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Term
Time & Day Offered
Level
Credits
Course Duration

Studio Practice: Contemporary Modern Dance Forms — DAN4809B.01, section 1

Fall 2024
Instructor: Carly Rudzinski
Credits: 2
The class integrates a technical movement base with short phrases of full, supple, expansive movements that prepare students to tackle complex phrases at the end of each class. The work in class is designed to enable the student to manipulate his or her energy and strength in ways that are sharp, clear, specific, and contained in one instance and wild, abandoned, expansive and
Dance (BFA)

Studio Practice: Contemporary Modern Dance Forms — DAN4809B.02, section 2

Fall 2024
Instructor: Carly Rudzinski
Credits: 2
The class integrates a technical movement base with short phrases of full, supple, expansive movements that prepare students to tackle complex phrases at the end of each class. The work in class is designed to enable the student to manipulate his or her energy and strength in ways that are sharp, clear, specific, and contained in one instance and wild, abandoned, expansive and
Dance (BFA)

Studio Practice: Contemporary Modern Dance Forms — DAN4812B.01

Fall 2024
Instructor: Carly Rudzinski
Credits: 1
An investigation of off-balanced yet precise multi-focused movement and partnering. Classes begin with mindful walking, rolling, and flow pattern practices followed by “yes dance” improvisations to gather our attention and set a tone of tender touch. From there, we progress through a series of spiraling sequences that establish a buoyant relationship with the floor, harness
Dance (BFA)

Studio Practice: Hip Hop Under the Scope Intensive - The Clark Method, Street Dance Training Module — DAN2504B.01, section 1

Spring 2025
Instructor:
Credits: 1
We will delve into the art of storytelling, a staple in Hip Hop culture and of African diasporic traditions, using dance forms under the Hip Hop umbrella. Together we will explore our range of artistry using codified techniques and freedom of self-expression. Together we will trail blaze what it means to make street dance work on many frontiers and bring light to the Hip Hop

Studio Practice: Hip Hop Under the Scope Intensive – The Clark Method, Street Dance Training Module — DAN2504B.02, section 2

Spring 2025
Instructor:
Credits: 1
We will delve into the art of storytelling, a staple in Hip Hop culture and of African diasporic traditions, using dance forms under the Hip Hop umbrella. Together we will explore our range of artistry using codified techniques and freedom of self-expression. Together we will trail blaze what it means to make street dance work on many frontiers and bring light to the Hip Hop

Studio Practice: Hip Hop Under the Scope Intensive – The Clark Method, Street Dance Training Module — DAN2504B.03, section 3

Spring 2025
Instructor:
Credits: 1
We will delve into the art of storytelling, a staple in Hip Hop culture and of African diasporic traditions, using dance forms under the Hip Hop umbrella. Together we will explore our range of artistry using codified techniques and freedom of self-expression. Together we will trail blaze what it means to make street dance work on many frontiers and bring light to the Hip Hop

Studio Practices: Mixing Decades — MSR4053.01

Fall 2018
Instructor: Senem Pirler
Credits: 4
This course will offer an overview of studio recording through critical listening sessions, recording sessions, and hands-on exercises. We will reverse-engineer recordings - such as Pet Sounds, Betty Davis, Purple Rain, Mezzanine, Lemonade and others - and reproduce “sound-alikes” using various techniques such as minimalist drum miking, echo chambers, using spill and isolation
Music

Studio Projects and Practices in Ceramics — CER4375.01

Fall 2015
Instructor: Barry Bartlett
Days & Time: TBA
Credits: 4
The process of making art work will be the major focus of the class. This studio class is designed to support the development of the creative process in ceramics with an understanding lending itself to all forms of art making. Projects will be conceptually based, requiring investigation on an individual level. Issues to be raised in this class will include functional and
Visual Arts

Study Cycle: Symposium — DAN5431B.01, section 1

Summer 2025
Instructor: Faculty TBA
Days & Time: TBA
Credits: 2

The goal of the course is to introduce students to material in the form of a symposium.  Students will engage deeply and intimately with ideas and texts presented by visiting artists/scholars and peers.  The symposium is also an opportunity for students to think  through and discuss their own ideas, projects, concerns,

Dance (MFA Low-Residency)

Study Cycle: Symposium — DAN5431B.02, section 2

Summer 2025
Instructor: Faculty TBA
Days & Time: TBA
Credits: 2

The goal of the course is to introduce students to material in the form of a symposium.  Students will engage deeply and intimately with ideas and texts presented by visiting artists/scholars and peers.  The symposium is also an opportunity for students to think  through and discuss their own ideas, projects, concerns,

Dance (MFA Low-Residency)

Study Group 1 — DAN5405B.01

Fall 2025
Instructor: Donna Faye Burchfield
Days & Time: TBA
Credits: 2

What does studying together offer us critically that studying alone might not? Ariella Azoulay refers to studying with companions as a method of unlearning. What are the shifts experienced when you are studying with and alongside others? What conditions might group study provide that allow different questions and understandings to emerge? If, as Irit Rogoff states, “All

Dance (MFA Low-Residency)

Study Group 1 — DAN5405B.01

Fall 2024
Instructor: Carly Rudzinski
Credits: 2
What does studying together offer us critically that studying alone might not? Ariella Azoulay refers to studying with companions as a method of unlearning. What are the shifts experienced when you are studying with and alongside others? What conditions might group study provide that allow different questions and understandings to emerge? If, as Irit Rogoff states, “All
Dance (MFA)

Study Group 2 — DAN5421B.01

Spring 2026
Instructor: Donna Faye Burchfield
Days & Time: TBA
Credits: 2

What does studying together offer us critically that studying alone might not? Ariella Azoulay refers to studying with companions as a method of unlearning. What are the shifts experienced when you are studying with and alongside others? What conditions might group study provide that allow different questions and understandings to emerge? If, as Irit Rogoff states, “All

Dance (MFA Low-Residency)

Study Group 2 — DAN5421B.01

Spring 2025
Instructor: Donna Faye Burchfield
Credits: 2
What does studying together offer us critically that studying alone might not? Ariella Azoulay refers to studying with companions as a method of unlearning. What are the shifts experienced when you are studying with and alongside others? What conditions might group study provide that allow different questions and understandings to emerge? If, as Irit Rogoff states, “All

Studying Place by Metes and Bounds — ENV4232.01

Fall 2015
Instructor: Timothy Schroeder, Ronald Cohen
Days & Time: TBA
Credits: 4
In New England, parcels of land were traditionally described in reference to specific existing landscape features—a system called “metes and bounds.” This course, grounded in the ecology, history and culture of the Ź region over its 250-plus year history, explores human interactions with the biophysical environment to produce livelihoods as well as economic commodities
Environment

Studying Place by Metes and Bounds — ENV4232.01

Spring 2015
Instructor: Valerie Imbruce; Miroslava Prazak
Credits: 4
***New Course Description*** In New England, parcels of land were traditionally described in reference to specific existing landscape features—a system called “metes and bounds.” This course, grounded in the ecology, history and culture of the Ź region over its 250-plus year history, explores human interactions with the biophysical environment to produce livelihoods
Social Science Environment

Studying Place by Metes and Bounds — ENV4232.01

Fall 2024
Instructor: Miroslava Prazak
Credits: 4
In New England, parcels of land were traditionally described in reference to specific existing landscape features—a system called “metes and bounds.” This course, grounded in the ecology, history and culture of the Ź region over its 250-plus year history, explores human interactions with the biophysical environment to produce livelihoods as well as economic commodities
Society Culture and Thought Environment

Studying Place by Metes and Bounds — ENV4232.01

Fall 2018
Instructor: Miroslava Prazak
Credits: 4
In New England, parcels of land were traditionally described in reference to specific existing landscape features—a system called “metes and bounds.” This course, grounded in the ecology, history and culture of the Ź region over its 250-plus year history, explores human interactions with the biophysical environment to produce livelihoods as well as economic commodities
Society Culture and Thought Environment

Studying Place: Projects — ENV4216.01

Spring 2016
Instructor: Kerry Woods, Donald Sherefkin
Credits: 4
***New description*** How have interactions between culture and biological/physical environment shaped the history and current nature of the Ź community and its surroundings? How does their interplay constrain and enable its future? How might planning for Ź’s future best recognize this history and build on the landscape presented by it? Students will
Visual Arts Science Mathematics and Computing Environment

Style and Tone in Essay Writing — LIT2397.01

Fall 2016
Instructor: Wayne Hoffmann-Ogier
Credits: 4
This introductory course focuses on the weekly writing of extended essays, including nonfiction narrative, personal essay, literary criticism, research writing, and the analytical essay. It gives particular attention to developing individual voice and command of the elements of style. The class incorporates group editing in a workshop setting with an emphasis on re-writing. It
Literature

Style and Tone in Essay Writing — LIT2397.01

Fall 2015
Instructor: Wayne Hoffmann-Ogier
Days & Time: TBA
Credits: 4
This introductory course focuses on the weekly writing of extended essays, including nonfiction narrative, personal essay, literary criticism, research writing, and the analytical essay. It gives particular attention to developing individual voice and command of the elements of style. The class incorporates group editing in a workshop setting with an emphasis on re-writing. It
Literature

Style and Tone in Essay Writing — LIT2397.01

Spring 2016
Instructor: Wayne Hoffmann-Ogier
Credits: 4
This introductory course focuses on the weekly writing of extended essays, including nonfiction narrative, personal essay, literary criticism, research writing, and the analytical essay. It gives particular attention to developing individual voice and command of the elements of style. The class incorporates group editing in a workshop setting with an emphasis on re-writing. It
Literature

Style and Tone in Essay Writing — LIT2397.01

Spring 2017
Instructor: Wayne Hoffmann-Ogier
Credits: 4
This introductory course focuses on the weekly writing of extended essays, including nonfiction narrative, personal essay, literary criticism, research writing, and the analytical essay. It gives particular attention to developing individual voice and command of the elements of style. The class incorporates group editing in a workshop setting with an emphasis on re-writing. It
Literature

Style and Tone in Nonfiction Writing — LIT2104.01

Spring 2014
Instructor: Wayne Hoffmann-Ogier
Credits: 4
This introductory course focuses on the weekly writing of extended essays, including nonfiction narrative, personal essay, literary criticism, research writing, and the analytical essay. It gives particular attention to developing individual voice and command of the elements of style. The class incorporates group editing in a workshop setting with an emphasis on re-writing. It
Literature

Style and Tone in Nonfiction Writing — LIT2104.01

Fall 2014
Instructor: wayne hoffmann-ogier
Days & Time: TBA
Credits: 4
This introductory course focuses on the weekly writing of extended essays, including nonfiction narrative, personal essay, literary criticism, research writing, and the analytical essay. It gives particular attention to developing individual voice and command of the elements of style. The class incorporates group editing in a workshop setting with an emphasis on re-writing. It
Literature