings from classical sources include Plato, Aristotle, Augustine, Hume, Mill, Nietzsche, Sartre and others. Group A, 100-level course.
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This course provides an examination of philosophical concepts and ideas that address questions regarding the problem of knowledge (epistemology), methods of reasoning and the nature of reality (metaphysics). Special attention will be given to applying these topics to an introduction to the philosophy of natural science. Readings include classical sources such as Plato, Aristotle, Descartes, Hume, Kant, and Hegel, as well as contemporary works. Group A, 100-level course.
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Discussion and critical analysis of leading moral theories, including utilitarianism, intuitionism, emotivism, and virtue theory. A comparison of virtue ethics versus an ethics of care is also discussed.
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A study of the relation of the individual to society and the state. Major issues to be examined include the nature of freedom, justice and equality, alienation, and political authority. Also includes an analysis of political models such as liberalism, socialism, conservatism, and anarchism, as well as alternative conceptions of democracy.
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Theories, tactics, goals, and impact or organized minorities and how they relate and transform the American political sphere; groups studied include African-Americans, Latinos, Asians, Indians, and other politically marginalized minorities. Court decisions and legal precedents of mentioned groups in case law are closely examined in this
course.
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Theories, tactics, goals, and impact or organized minorities and how they relate and transform the American political sphere; groups studied include African-Americans, Latinos, Asians, Indians, and other politically marginalized minorities. Court decisions and legal precedents of mentioned groups in case law are closely examined in this
course.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Beginning with René Descartes—considered the “father of modern philosophy”—this course will examine the debates between Rationalism and Empiricism throughout the 17-18th centuries. Philosophers studied include Descartes, Leibniz, Spinoza, Locke, Berkeley, Hume, and Kant.
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A comprehensive examination of the disciplines of Epistemology and Metaphysic; topics addressed include being and reality, logic and language, the concept of truth, skepticism, causality, and knowledge. Readings are both historical and contemporary in nature.
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An exploration of theories of art and of aesthetic experience. Questions addressed include the following: Are judgments of taste objective? What are the roles of form, expression, and representation in the arts? How is art related to society? What is the nature of creativity in art and science? What is the relationship between creativity and madness? Examples are drawn from the various art forms, including painting, literature, music, dance, and film.
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A comprehensive study of Ancient and Medieval philosophers beginning with the Greek Pre-Socratics, through Plato and Aristotle, the post-Aristotelian schools of Epicureanism, Stoicism and Skepticism, through Plotinus, Augustine, and major Medieval thinkers such as Anselm, Avicenna, Averroes, and Thomas Aquinas.
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An examination of the aims, methods, goals, and practices of science. Questions addressed include the following: What defines a science? What distinguishes science from pseudo-science? Is there such a thing as scientific method? Is there progress in science? What is the relationship between science and “truth?” What role do cultural, sociological, and/or psychological factors play in the practices of science and the scientist? Seminal works by the following philosophers of science are studied: Hempel, Carnap, Duhem, Goodman, Popper, Kuhn, Lakatos, and Feyerabend, as well as contemporary thinkers like Putnam, McMullin, van Fraassen, and Kitcher.
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This course investigates the history of the opposition of science and religion, beginning with the emergence of philosophy as an alternative to mythology, through the scholastic dominance of the Aristotelian world-view, to the Scientific Revolution, the emergence and acceptance of evolution, and beyond. Special attention will be given to current attempts at reconciling and/or harmonizing these traditionally antithetical disciplines.
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This course assesses a variety of different conceptions of social, political, and cultural identity in light of the resurgence of nationalism, ethnicity, and the affirmation of cultural difference. Special attention is given to problems regarding citizenship and universal rights, as well as the tension betwee
n cultural diversity and global interconnectedness. Readings include classical texts, as well as current writings relevant to the topics at hand.
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An examination of the methods and techniques of formal logic, including the history of the discipline from Aristotle through Leibniz, Frege, Russell, Quine, and others.
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A close study of problems having to do with meaning and reference, truth, sense, and intention, as well as communicability. Special attention is given to both the power, as well as limits of language. Readings taken from the works of Frege, Russell, Wittgenstein, Dummett, Quine, Haack, and others.
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A philosophical examination of the mind and mental functioning. Some questions addressed include the following: Can we know what it is like to be a bat? Could it be that everyone (other than oneself) is a robot? What is the relationship between mind and brain? Can computers think? Readings include the work of Nagel, Wittgenstein, and Freud, among others.
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| | | (3-0-3) (Lec-Lab-Credit Hours)
A consideration of the historical development of the western philosophical tradition, beginning with the pre-Socratics, up and through contemporary thinkers. The course will examine the recurrence of perennial problems in the history of intellectual thought.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A study of major thinkers and movements in the nineteenth century including Kant, Hegel, Marx, Kierkegaard, Nietzsche, Mill, James, and Freud. Issues discussed will include the nature of scientific knowledge, political and moral right, and the emergence of psychological theory.
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| | (3-0-3) (Lec-Lab-Credit Hours)
A comprehensive examination of 20th and 21st century thinkers including Husserl, Heidegger, Merleau-Ponty, Sartre, Dewey, Wittgenstein, Gadamer, Habermas, Ayer, and Quine, as well as more current thinkers in both the Analytic and Continental traditions.
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| | (3-0-3) (Lec-Lab-Credit Hours)
Questions discussed include: What is the basis for the authority of the law? What are the competing theories of crime and punishment? What are the grounds of legal rights and duties? What are the relations among justice, liberty, and equality in the law? This course will also consider such current legal issues as the insanity defense, the death penalty, the rights of unborn children, regulation of the Internet, and affirmative action.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course will focus on some of the new ethical issues that face social and political actors in the current period of globalization. This will include an examination of the various arguments that seek to establish and broaden international legal and constitutional frameworks. Special attention is given to the following themes: the nature and extent of human rights,; distributive justice,; economic devel
opment, and preservation of the environment.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course provides a critical examination of the problems that arise from the increasing advance of science and technology and their impact on our life and culture. Some of the topics addressed include the responsibility of scientists and technologists, scientific fraud, the uses and abuses of nuclear energy, environmental pollution, and the preservation of natural resources—just to name a few. Special attention is given to the increasing popular method of “green construction” and sustainability.
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| | (0-0-3) (Lec-Lab-Credit Hours)
The course is intended as an introduction to the key issues and methodologies of bioethics. It refers to the central problems in bioethics (autonomy of the patient, organ transplantation, stem cell debate, cloning, etc.), as much as to newer developments, such as genetic enhancement and the commercialization of the body. A main focus is to explore the field of bioethics in an interdisciplinary way and to bring not only ethical, legal, or scientific criteria into play, but also those from an existential, social, or cultural background. A short introduction to the moral theories used in applied ethics is given. The course helps to develop a responsible and sensitive conduct in future studies or occupations.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course will examine the theory, history, and philosophical significance of the algorithm, as well as some of the conceptual and practical issues that arise from the translation of natural language to computer language.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course examines the conceptual foundations of such disciplines as economics, sociology, anthropology, and political science. Readings include excerpts from Smith, Marx, Weber, Durkheim, and Winch, among others.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course is a general introduction to both the history and present concerns of feminist philosophy. Readings include classic essays of feminist thought by Wollstonecraft, Mill, Engels, and others as well as contemporary writings in philosophy and feminism. This course serves as a foundation for a minor in Gender Studies. No prior courses in philosophy are required.
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An examination of the work of the American Pragmatists. Readings from the works of James, Pierce, Dewey, Rorty, Putnam, and West, among others.
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This course examines the popular philosophical movement known as “Existentialism.” In addition to reading such seminar thinkers as Kierkegaard, Nietzsche, Heidegger, Sartre, and Camus, attention will be given to works outside the rubric of philosophy proper, including literature and cinema.
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| | (3-0-3) (Lec-Lab-Credit Hours)
This course follows the work of the following Edith Stein, Simone Weil, Iris Murdoch, Simone de Beauvoir, Hannah Ardent, and Ayn Rand. These are all seminal thinkers who began their philosophical work in the first half of the twentieth century and went on to influence the course of intellectual thought for a generation to come. And yet, more often than not, these women tend to be omitted from the traditional canon of twentieth-century philosophy. One goal of this course is to consider why that is the case. If time permits, works by more contemporary thinkers like Nussbaum and Haack will be examined.
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| | (0-0-3) (Lec-Lab-Credit Hours)
This course introduces students to environmental policy and ethics, with special attention to the importance of economic considerations. Specific issues to be covered may include: the equity-efficiency contrast, different decision-making structures, the role of narratives in policy-making, externalities, public goods, property rights, market-failure, benefit-cost analysis, justice, the choice of categories in quantifying policy problems, the relationship of formal and informal rules, propaganda versus information, and the normative idea of rights. This course is an introduction to the interplay of politics, economics, and ethics as they enter into policy-making in the environmental arena.
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| | (3-0-3) (Lec-Lab-Credit Hours)
The Seminar in Philosophy is intended to provide students with an in-depth examination of the work of either one specific philosopher (or pair of philosophers), or a particular work in the history of philosophy that has had a profound impact on the development of intellectual thought. Special attention will be given to how the philosopher or work in question influenced work outside philosophy.
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College of Arts & Letters
James E. McClellan III, Dean
Edward H. Foster, Associate Dean
Lisa M. Dolling, Associate Dean |
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