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Term
Time & Day Offered
Level
Credits
Course Duration

Solo Performance: Telling My Story — DRA4322.01

Spring 2017
Instructor: Kirk Jackson
Credits: 4
Students develop original and/or primary source material and explore its shape, arc, and thematic whole in a performance medium that can involve text, movement, characterization, and personal examination and observation. We will view solo performance artists. Students write, edit, rewrite multiple drafts and perform original memorized material. Class work will be tailored
Drama

Solo Performance: Telling My Story — DRA4322.01

Spring 2021
Instructor: Kirk Jackson
Credits: 4
Students develop original and/or primary source material and explore its shape, arc, and thematic whole in a performance medium that can involve text, movement, characterization, personal examination, and observation. Generating and receiving constructive feedback, with sensitivity to process, is an essential aspect of the work. Students write, edit, rewrite multiple drafts and
Drama

Solo Performance: Telling My Story — DRA4322.01

Spring 2023
Instructor: Kirk Jackson
Credits: 4
Students develop original and/or primary source material and explore its shape, arc and thematic whole in a performance medium that can involve text, movement, characterization and personal observation / examination. We may reference the work of solo performance artists. Students write, edit, rewrite multiple drafts and perform original memorized material. Class work will be
Drama

Solving The Impossible: Breaking Bread — MED2118.01

Fall 2017
Instructor: Susan Sgorbati
Credits: 2
Why are certain conflicts so difficult to resolve? This course will examine conflicts that are long-standing and elude resolution. We will explore the factors that contribute to complex disputes and the conditions that allow groups to begin to address them. Can individuals like Martin Luther King, Jr., Mahatma Gandhi and Nelson Mandela transform historical conflict? What role
CAPA

Solving the Impossible: Intractable Conflicts — MED2106.01

Fall 2013
Instructor: Susan Sgorbati
Days & Time: TBA
Credits: 4
This course is about the challenge of solving conflicts that are firmly entrenched with little hope for change. Often these conflicts repeat a pattern of violence between groups that hold fixed positions and beliefs. We will look in depth at this type of conflict, analyzing the factors that contribute to intractibility. We will then look at people like Gandhi, Martin Luther
Conflict Resolution and Systems Design

Solving the Impossible: Mediation, Negotiation and Complex Systems — APA2191.01

Fall 2025
Instructor: Susan Sgorbati
Days & Time: TU,FR 10:30am-12:20pm
Credits: 4

This class will examine contemporary challenges through the lens of complex systems. The class will include a training in Mediation and Negotiation skills. Through readings, discussion, exercises and role-plays, the class will examine and deconstruct the complexities of current democratic and environmental issues related to local, national and global governance, We will

CAPA

Somatic Movement Studies: The Family Tree — DAN4127.01

Spring 2018
Instructor: Rebecca Brooks, MFA Teaching Fellow
Credits: 2
There is a large and growing field of somatic studies that acknowledges and supports mind-body unity with an emphasis on internal physical perception and experience rather than on observation of external shape and form. We will explore a range of somatic practices, from more ancient or traditional forms such as Yoga and Chi Kung, to the work of pioneers Alexander, Feldenkrais,
Dance

Song for Ireland and Celtic Connections — MHI2251.01

Spring 2018
Instructor: John Kirk
Credits: 2
Celtic history and music from Ireland, Scotland, Bretagne, Galatia, and Cape Breton will be experienced, studied, and performed using instruments and voices. We’ll find and cross the musical bridges between regions–from the ballads of Ireland, Scotland and Wales to the Alalas of Spain and dance tunes of Brittany. An end-of-term presentation will be prepared drawing on
Music

Song for Ireland and Celtic Connections — MHI2251.01

Spring 2019
Instructor: John Kirk
Credits: 2
Celtic history and music from Ireland, Scotland, Bretagne, Galatia, and Cape Breton will be experienced, studied, and performed using instruments and voices. We’ll find and cross the musical bridges between regions–from the ballads of Ireland, Scotland and Wales to the Alalas of Spain and dance tunes of Brittany. An end-of-term presentation will be prepared drawing on
Music

Song for Ireland and Celtic Connections — MHI2251.01

Spring 2025
Instructor: John Kirk
Credits: 4
Celtic history and music from Ireland, Scotland, Bretagne, Galatia, and Cape Breton will be experienced, studied, and performed using instruments and voices. We’ll find and cross the musical bridges between regions–from the ballads of Ireland, Scotland and Wales to the Alalas of Spain and dance tunes of Brittany. An end-of-term presentation will be prepared drawing on
Music

Song for Ireland and Celtic Connections — MHI2251.01

Spring 2024
Instructor: John Kirk
Credits: 4
Celtic history and music from Ireland, Scotland, Bretagne, Galatia, and Cape Breton will be experienced, studied, and performed using instruments and voices. We’ll find and cross the musical bridges between regions–from the ballads of Ireland, Scotland and Wales to the Alalas of Spain and dance tunes of Brittany. An end-of-term presentation will be prepared drawing on
Music

Song for Ireland and Celtic Connections — MHI2251.01

Spring 2023
Instructor: John Kirk
Credits: 2
Celtic history and music from Ireland, Scotland, Bretagne, Galatia, and Cape Breton will be experienced, studied, and performed using instruments and voices. We’ll find and cross the musical bridges between regions–from the ballads of Ireland, Scotland and Wales to the Alalas of Spain and dance tunes of Brittany. An end-of-term presentation will be prepared drawing on
Music

Song for Ireland and Celtic Connections — MHI2251.01

Spring 2014
Instructor: John Kirk
Credits: 2
Celtic music from Ireland, Scotland, Bretagne, Galacia, and Cape Breton will be experienced, studied, and performed using instruments and voices. We'll find and cross the musical bridges between regions--from the ballads of Ireland, Scotland and Wales to the Alalas of Spain and dance tunes of Brittany. An end-of-term presentation will be prepared drawing on inspiration from
Music

Song for Ireland and Celtic Connections — MHI2251.01

Spring 2026
Instructor: John Kirk
Days & Time: TU,FR 10:30am-12:20pm
Credits: 4

Celtic history and music from Ireland, Scotland, Bretagne, Galatia, and Cape Breton will be experienced, studied, and performed using instruments and voices. We’ll find and cross the musical bridges between regions–from the ballads of Ireland, Scotland and Wales to the Alalas of Spain and dance tunes of Brittany. An end-of-term presentation will be prepared drawing on

Education Ethnomusicology Music History

Song for Ireland and Celtic Connections — MHI2251.01

Spring 2016
Instructor: John Kirk
Credits: 2
Celtic history and music from Ireland, Scotland, Bretagne, Galatia, and Cape Breton will be experienced, studied, and performed using instruments and voices. We’ll find and cross the musical bridges between regions–from the ballads of Ireland, Scotland and Wales to the Alalas of Spain and dance tunes of Brittany. An end-of-term presentation will be prepared drawing on
Music

Song for Ireland and Celtic Connections — MHI2251.01

Spring 2022
Instructor: John Kirk
Credits: 2
Celtic history and music from Ireland, Scotland, Bretagne, Galatia, and Cape Breton will be experienced, researched, studied, and performed using instruments and voices. We will find and cross the musical bridges between regions – from the ballads of Ireland, Scotland and Wales to the Alalas of Spain and dance tunes of Brittany. An end-of-term presentation will be prepared
Music

Song for Ireland and Celtic Connections — MHI2251.01

Spring 2017
Instructor: John Kirk
Credits: 2
Celtic history and music from Ireland, Scotland, Bretagne, Galatia, and Cape Breton will be experienced, studied, and performed using instruments and voices. We’ll find and cross the musical bridges between regions–from the ballads of Ireland, Scotland and Wales to the Alalas of Spain and dance tunes of Brittany. An end-of-term presentation will be prepared drawing on
Music

Song for Ireland and Celtic Connections — MHI2251.01

Spring 2021
Instructor: John Kirk
Credits: 2
Celtic history and music from Ireland, Scotland, Bretagne, Galatia, and Cape Breton will be experienced, studied, and performed using instruments and voices. We’ll find and cross the musical bridges between regions–from the ballads of Ireland, Scotland and Wales to the Alalas of Spain and dance tunes of Brittany. An end-of-term presentation will be prepared drawing on
Music

Song for Ireland and Celtic Connections — MHI2251.01

Spring 2020
Instructor: John Kirk
Credits: 2
Celtic history and music from Ireland, Scotland, Bretagne, Galatia, and Cape Breton will be experienced, studied, and performed using instruments and voices. We’ll find and cross the musical bridges between regions–from the ballads of Ireland, Scotland and Wales to the Alalas of Spain and dance tunes of Brittany. An end-of-term presentation will be prepared drawing on
Music

Song for Ireland and Celtic Connections — MHI2251.01

Spring 2015
Instructor: John Kirk
Credits: 2
Celtic music from Ireland, Scotland, Bretagne, Galacia, and Cape Breton will be experienced, studied, and performed using instruments and voices. We'll find and cross the musical bridges between regions--from the ballads of Ireland, Scotland and Wales to the Alalas of Spain and dance tunes of Brittany. An end-of-term presentation will be prepared drawing on inspiration from
Music

Song Production — MSR4362.01

Fall 2014
Instructor: tba
Days & Time: TBA
Credits: 2
How does a song idea make its way from a composer's imagination to a CD that plays on your home stereo or computer? How do choices regarding instrumentation, song structure, sonic identity, and musical performance bring a song to life? In what ways do those choices affect how a piece of music is experienced? Throughout this course we'll be thinking about those questions as we
Music

Song Production — MSR4362.01

Fall 2013
Instructor: Julie Last
Days & Time: TBA
Credits: 2
***Time Change*** How does a song idea make its way from a composer's imagination to a CD that plays on your home stereo or computer? How do choices regarding instrumentation, song structure, sonic identity, and musical performance bring a song to life? In what ways do those choices affect how a piece of music is experienced? Throughout this course we'll be thinking about
Music

Song Production Workshop — MSR4105.01

Fall 2014
Instructor: david baron
Days & Time: TBA
Credits: 2
Take a song from idea to production. We'll cover concepts of recording, arrangement, performance, and production. How do you communicate with an artist or ensemble to get the best results? How do you record an ensemble with the bigger picture in mind? What is reverb and why do Brooklyn bands use so much of it? This course is for students with previous work in recording.
Music

Songlines: One Thousand Years of Music and Poetry — MHI2229.01

Fall 2019
Instructor: Joseph Alpar
Credits: 4
Uniting text and music has been a continuous and vital expression of musical creativity for millennia. In this course we will investigate how composers and songwriters have set poetry to music for nearly one thousand years. What can we as contemporary songwriters, poets, and music listeners learn from these histories? How does a musical setting function as a composer’s reading
Music Literature

Songs in the Key of Wonder — MTH4148.01

Spring 2020
Instructor: Michael Wimberly
Credits: 2
Songs in the key of Wonder is a songwriting seminar based on the classic 1976 release “Songs in the Key of Life” by Stevie Wonder. Students will listen to select tracks while learning the melodies and chord progressions that Mr. Wonder used in composing this landmark album. Students will also listen to select tracks from Mr. Wonder’s multiple hit songs from his extended
Music