Global Arc

A practical class. This is a workshop based class for those interested in multi-skilled performance and in how performance skills can illuminate new forms of theatre making. Ideally participants should have musical skills and be able to bring an instrument to work with. A lack of instrument would not preclude somebody from participating. It is helpful, but not necessary if students can read music. The course is also open to those interested in directing or other aspects of storytelling. It is also available to music students who are interested in all aspects of performance.

A practical, hands-on introduction to acting and directing in musical theater. The course will require students to prepare songs and scenes from selected musicals with an eye to how best to approach the particular challenges the scene presents.

This course will explore the history and practice of musical theatre. Starting with the American musical's roots in minstrelsy and burlesque, the class will continue with Show Boat, the musicals of Rodgers & Hammerstein, Stephen Sondheim, and contemporary shows. Alongside the history of the musical, students will learn about the musical and theatrical tools of the genre, with an emphasis on directing and acting.

In this course, students will develop and implement a personal philosophy of music ensemble direction. Students will connect practice-based learning with broader theories of art-making, exploring questions about why, how, and with whom people make music. For those who dream of directing a vocal group, conducting an orchestra, music directing a musical, or even inventing a new ensemble, this process-driven course will create an environment for experimentation, risk-taking, and musical and personal growth. A background playing an instrument, singing, conducting, or composing music is required.

This upper level musical theater writing course will delve into the creation of new musical works for the stage, with an emphasis on music as an essential dramatic language. In the first half of the course, students will explore the fundamentals of music composition, including song structure, melody, harmony, and vocal writing. In the second, students will create and workshop 15-minute musicals, harnessing music as a tool to tell stories, illuminate character, and express ideas with impact and resonance. The workshop will culminate in a presentation of these short musicals-in-progress.

An introduction to Kiswahili language and culture. Focuses on the development of the communication skills students need to interact with Swahili speakers. Instruction emphasizes cultural themes and experiential activities that enhance the four components of speaking, writing, listening, and reading. Students will also gain some insight into the cultures of East Africa. Four classes. No credit is given for SWA 101 unless followed by SWA 102.

An intensive four-week course offered at the University of Dar es Salaam that covers similar content to SWA 101 offered on campus in the fall term. Content focuses on introduction to Kiswahili language and culture for beginning level learners. Taught in Kiswahili the course aims at acquiring novice-level skills and basic communication functions in the culture of Swahili speakers. Classroom instruction on language grammar is combined with out-of-class small group conversation sessions. Emphasizes cultural content on Tanzania and east Africa and involves day-to-day interactions with locals.

Senior Thesis Course. The student has the opportunity to do a self driven project by proposing a topic and finding a faculty member willing to supervise the work, or, the student may do a project in conjunction with a faculty member's research. A second reader will be required for both the midterm report and final thesis report. Students will be required to enroll in ELE 498 in the spring.

No description available

Provides an opportunity for a student to concentrate on a "state-of-the-art" project in electrical and computer engineering. A student may propose a topic and find a faculty member willing to supervise the work. Or the student may select a topic from lists of projects obtained from faculty and off-campus industrial researchers, subject to the consent of the faculty advisor.