Liberal Arts/Online Course Catalog Information Sheet

Please use the online course catalog to view all offered courses, specifically Liberal Arts, for the upcoming
semester. Link below:
http://www.newschool.edu/ucc/courses.aspx
Make sure you are searching for Spring 2015 in the Term field.
For English classes, search for Subject Code NLIT, LLSL, LLST (Literature), or NWRW, LLSW (Writing).
For ULECs (University Lecture Courses), search for Subject Code "ULEC". Remember, ULECs meet twice a week,
a lecture and a discussion (choose one discussion section).
And most other eligible Liberal Arts Electives can be found at NSPE (New School for Public Engagement) or at
Lang, under any subject code beginning with the letter "N" or L. For example, NCAT is Creative Arts Therapy,
NHIS is History, LMTH is Math, etc. Make sure the course you find is for Undergraduate students.
Once you get a list of search results, click on a class title to see a description of the course. Also, click on the
term at the top of the screen under View Additional Course Information to see what day and time the course
meets.
Please have a few different courses ready for your registration appointment in case your first choice is full. I
highly encourage you to take the time to look through the online Course Catalog. There are some amazing
classes and your liberal arts class will be a much more enjoyable experience if you are interested in the subject
matter chosen.
Please see the following list of notable and recommended courses offered at other divisions.
Best,

Kyle Wilson
Assistant Director of Academic Affairs
New School for Jazz and Contemporary Music

Recommended Courses at Other Divisions - Spring 2015

English Requirements, ULECs, Liberal Arts Electives, and Non-Liberal Arts Courses

Liberal Arts
MUSIC & THE ARTS
African Guitar TBA crn 7658
Tuesdays and Thursdays, 3:50-5:30pm
The guitar is a common denominator in nearly all African popular music styles, supplanting traditional instruments and speaking a
mutually intelligible language transcending race and ethnicity. African guitar styles and their distinctive melodic imprints have been
adapted by artists all over the world. In this course, students study guitar-based African music from West, Central, East, and Southern
Africa in a variety of different ways, including interactive practice activities, video demonstration, listening, and reading. By the end of the
course students will be able to identity representative guitar styles of each region, understand how African musical concepts such as
resultant patterns and inherent rhythms are conceived and interwoven into musical textures, and compose music inspired by African
guitar techniques and approaches. 4 credits

Andy Warhol: The Man, the Myth, the Work Paula Stuttman crn 6906
Thursdays, 6:00-7:50pm
Andy Warhol will be remembered as one of the most important artists of the 20th century. His work is still exhibited, evaluated, and
interpreted, while his influence on contemporary art remains strong. This course allows students to examine the artist in depth.
Organized chronologically, each class explores either a time period or a special issue. Beginning with readings devoted to early Warhol
(childhood, success as a commercial artist, and his early exhibitions), the course concludes with a segment on Warhol.s legacy, including
the current reevaluation of his work. Other topics are pop, Warhol films, and Queer Warhol. By studying a variety of sources and
artifactsbooks, essays, interviews, films, reviews, and videosstudents form an understanding of the world Warhol came from, the
times he lived through, and the art he made. 3 credits

Ambient Music Zachary Layton crn 7667

Fridays, 9-11:40am
This course focuses on ambient music as a way to investigate the many levels of listening attention that we use to engage with sound and
the environment around us. According to Brian Eno, one of the pioneers of this genre in the 1970s, we can use music and recorded sound
in the ways we use color: "to 'tint' the environment," even "to modify our moods in almost subliminal ways." Students will study works by
Erik Satie, John Cage, Pierre Schaeffer, Olivier Messaien, Pauline Oliveros, Luc Ferarri, Brian Eno, Karlheinz Stockhausen, Arthur Russell
and Lee "Scratch" Perry. Theoretical concepts to be covered include acoustic ecology, bioacoustics, and data sonification (the use of nonspeech audio to convey information). Through hands-on creative projects, students will also explore new approaches to recording,
spatialization, and audio editing techniques. This course is ideal for students with an interest in experimental music and some background
in music technology. 4 credits

Electronic Music Daphna Naphtali crn 7390

Tuesdays & Thursdays, 11:55am-1:35pm
This course surveys electronic music composition and performance practices from the early 20th century to the present. With a focus
that is both topical and historical, students will explore many kinds of music, from early electro-acoustic experiments and musique
concrte to contemporary interactive computer music, circuit bending, 8-bit music, experimental practices, laptop orchestras, and
electronic dance music. Listening assignments will include the music of John Cage, Iannis Xenakis, Edgar Varse, David Tudor, and current
performers from the New York scene. Students will also investigate the repurposing of technology to create innovative new instruments
for electronic music performance. The course involves hands-on practice in creating and performing electronic music. Prerequisite: LMUS
2050: Music Technology, or permission of instructor. 4 credits

Global Voices: Central Asia Evan Rapport crn 7391

Wednesdays, 6:00-8:40pm
New Yorks rich musical landscape of immigrant and diasporic communities offers students rare access to global musical traditions as part
of their New School experience. This course focuses on the sacred and spiritual musics of Central Asia, especially through the vocal
practices of musicians from Uzbekistan and Tajikistan who have made New York their home since the 1990s. Students will participate in
music-making activities, learn from master musicians, and engage in field research. Topics include the classical repertoire known as
Shashmaqom; Persian, Turkic, and Hebrew poetry; sacred music; and music linked to the life cycle. The course also covers issues of
immigration, ethnicity, multiculturalism, globalization, nationalism, and the ethics of ethnographic work. 4 credits

Therapeutic Value of the Voice TBA crn 4802

Mondays, 8:00-9:50pm (Mar 9 Apr 13)
Enrollment limited. This experiential course combines theories and practices from Western and Eastern psychology and mind-body
healing approaches. Students review the latest research on vocal music therapy and learn techniques for both personal and professional
use. Clinical case studies on the use of vocal music therapy with a variety of populations are explored. No previous voice training is
required. Certificate students must register in person with a certificate registration form signed by the program coordinator. To make an
advising appointment, call 212.229.5567 or email CATinfo@newschool.edu. 1 credit

Vocal Manipulation & Mediation Virginia Dellenbaugh crn 7709

Mondays and Wednesdays, 1:50-3:30pm
This course will explore the potential of the human voice as a flexible instrument in historical, cultural, musical, and physiological terms.
The once-celebrated castrato voice, described as the sound of angels and curiously disembodied, expressed the ambiguous gender of
children's voices through a timbre incorporating both male and female qualities. In a technological attempt to recreate the voice of the
most famous castrato for the 1994 film Farinelli, sound engineers blended the voice of a coloratura and a countertenor to approximate
its unusual beauty. As a performance practice, the Onnagata of the Kabuki tradition also reveal shifting cultural norms around gender and
identity, while today the disembodied voice takes on a new orientation through computers and animation. We will study how the voice
can be trained and modified, highlighting a number of case studies of vocal manipulation through history and across cultures. Through
this study we can develop innovative ways to expand our own vocalcapacity for performance and recording projects. 4 credits

OTHER
Fundamentals of Psychology Catherine Mindolovich crn 1400
Wednesdays, 6:00-7:50pm
As a subject of intellectual inquiry, psychology spans the histories of many cultures, but since antiquity, psychological interpretation has
revolved around recurring themes. When philosophers, naturalists, and other scholars began to divide into separate academic
departments in the 19th century, psychology, with much fanfare, sought recognition as a separate discipline. Its goals were, and are, the
explanation of memory, emotion, perception, consciousness, learning, motivation, personality, development, and social influence. These
fundamentals of the field are the topics of this course. 3 credits

Movement of Jah People: Reggae, Media, and the Representation of Difference Jean Oliver-Cretara crn
7645 - online
Reggae originated on the island nation of Jamaica, but it is one of the most popular musical forms in the world and is heard in a multitude
of derivative forms in every corner of the planet. Reggaes revolutionary spirit has stood as a potent symbol of independence and social
critique and has informed notions of selfhood, nationhood, race, ethnicity, religion, and politics. The course begins with a history of
reggae that considers the genre in its various forms (ska, rocksteady, dub, roots rock, DJs, toasting) and its influence on popular music
worldwide. We explore the ways in which people around the world have adopted the genre's gestures, attitudes, and icons as their own
and discuss the role of media in the international spread, adaptation, and enjoyment of reggae. Reading the critical and historical
literature about reggae music and studying the reggae texts themselves (songs, films, videos, and images), we track its influence and
responsiveness to music and cultures from the Caribbean to Britain, the United States, Latin America, Japan, Australia, and western,
southern, and eastern Africa. 3 credits

Portuguese Introductory Intensive Tobias Nascimento crn 4684

(Prep course for Brazil Exchange Program)
Tuesdays and Thursdays, 6:00-7:50pm
This is an accelerated course for highly motivated beginners who wish to progress rapidly in learning Brazilian Portuguese. Students
acquire basic speaking, reading, and writing skills while learning about Brazilian culture. Emphasis is on developing communication skills.
4 credits

Psychology of Dreams Patricia Simko crn 7126

Thursdays, 10:00-11:50am
Dreams are our subconscious attempt to reconcile our inner and outer worlds. Dreams are triggered by many needs--to resolve a
problem, to gratify a wish, to relive an event, to give expression to suppressed emotions. What all dreams have in common is the depth
of their message, for dreams come from the most profound part of the self. In dreaming, we explore that mysterious place; we evolve
and become. The class studies the history of dream theory, with a focus on psychoanalytic theories of dream formation and analysis
(Freud, Jung, Erikson, Kohut, etc.). We also explore the creative expression of the self through dream interpretation and work together on
understanding ourselves and growing through our dreams. 3 credits

ENGLISH LITERATURE/WRITING (counts toward English requirements)

Other Worlds: Exploring the Critical Realms of Science Fiction Ricardo Montez crn 7242
Tuesdays, 4:00-5:50pm
The development of science fiction as a literary genre is closely connected to the history of colonialism and anthropological projects
documenting contact with so-called primitive cultures. We examine literary and filmic narratives involving other worlds, bodies, and
technologies within this historical legacy. In particular, we discuss how science fiction writers explore systems of oppression while
imagining new possibilities for political transformation. 3 credits

Poetry: The Language of Music John Johnson crn 2603

Wednesdays, 8:00-9:50pm
This study of musical poetics focuses on the buried linguistic and musical structures of poetry and on the way these structures create
voice and meaning in a poem. We discuss the way music serves as a muse for the poet and creates a relationship between form and
content. Some class time is devoted to close reading of established and younger poets representing different poetic styles, and to close
listening to the voices of poets reading from their own work. Most class time, however, is devoted to examination of student writing,
with the goal of helping students find their own music and voice within the poem. This course is open to poets at all levels, but beginners
are especially welcome. 3 credits

Streetwise: Writing from NYC Street Art Star Black crn 7364
Saturdays, 11:00am-5:30pm (Apr 4 - May 2)
Street Art and Hip-Hop originated in The Bronx and became a global influence, even playing an essential role in the fall of the Berlin Wall.
It continues to mirror the population's direct needs and opinions and in New York City there are as many opinions as there are New
Yorkers. This course sets out to visit Street Art's visual neighborhoods: East Village's ABC City, Chelsea and the High Line, the Bowery Wall
and the Lower East Side, and Williamsburg. We carry cellphone cameras and document what's new, and then write poems, prose poems,
or flash fiction inspired by the photos taken during class excursions. Students create a final project containing both their photographs and
original writing. We convene at The New School to share work as it progresses. Students build in a "coffee shop budget" for pauses during
class excursions. 3 credits

Writing for Artists Rebecca Reilly crn 7157

Mondays, 6:00-7:50pm
Writing is performance. Visual artists, designers, musicians, writers, dancers, filmmakers, actors, artists of every kind come together in a
supportive workshop environment to develop their writing skills. Students practice the skills of argumentation, research, and clarity of
expression that benefit critical pieces as well as the kinds of writing they are likely to have to produce as professional artists or critics in
the field. In the first half of the class, students learn the craft of critical writing, from the ground upconstructing one analytic essay in
increments. The second part of the semester is devoted to putting these skills into professional practice, as students write artist

statements, reviews of current work, personal essays, creative pieces, and more. Students read top critics in their fields as well as writers
from the canon particularly relevant to their own work. 3 credits

ULEC (University Lecture Courses)

Must register for both a Lecture and a Discussion section. See online University Course Catalog for exact days and times.

Fiction: An Introduction
This course will feature short literary texts as approached by writers and scholars from the New School and beyond. Each lecture will
offer an engaging critical approach to a great work of literature, and, taken as a whole, the class will offer a survey of different kinds of
reading. Lecturers and texts may include: Neil Gordon on Joyce's "The Dead" and Kanafani's "Returning to Haifa," Darcy Steinke on
Katherine Anne Porter's "Noon Wine," Nidhi Srinivas on Coetzee's "Dusklands," Albert Mobilio on Carver's "The Beginners," Nicholas Birns
on Cather's Neighbour Rosicky, Dan Gunn on Beckett's "First Love," and Val Vinokur on Dostoevsky's "Notes from Underground," Bellow's
"Seize the Day," and Babel's "Red Cavalry." Students will meet in smaller discussion sections before each lecture as preparation. A short
weekly written assignment and its revision will constitute the entire graded work of the course. Prospective students should be aware
that, with the exception of excused absences, attendance at every class and timely completion of every assignment will be a prerequisite
to succeeding in this class.
Note for Eugene Lang College students: this course fulfills an elective requirement for Literary Studies majors.
Students must register for both the lecture and discussion section of this course.

Intro to Political Economy

This course offers a critical introduction to the central ideas used by Political Economists to understand the structure, social meaning, and
historical development of capitalist economies. Lectures draw on competing traditions in Political Economy to provide a critical
appreciation of the defining socio-economic relationships of capitalism, including wages, productivity, profits, inequality, prices,
entrepreneurship, markets, capitalism, growth, crises, recessions, socialism, etc. While these discussions necessarily involve economic
theory, the overall emphasis is on how an analytically diverse understanding of these relationships can open up unique, critical
perspectives into the problems of contemporary capitalism. The course will thus prepare students for well-grounded, critical engagement
with debates about income distribution, financial crises and recessions, fiscal austerity, globalization, the role of finance in contemporary
economies, and on the long-term future of capitalism. The course will also introduce students to current discussions on the usefulness
and limitations of contemporary Economics.
Students must register for both the lecture and discussion section of this course.

Liquid Cities: Reimagining Urban Waterfronts and Waterways

Water has always been the lifeblood of the city. The 21st century, with its emerging threats of climate change and a rising sea level,
presents most if not all of our great urban centers with unprecedented questions about their sustainability and survival; as a result, urban
waterworks, waterfronts, and waterways have all assumed a critical importance. Drawing from four interdisciplinary New School
programs--Global Studies, Urban Studies, Urban Design, and Environmental Studies--this course investigates the complex connection of
cities and water systems, with a particular focus on the way the "edge" of the waterfrontcity can be both a boundary and a center,
essential for commerce, transport, development, and ecological resilience. New School faculty and visiting lecturers will take an
interdisciplinary approach to local, regional and global topics and initiatives, including the strengths and weaknesses of New York City's
water and sewer systems and efforts to clean its most contaminated waterways, the politics of land reclamation and waterfront
development here and abroad, containerization and the global geography of transport, the representation of the waterfront in art and
media, and the social and political impact of climate change and natural disasters. Field trips and collaborative projects will be required
elements of this course.
Students must register for both the lecture and discussion section of this course.

Literary Reinvention
This course explores ways literary texts connect with each other over time and place, as well as with music, drama and film. We shall read
six texts (of moderate length). The course is organized in units of two lectures for each text, the first close reading the text itself and the
second exploring contexts (historical, geographical, literary) and ways cultural moment, music and the visual contribute to the text and
our understanding of it. The six texts are William Shakespeares The Tempest, Alexander Popes The Rape of the Lock, Oloudah Equianos
Interesting Narrative, Herman Melvilles Billy Budd, Samuel Becketts Waiting for Godot and Jean Rhyss Wide Sargasso Sea, one from the
early 17th century, two from the 18th century, one from the 19th century and two from the 20th century. Each has been important in its
moment in culture, not just in its own day but afterwards; each has inherited something from previous cultural history, and each is
understood best not just by reading the text but thinking about the relation of literary text to other art forms.
Students must register for both the lecture and discussion section of this course.

Music and Mind

When we appreciate or produce music, we inevitably engage our experiences of time, movement, sound, emotion, language, attention,
memory, and metaphor. This course explores the growing body of interdisciplinary research on how listeners and performers mentally
represent music and the processes involved in their experience of it. It also examines, among other topics, how performers coordinate to
produce collaborative music and the extent to which audiences have truly shared experiences. This set of topics requires serious
attention to new brain science, to methods of psychological research, and understanding the science of sound. It also challenges many
core beliefs about how human beings think and act. The course, taught from the perspective of both research psychology and musical
performance, is intended for musicians and non-musicians, scientists and non-scientists. Students will be encouraged to design
innovative projects that integrate a scientific perspective with musical experience.
Students must register for both the lecture and discussion section of this course.

Social Practice: Concepts and Contexts

How is it that a work of art may now double as a restaurant, a barter network, a walking tour, a community garden, a scientific study, a
town hall meeting, or a virtual community archive? Since the turn of the 21st century, artistic projects that invite exchange, imagine new
social relationships, and provoke individual and collective actions have grown increasingly popular, especially amongst a younger
generation of creative practitioners around the world. This transdisciplinary approach is typically characterized by collaboration across
liberal art and art and design disciplines. Rather than being the product of a single artist working within an isolated studio, social practice
projects are driven by the desire to connect, to look outside oneself in meaningful and tangible ways, and to positively impact daily life
within specific communitiesoften co-created with people with a variety of life experiences. For this kind of socially-engaged work to be
successful, artists, designers, writers, scholars, architects, urban planners, and curators (among others) must develop a unique set of
social and material skills, an awareness of history, and a nuanced understanding of the relationship between social justice, polemics and
poetics. This course offers a theoretical and historical foundation for students interested in socially-engaged practices within or across
their own disciplines, whether they are studying in the liberal arts, art and design, or performance. It will introduce some of the
economic, political, and aesthetic forces that have influenced the emergence of these contemporary art and design practices. Through
assigned texts, case studies, site visits, and writing assignments, students will investigate art historical legacies that challenge the
boundaries between art and life; study methodologies stemming from social justice movements, new ways of teaching and learning,
and ethnography; and engage in current debates regarding the ethics of cultural production in the public sphere.
This course satisfies a requirement the Social Practice minor.
Students must register for both the lecture and discussion section of this course.

The Design of Everyday Technology: Understanding Apps Through the User Experience
This app is horrible!! Dont use it. Fire whoever made this! Reviews like these are common on app stores and are enough to warrant a
new respect for the craft of human-computer interactions. This course is ideally suited to students who have limited experience with
digital design, and skills, and application usability. Instead, it is intended to be an introduction to the exciting world of user experience as
it is applied to a critique of applications, and is translatable to user experience of many different products, across a broad range of goods
and services. In this course we will dismantle and reverse engineer software products and websites to see what user experiences are
possible within their design. By visualizing interactions and information structures used in products for commerce, media, quantified-self,
communications, or education this course aims to lay bare the technological design medium. We will put ourselves, and the behaviors we
exhibit when using a digital product, under the microscope of cognitive psych and usability respectively to study effectiveness of visual-,
interaction-, and system-design. In the course we will attempt to answer why engineers and designers made the choices they did and
what considerations were left out. Drawing on comparative analyses, contextual inquiry, guerilla user-testing, and other emerging user
experience research methods, we will collect observations and make recommendations sensitive to the contexts of both users and
technology. Because the class is project based, we will also learn and develop skills like emotional intelligence, self-awareness, public
speaking, personal branding, and presenting in order to communicate research and design thinking. The course will make you a better
critic of the digital things you use everyday by teaching you the first steps in creating those things yourself.
Students must register for both the lecture and discussion section of this course.

The U.S. & the World in the 21st Century

What is the role of the United States in the contemporary world? What should it be? A quarter century after the end of the Cold War,
there is no denying the reality of American power in political, cultural, and economic terms. Yet debates go on about relations between
the U.S. and the world, from international politics to law to economics. Questions persist about the use of American power and force,
from Kosovo to Somalia to Syria. American culture is attractive and an object of sharp criticism. This course examines the elements of
American power its political, military, economic, and cultural dimensions. Where does that power come from, and how is it sustained?
Should we view relations between the U.S. and other countries as leadership, hegemony, or imperial domination? What is the meaning of
democracy as an aim and an instrument of U.S. policy? What explains both the international success of American culture from
entertainment to education and the opposition to American culture in some countries? Each section of this course will have a
supplementary focus on an area or issue in which the United States is very much involved. These issues will be addressed in one or more
course lectures. In addition, parts of section discussions will focus on these issues as indicated below. Students in these sections are not
required to focus on these issues in exams or papers, but may prefer to do so.
Section A: ISIS, Conflicts in the Middle East, and the U.S.

Section B: Ukraine, Russia and the U.S. Role in Europe Today

Section C: ISIS, Conflicts in the Middle East, and the U.S.
Section D: Immigration Politics, Mexico & Central America, and the U.S.
Students must register for both the lecture and discussion section of this course.

They the People: Political Writing Past & Present

From the Colonial era to the present, the most forceful political writers have been prose masters who have combined excellent prose and
literary technique with close observations and analysis. Their work explores the true meaning of democracy--its successes and failures, its
tensions and contradictions. This course will examine highlights of American political writing from the Declaration and Constitution
through the speeches of Abraham Lincoln and Martin Luther King, Jr.. We'll also closely study the approaches and techniques used top
reporters and essayists, including Katherine Boo, James Baldwin, Norman Mailer, Margaret Talbot, David Foster Wallace, and Garry Wills.
We will also look at digital journalism and its impact on political journalism and argument.
Students must register for both the lecture and discussion section of this course.

Worlds Fairs Art, Design & the World of Tomorrow

From the mid nineteenth to the mid twentieth century a series of international exhibitions became points of reckoning for the various
nations involved, a means to propose a ideal visions of the present and future, through architecture, display and spectacle. This course
will examine the histories of the various European and American World's Fairs from the 1851 Crystal Palace Exhibition in London to the
1964/65 New York World's Fair as a way of understanding both how these exhibitions serve as crystallizations of cultural aspirations
and how they, in turn, echo through a culture. Working through art history, design history, social history, post-colonial theory, gender
studies, consumption studies, and history of technology, the course addresses such topics as: theories of exhibitions, how arrangement
and display of objects can coalesce into a lesson or an ideology; fine arts and applied arts at the world's fairs as lessons in taste, design,
and nationalism; world's fairs and the development of consumerism; fairs as laboratories for architecture and their influences; fairs and
ethnographic exhibitions, the display of foreignness and imperialism; the development of amusement areas and the contest for the social
significance of fun; and futurism at the fairs.
Students must register for both the lecture and discussion section of this course.

Worldmaking: Design and Designing in Social and Political Context

In this course, well delve into a range of approaches to fundamental questions raised by the theory that in the work of making, designers
draw on tacit knowledge things known, but not articulated, by the knower. What are the implications of tacit knowledge, and tacit
beliefs, for design that seeks to make and change the world(s) in which we live? And what are the impacts on design when these tacit
ideas are about structures of race, class, gender, sexuality, ability and nation, or what Ruth Wilson Gilmore, a professor of geography,
calls the fatal coupling of power and difference? Working through perspectives of both designers and non-designers, this course will
examine the social and political locations and the tacit and explicit ideas that shape them of designed objects and systems, as well as
collaborative and participatory design processes and ways of working. We will use the emerging context of social design, social
innovation, and design for change, in which designers from a range of fields are working locally and internationally to utilize design
processes and create artifacts and systems intended to address serious social, ecological, and economic matters, as a framework, asking
how differences in stakeholders ideas about what constitutes design problems and solutions in these projects might both limit and
expand capacities for design. The course, appropriate for anyone who makes or uses designed things and systems, will draw on key
analyses of contemporary and historical relationships of power and cultural meanings, including Cultural Studies, Queer and Feminist
Theory, Critical Prison Studies, and Visual Cultural and Design Studies, to help interpret and think through these questions.
Students must register for both the lecture and discussion section of this course.

Non-Liberal Arts
DRAMA
Collab: Cinema Project Workshop William Cusick crn 5749
Tuesdays, 4-5:50pm
In this Collaborative course, Media Studies students will enter into a primary role as director of photography or editor and will work with
students from the School of Dramatic Arts to complete original short films. The workshop will be composed of students from the MFA
program in Dramatic Arts and the MA in Media Studies program. Each of the projects will be directed by a third-year MFA Director,
written by a third-year MFA Playwright. The projects are original 5-10 page screenplays developed in the fall semester by the playwrights

and directors. Interested and qualified students in the MA Media Studies program will work as Director of Photography and/or Editor.
One Media Studies student is required for each of these roles, on each film. MA Media Studies students have the option to fulfill both
positions in a single project for 2 credits with faculty approval. The actors will be current MFA Drama students and alumni. This course
will meet weekly throughout the 15-week semester for production training seminars, including camera technique, sound recording,
editing and post-production workflow. Each project will also follow a unique production calendar with meetings happening throughout
the semester, leading up to shooting, editing and completion of the films. This class will end with each cinema project being presented in
a final critique, and a public screening of the completed films. All students will need permission to register for the class and should
contact Carrie Neal (nealc1@newschool.edu) if interested. This is being offered to Jazz undergraduate students. 4 credits

LANG
Lang at Scratch DJ Academy Robert Aguilar crn 4386
Tuesdays and Thursdays, 3:50-5:30pm
This course introduces students to the art of DJing with a master DJ at the nearby facilities of Scratch DJ Academy. The focus is on the
fundamentals of mixing, scratching, and beat juggling, using turntables and vinyl, in order to develop a solid technical foundation, an
inner beat, and a distinct personality that can be applied to changing technology. Students also learn about the history and cultural
context of DJing techniques. Class size is limited to 15 students. 2 credits

NEW SCHOOL FOR PUBLIC ENGAGEMENT (General Studies)

Fundamentals of Web Design Frederick Murhammer crn 6988
Wednesdays, 7:00-9:45pm
Everyone now has a presence online, and knowing how to construct and maintain a basic website is a necessary skill for every
professional. In this course, students learn basic skills in Web design programming (HTML and CSS) and Web graphics by developing
individual projects. The emphasis is on front-end Web design and learning about different formats and platforms as well as browser
compatibility. Each student designs and builds a professional portfolio and/or project website. Taught on the Macintosh platform. 3
credits

Music Business in Media Joshua Rabinowitz crn 3221

Wednesdays, 4:00-5:50pm
The music business, once recording dominated, can now be characterized as a multifaceted, almost-everything-but-a-record FIELD.
Changing media formats and new business models are the key elements in this rapidly changing sphere. The course focuses on how the
industry has evolved and will continue to evolve. Emphasis is placed on understanding and developing new business paradigms. Particular
areas of study include: music production, music supervision, copyright infringement, digital distribution, the new A&R, gaming, music
publishing, music journalism, PR and publicity. Students follow, analyze, and critique current developments through a variety of nontraditional readings. 3 credits

MANNES EXTENSION
Alexander Technique Cynthia Reynolds crn 3253 Wednesdays, 6:05-6:55pm 1 credit
Alexander Technique Cynthia Reynolds crn 6957 Wednesdays, 4:05-5:45pm 2 credits
This course is a performance-oriented class for people who must use their bodies effectively: musicians, actors, and dancers. The scope of
the course lies beyond the release of tension or the re-education of muscular movement, for it improves people's use of themselves in
their daily activities. A more efficient coordination is achieved through a dynamic balance of the head, neck, and back, which becomes
integral to sitting, standing, walking, bending, and performing. Proficiency in reading, writing, and speaking English is needed for this
small group experiential learning course, which involves movement, performance, observation of self and others, hands on guidance
from the instructor, verbal processing and discussion. Out of class requirements include weekly reading, weekly journaling, personal selfstudy projects, and daily practice to build new habits.

Chamber Music Ensembles Kate Sheeran (coordinator) crn 1358

Day and Time, TBA

The course features small-group instrumental coaching with renowned Mannes faculty, performance opportunities, and a wide range of
repertoire spanning a variety of time periods and genres. Chamber Music at Mannes is offered in the fall, spring, and summer. Groups
meet for 12 sessions throughout the semester (summer scheduling is flexible). Ensembles are matched based on scheduling availability,
musical background, and experience. All levels are encouraged to join; placement auditions are held the first week of each semester. At
Mannes College, 150 W. 85th St, 212.580.0210 x4802, mannesextension@newschool.edu. 1 credit

Ensemble Piano: Instrumental Accompanying: the Collaborative Pianist Zelma Bodzin crn 6969
Tuesdays, 7:05-7:55pm
This unique format affords pianists the rare opportunity to learn a work without the soloist present for at least half the semester. The
goal will be to perform in an end-of-semester concert. Playing with an instrumentalist is a fundamental part of a pianists skills. Many
players need the ensemble skills presented by the opportunity to play with their instrumental colleagues as they progress in the
profession. These skills are complementary, but different from those used in collaboration with singers or piano partners. This class will
address the literature for individual instruments rather than chamber ensembles. The string, wind and brass literature is vast, containing
original works for every instrument; participants will explore a minimum of two works during the semester, with and without an
instrumental soloist. The level of repertoire will depend entirely on the participants abilities. 1 credit

Fundamentals of Conducting 2 Rudolph Palmer crn 1462

Tuesdays, 6:05-7:20pm
This course introduces the basic concepts of conducting through hands-on experience. The majority of the work will consist of ongoing
group score study of assigned orchestral and choral repertoire. Each student will conduct these works with the class as an ensemble.
Learn a range of skills from basic beat patterns to how to add character to a piece. Repertoire is chosen from the classical and early
Romantic orchestral and choral literature. Ability to read music in multiple clefs required. 1.5 credits

Orchestration 1 Rudolph Palmer crn 1349

Tuesdays, 4:05-4:55pm
Skilled orchestrators are a hot commodity in modern times. Whether your interest is in improving your compositions or to give yourself
versatility and an edge in todays competitive market, orchestration is an important and highly sought after skill. Students will learn to
arrange a piece of music for performance by instrumental ensembles. Students will engage in a series of exercises in order to practice and
gain comfort in writing music for any musical ensemble, or in order to adapt music composed in another medium. Students will learn the
ranges, techniques, and special devices of timpani, horn, string, wind instruments. Students will be assigned pieces to orchestrate from
standard classical repertoire. 1 credit

Orchestration 2 Rudolph Palmer crn 1350

Tuesdays, 5:05-5:55pm
Continuation of Orchestration 1. Instructor permission required. Students will be asked to orchestrate pieces for diverse ensembles.
Students will learn the basic ranges and techniques of wind, brass, string, harp, pitched and non-pitched percussion instruments.
Students will be assigned pieces to orchestrate from standard classical repertoire. 1 credit

Programming for Musicians: an introduction to SuperCollider Jascha Narveson crn 6149

Thursdays, 6:35-8:15pm
This course is aimed at musicians who are curious about the musical possibilities of computer programming. Basic programming concepts
are taught using SuperCollider, a free, powerful, and open-source language used by composers, sound-artists, improvisers, and scientists
the world over. Newcomers to programming are encouraged to enroll, as no knowledge of programming is assumed. A fondness for
logical ideas is helpful, and a willingness to learn some mildly technical subject matter is essential. 2 credits

The Folk Process: American Folk Music in the 20th and 21st Centuries Nathan Koci crn 5752
Mondays, 8:05-8:55pm
Try to define "Folk Music" and you will find as many answers as there are questions. Is Folk Music defined by its sound? Its
instrumentation? Or is it rather a process by which we share, learn, and participate in music? This class will focus on the latter path of

investigation, exploring the oral traditions of American folk music, tracing themes, narratives, rhythms and melodies from the early 20th
century to the present. Folk music creates the opportunity for every listener to become a performer and for every performer to become a
composer and interpreter. We will learn traditional American folk songs together, and learn their histories and their origins. We will
explore the oral tradition of sharing music and songs from our own backgrounds, and we will explore contemporary performance culture
through the lens of the folk process, examining our relationships to the music we listen to as individuals, and as a community. There will
be regular performance opportunities for vocalists and instrumentalists, with a focus on learning, singing and creating songs as a class.
Familiarity with Western music notation is not required. 1 credit

PARSONS
Visual Music Collab Nora Krug & Ernesto Klar crn 4969
Thursdays, 3:50-6:30pm
This course provides students from the School of Art, Media, and Technology the opportunity to work with a variety of analog and digital
technologies to create animations to musical compositions and sound art pieces from contributing composers and instrumentalists from
the New School for Jazz and Contemporary Music. Students produce one Visual Music public presentation that will showcase all audiovisual works and custom tools developed throughout the semester, and a DVD featuring the Visual Music works produced in the studio. A
chamber music ensemble of student instrumentalists from the New School for Jazz and Contemporary Music will work closely with the
Visual Music Studio to rehearse, perform, and record the musical compositions developed throughout the semester. 3 credits