L-CM 1301: Introduction to College Writing

Boston Conservatory at Berklee, Fall 2017

Monday/Thursday
Section 48: 4:00-5:20pm
Section 49: 5:30-6:50pm
1112 Boylston Street, Room 2D
Instructor: Carlee Travis
E-mail: ctravis@berklee.edu
Office Hours: Monday, Thursday 2-3:30pm, Wednesday 3-4pm; 7 Haviland, Room 304

Course Description

In this course, students explore the writing process as a tool of thinking and a mode of
exploration. Students develop academic writing and expository prose techniques for creating
clear and coherent papers. The course covers a wide range of skills necessary for college-level
work including sentence-level issues, theses, paragraph structure, organization, form, and style. A
focus will be placed on writing styles appropriate to audience and purpose. In addition, the
process of writing and revision will be emphasized during the course. Students develop critical
thinking skills and learn to evaluate, utilize, and cite primary and secondary printed and
electronic sources. Students begin to cultivate a strong, individual, and creative voice by
developing oral communication skills for a variety of settings. My approach as an instructor is
multi- or even anti-disciplinary, and, indeed, experimental. My goal is to interrogate and even
explode our shared preconceptions about writing and its function, while working together as a
thinking-making-doing collective in a continual process of experimentation. We will write, yes,
but we will also listen, read, diagram, improvise, sketch, debate, argue, and play.
Course Learning Outcomes

1. In this course, students begin to develop a strong, individual, and creative voice by
developing their foundational skills through the application of the genre, usage, and
documentation conventions of academic writing in English in the United States
(grammar, punctuation, mechanics) and of writing styles appropriate to audience and
purpose.
By the end of the course, students will be able to apply these conventions of
academic writing to a variety of texts and styles.

2. In this course, students begin to develop a strong, individual, and creative voice by
achieving a greater appreciation of the process of writing (time, effort), the need for
revision, and the importance of collaborative learning skills.
By the end of the course, students will understand that writing and other creative
outputs are recursive processes.

3. In this course, students begin to develop a strong, individual, and creative voice by
demonstrating strong analytical skills by developing and supporting their own theses,
critiquing their own and others writings, and incorporating/integrating multiple ideas/
resources from diverse sources with proper citations. Students develop critical thinking
skills and learn to evaluate, utilize, and cite primary and secondary printed and electronic
sources.
By the end of the course, students will
o Demonstrate critical reading-comprehension and evaluation skills
o Illustrate an understanding of authorship and academic honesty
o Formulate and defend a thesis

4. In this course, students begin to develop a strong, individual, and creative voice by
developing oral communication skills for a variety of settings.
By the end of this course, students will demonstrate the ability to clearly articulate
and support their ideas orally.

Course Materials

All required reading, listening, and viewing will be shared electronically.

Course Requirements & Policies

Participation, Preparedness, Professionalism

Class participation is essential to your success in this course. It is crucial that students attend all
class meetings, and come to class prepared to discuss assigned reading and writing assignments.
All written assignments must be submitted electronically before the start time of the class in
which they are due. All readings must also be brought to class each day. All students should
bring a notebook specifically designated for the course to class each day. I will give regular,
unannounced quizzes throughout the semester. These quizzes will count toward your grade. Any
student who misses a quiz due to tardiness or absence will not be afforded the opportunity
to make up that quiz. It is your responsibility to behave in a professional and adult manner in
the classroom. If at any point your behavior becomes disruptive to class discussion, I reserve the
right to ask you to leave class. Any such expulsion from the classroom will be counted as an
absence.

Attendance

College Attendance Policy

Attendance is required in all classes, private lessons, instrumental labs, and

ensembles, beginning with the first scheduled meeting. Absences must be
addressed directly with the course instructor to determine impact on student
progress and/or overall grade. Specific policies for this courseare delineated below.
Classes, labs, and ensembles are scheduled to start promptly on the hour and end at ten
minutes before the hour. Late arrival is both unprofessional and disruptive. Berklee
recognizes that its students will be presented with professional opportunities, such as job
interviews, auditions for professional positions or graduate school, and exceptional
performance opportunities (including those sponsored by Berklee). Students hoping to
take advantage of such opportunities are not excused from course assignments or
deadlines, and are required to discuss the ramifications of any related absences with their
course instructors in advance.

Course Attendance Policy

Because this course is a participation-driven workshop, our collective success depends on

perfect attendance from all students. If you must be absent from class, be prepared to
submit any written assignments in advance of the class you will miss. You are responsible
for all material covered during class, whether you are present or not. If you miss class, it
is your responsibility to contact a classmate (not me) for notes and handouts. I will take
attendance in every class, whether you can tell Im doing it or not. Any absence except
for reasons of illness (with a doctors note provided to the Deans Office), family
emergency, or religious holiday will seriously affect your grade.
 Your attendance grade for this course will be calculated by dividing the number of class
sessions you have attended by the number of class sessions held.

Performances and Rehearsals

The Conservatory schedule was carefully designed to ensure that students do not miss
credit-bearing classes due to rehearsal and performance obligations within their
Divisions. Liberal Arts classes end no later than 6:50pm, and rehearsals should start
no sooner than 7pm. Students who are cast in mainstage productions should carefully
review the course schedule upon casting and budget their time accordingly to avoid
falling behind in coursework. Absences due to rehearsals for mainstage productions
must be accompanied by an official excuse from the students Division Office no less
than one week in advance of the first class the student will miss. Even when excused,
excessive absences due to rehearsal schedules may still negatively affect a students
grade, if their participation in a production interferes with their ability to complete
assigned work on time and according to my expectations as an instructor.

Tardiness
Tardiness in any degree is unacceptable; excessive or persistent tardiness will
negatively affect your grade. I define tardiness as any late arrival; being even one
minute late to class shows disregard and disrespect for the system in which we have
organized our academic community. Every two instances of tardiness will be
counted as one absence. If, at any time, performance or rehearsal obligations will
prevent you from getting to class on time, I must be informed in advance of these
obligations. Even with my advance knowledge, such instances of tardiness may still
affect your grade.

Use of Electronic Devices

Because we will be learning together in a mostly-paperless classroom, the use of electronic

devices as media for reading and referring to assigned texts is allowed, with the following
caveats:

1. The use of smartphones during class time is strictly prohibited.

2. If at any point it becomes clear that a student is using a device for anything other than
note-taking or reference to assigned materials, I will revoke that students privileges
regarding the use of electronics, and they will be expected to print all readings and
bring them to class in hard copy for the rest of the semester.

Grading

Your final grade for this course will be calculated as a weighted average of letter grades for
participation, exercises and reading quizzes, and three essays, as follows:

15% Attendance, participation

15% Exercises, Reading Quizzes
 25% Essay 1
20% Essay 2
25% Essay 3

Grading Standards

Each essay will have somewhat different requirements, which will be explained at the time of
their assignment. However, my general grading standards are as follows:

A range: Original, compelling, cohesive argument; convincing and methodical use of

evidence; effective and responsible use of sources, including meticulous
citation and adherence to MLA form; clear, concise writing in good style; few
typographical errors. A grade in the A range generally reflects what might be called
excellent or exemplary work.

B range: Clear but less interesting argument; some necessary evidence not considered;
some problems with style; responsible use of sources, including satisfactory citation and
adherence to MLA form; few typographical errors. A grade in the B range generally
reflects what might be called good or above-average work.

C range: Unfocused or over-general argument; inadequate or incorrect use of evidence;

inadequate or incorrect use of citation and MLA form; significant problems of writing
mechanics or abundant typographical errors. A grade in the C range generally reflects
what might be called average or satisfactory work.

D: Work completed but unsatisfactory in several major areas.

F: Unsatisfactory, incomplete, or missing work.

If at any point you have a question or concern about a grade, it is your responsibility to first
consult these grading standards and compare them with my comments and markings on the essay
in question. If, after such a comparison, you still have questions, you should request, via email, a
meeting with me to discuss your grade and my grading process. I will not discuss grades with
students during or after class.

Exercises will be evaluated on the check scale: a !+ is given for outstanding work, a ! for
satisfactory work, and a !- for unsatisfactory or incomplete work. You should regard these
markings as indicators of your preparation and progress toward the successful completion of the
essays associated with the exercises; if you earn a !- on every exercise leading up to an essay, it
is unlikely that you will earn an essay grade in the A- or B-range. Missing or late exercises will
receive no credit.
Late Assignments

Due to the workshop structure of this course, late work seriously disrupts both your own learning
and that of your classmates. Late exercises will not be accepted and will therefore receive no
credit. Late essays will result in penalties of one step on the grading scale (B to B-minus, etc.)
per day, including weekends. Except for reasons of documented serious illness or family
emergency within one week of the date due, I will not give extensions. If a due date coincides
with an absence related to performance or rehearsal, you must submit all work in advance. Put
another way, performance and rehearsal obligations do not, under any circumstances,
entitle you to an extension. All papers, unless otherwise specified, must be submitted
electronically prior to the scheduled start time of the class in which they are due (timestamped at
or before 3:59pm EST or 5:29pm EST, depending on your section).

Drafts

Drafts are assigned as a mechanism through which students receive feedback and comments in
advance of their submission of a final, graded essay. The draft is my way of allowing you the
time necessary to truly hone your skill as a writer, and to ensure that your final essay reflects
your best possible effort and engagement. Due dates for drafts are generally at least one week
before the due date of the final essay. If you do not submit a draft on its assigned due date, the
essays final draft will automatically be subject to a grade deduction of one-third of a letter grade
(meaning that the highest possible grade you can earn on the essay will be an A-).

Academic Integrity

Berklee insists on academic honesty. Unless the assignment explicitly is a group project, all of
the work in this class must be your own. The source of all information in any written assignment
must be cited properly, whether it is a quotation, paraphrase, summary, idea, concept, statistic,
picture, or anything else you get from any source other than your own immediate knowledge--
including the Internet. Writers give credit through accepted documentation styles, including
parenthetical citation, footnotes, or endnotes; a simple listing of books and articles at the end of
an essay is not sufficient. Plagiarismnot giving proper credit to a source and thereby passing
off someone elses material or idea as your ownis a type of intellectual theft and deceit and
cannot be tolerated in an academic setting. Plagiarism may result in a failing grade for the
assignment or course, and possible dismissal from the College. It is your responsibility to be
aware of and abide by the rules governing plagiarism, fraud, and cheating found in the College
Bulletin under the section "Honesty in Academic Work and in Scholarly and Professional
Practice." If you have any questions about what plagiarism is and how to avoid it, please talk
with a reference librarian, ask a teacher, or refer to a writing handbook. Websites that discuss
types of plagiarism and how it can be avoided through evaluation and proper documentation of
sources include:
 http://owl.english.purdue.edu/handouts/research/index.html

www.wisc.edu/writing/Handbook/Documentation.html

http://lib.nmsu.edu/instruction/evalcrit.html

Title IX

Berklee is a diverse community composed of individuals with different life experiences,

viewpoints, belief systems, and identities. A welcoming and inclusive culture is essential to
maintaining the colleges role as a leader in music education and Berklee highly values the
dynamic environment that results when students, faculty, administrators, and staff from diverse
backgrounds come together to learn, live, and work. The Equity Policy and Process prohibits and
addresses sexual misconduct, as well as other forms of discrimination and/or harassment based
on legally protected characteristics and provisions covered under Title IX of federal law. If
you have concerns about a possible violation of the colleges Equity Policy, please contact Dr.
Christopher Kandus-Fisher at ckandusfisher@berklee.edu. FMI: visit www.berklee.edu/equity.

Support Services

The Center for Liberal Arts Tutoring (CLAT) offers various tutoring services to the Berklee
community. Located in 7 Haviland Street, room 110, CLAT falls under the auspices of the
Liberal Arts Department in the Professional Education Division. For more information, please
visit https://www.berklee.edu/liberal-arts-tutoring

Additional Student Services include:

Counseling Services, 54 The Fenway, 617-747-2310
Academic Advising Center, 939 Boylston Street, 3rd floor, 617-747-6535
Disability Services, 939 Boylston Street, 2nd Floor, To schedule a session: https://
www.berklee.edu/disabilityappointment
Stan Getz Library and Media Center, 150 Mass. Ave
Regarding Triggers & the Cultivation of a Safe Space

At times throughout semester we may discuss historical events that may be disturbing, even
traumatizing, to some students. If you suspect that specific material is likely to be emotionally
challenging for you, I encourage you to discuss your concerns with me before the class session in
question. Likewise, if you ever wish to discuss your personal reactions to course material with
the class or with me individually during my office hours, I welcome such conversations as an
appropriate indeed essential part of our co-learning. In the course schedule below, you will
notice some of the potential triggers Ive already identified. Please do not hesitate to discuss
other triggers you notice in the schedule with me personally, or as we author our Community
Agreement (see below).

If you ever feel the need to step outside during a class discussion you may always do so without
academic penalty. You will, however, be responsible for any material you miss. If you do leave
the room for a significant period of time (i.e., more than a few minutes), please make
arrangements to get notes from another student or set up a meeting to discuss the situation with
me individually.

By the end of our first class session, we will have collaboratively co-authored and approved a
Community Agreement; this document will include our agreed-upon rules for maintaining a safe
space for all of us in our classroom, and will dictate the ways in which we will support and
respectfully engage one another during difficult conversations.
Course Schedule

PHASE 1: Artists & Audiences / Form & Content

Week One: Introductions

Thursday 9/7 Course introduction.

Exercise 1 Due Monday, 9/11

Read: Aaron Copland, The Gifted Listener

Week Two: (re)Thinking Virtuosity

Monday 9/11 EXERCISE 1 DUE. Discuss Copland.

Read: Glenn Gould, Lets Ban Applause!

Thursday 9/14 Discuss Gould.

Exercise 2 due Monday, 9/18

Read: Gertrude Stein, What Are Master-pieces and Why Are There So Few Of Them
Bring 3 (anonymous) questions typed and printed or legibly handwritten on Steins essay to
class.

Week Three: Instinct, Reason, and Creative Authority

Monday 9/18 EXERCISE 2 DUE. Discuss Stein; ask and answer selected questions.

Read: Marianne Moore, Feeling and Precision

Thursday 9/21 Discuss Moore.

Exercise 3 due Monday, 9/25

Read: Amiri Baraka, Jazz Criticism and Its Effect on the Music (TW: institutional racism)
Bring 3 questions to class.
 Week Four: (re)Thinking Criticism

Monday 9/25 EXERCISE 3 DUE. Discuss Baraka.

Discuss Essay 1 requirements and form.

Essay 1 Draft due Monday 10/2.

Read: John Updike, Updike and I, Me and My Books & Jorge Luis Borges, Borges and I

Thursday 9/28 Discuss Updike and Borges.

Read: Henry Miller, My Anchorage

PHASE 2: Automythologies / The Personal Essay

Week Five: Mythical Origins

Monday 10/2 ESSAY 1, DRAFT 1 DUE. Discuss Miller.

Essay 1 due Monday 10/9.

Read: Bill T. Jones, from Last Night on Earth (TW: institutional racism, homophobia, AIDS-related
loss)

Thursday 10/5 Discuss Jones. Introduce the personal essay/automythology.

Week Six: Talking & Transcription

Monday 10/9 ESSAY 1 DUE. In-class viewing and listening exercises.

Exercise 1 due Monday, 10/16

Read: David Antin, Durations

Thursday 10/12 Discuss Antin.

Read: James Baldwin, Notes of a Native Son (TW: institutional racism)

 Week Seven: History-Inheritance-Identity

Monday 10/16 EXERCISE 1 DUE. Discuss Baldwin.

Read: Kiese Laymon, How to Slowly Kill Yourself and Others in America: A Remembrance (TW:
institutional racism, police violence)

Thursday 10/19 Discuss Laymon

Exercise 2 due Monday 10/23.

Read: John Caramanica, Behind Kanyes Mask
Listen: Kanye West Spotify Playlist

Week Eight: Self-Fashioning / Hip Hop Confessionalists

Monday 10/23 EXERCISE 2 DUE. Discuss Caramanica and West

Essay 2 Draft due Monday, 10/30

Read: Joe Coscarelli, Kendrick Lamar on His New Album and the Weight of Clarity
Rembert Browne, Being Real Black for You
Listen: Kendrick Lamar Spotify Playlist

Thursday 10/26 Discuss Coscarelli, Browne, Lamar.

Read: Patti Smith, from Just Kids

Listen: Patti Smith Spotify Playlist

Week Nine: Noisy Memoirists

Monday 10/30 ESSAY 2 DRAFT DUE. Discuss Smith.

Essay 2 due Monday, 11/6

Read: Kim Gordon, from Girl in A Band
Listen: Kim Gordon/Sonic Youth Spotify Playlist

Thursday 11/2 Discuss Gordon.

Read: Karl Ove Knausgaard, from My Struggle

PHASE 3: Portraiture / Beginning Research

Week Ten: (re)Thinking Sincerity

Monday 11/6 ESSAY 2 DUE. Discuss Knausgaard

Exercise 1 due Monday 11/13

Reading TBD

Thursday 11/9 Discuss reading.

Read: Gertrude Stein, Picasso, Matisse, If I Told Him: A Completed Portrait of Picasso

Week Eleven: Steinian Portraiture & Insistence

Monday 11/13 EXERCISE 1 DUE. Discuss Stein.

Exercise 2 due Monday, 11/20

Read: Stein, Portraits and Repetition

Thursday 11/16 Discuss Stein.

Read: Susan Sontag, On Style

Week Twelve: Defining Style

Monday 11/20 EXERCISE 2 DUE. Discuss Sontag.

Exercise 3 (draft Annotated Bibliography) due Monday, 11/27

Reading TBD

Week Thirteen: Examining Innovation

Monday 11/27 EXERCISE 3 DUE.

Reading/Viewing TBD

Thursday 11/30

Essay 3 Draft due Monday, 12/4

Reading TBD

Week Fourteen: Conclusions

Monday 12/4 ESSAY 3 DRAFT DUE.

Reading TBD

Thursday 12/7 Conclusions.

Essay 3 due 5pm Thursday 12/14