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Title	Offering	Standing	Credits	Credits	When	F	W	S	Su	Description	Faculty	Days	Multiple Standings	Start Quarters	Open Quarters
The 1960s @ 33⅓ Chico Herbison American studies music writing	Course	FR–SRFreshmen–Senior	4	04	Day				Su 16 Session I Summer	This course will explore U.S. popular culture of the 1960s through five of the decade’s seminal albums: The Beach Boys’ , James Brown’s , Bob Dylan’s , Jimi Hendrix’s , and . Our texts will include each album’s counterpart from the book series. The final project will be a similar close reading of another 1960s album. Students interested in expanding their final projects into a major piece of music writing—à la the series—can develop Individual Learning Contracts for additional credit during second session.	Chico Herbison	Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
"As Real as Rain": The Blues and American Culture Chico Herbison and Andrew Buchman African American studies American studies cultural studies music writing	Program	JR–SRJunior–Senior	16	16	Day			S 16Spring		David Ritz, music writer This program will provide an introduction to, and overview of, that magnificent and enduring American art form we know as “the blues”: its musical elements, African and African American roots and precursors, historical and stylistic evolution, major practitioners, and its influence on other musical genres (most notably, jazz, rhythm & blues, rock & roll, rock, and rap/hip hop). Equally importantly, we will examine its impact on American culture and, among other ventures, apply a blues theory of aesthetics to U.S. literature in general, and African American literature in particular. Our primary written text will be the anthology, (Steven C. Tracy, editor). Additional written texts will include biographical and autobiographical selections, fiction, poetry (including music lyrics), and scholarly articles on the blues. Weekly film screenings will include a range of fiction works and documentaries such as Martin Scorsese’s critically acclaimed series, . Finally, there will be extensive listening assignments that will provide the soundtrack for our journey from Africa to the southern United States, to the urban North, throughout our nation, and across the globe. We will devote two weekly seminars to close readings of written texts, films, and music. In addition to short weekly writing assignments, students will produce a final project that will help them refine both their expository and creative nonfiction writing skills. There will be a weekly open mic opportunity for musicians—whether aspiring or experienced—to play and share the blues, as well as a three-day field trip to a major Pacific Northwest blues festival.	Chico Herbison Andrew Buchman	Tue Tue Thu Thu Fri	Junior JR Senior SR	Spring	Spring
Back in the Days: History Through Hip Hop and Haiku Anthony Zaragoza African American studies American studies cultural studies gender and women's studies history literature music political economy	Program	FR–SRFreshmen–Senior	4, 8, 16	04 08 16	Day				Su 16 Session I Summer	We'll explore history through the lens of seemingly contrasting art forms: hiphop and haiku. Beginning with Lipsitz’s idea that artistic expression reflects, responds to and shapes historical realities, we'll look back to Hiphop's beginnings in Africa, connections to the Caribbean, birth in NYC, and growth into a global phenomenon. Meanwhile, Haiku, a thousand years old with roots in China, leaves its initial role as mood-setter for a longer Japanese work, appears solo as a linguistic snapshot, and flowers into Japanese popular art with worldwide influence. We'll examine these histories, read and write poems, listen to music, watch films, and compare/contrast these global art forms. Students who take the course for more than four credits will have the option of doing independent projects and readings related to deepening the learning and work of the course. 12 and 16 credit students will complete the additional work over the full summer session. If you are absolutely unable to meet at the listed hours, but are still interested in the class, email me at zaragozt@evergreen.edu, and we can find a solution.	Anthony Zaragoza	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Beethoven, Blake, and the Sounds of Revolution Leonard Schwartz and Andrea Gullickson literature music writing	Program	FR–SRFreshmen–Senior	16	16	Day			S 16Spring		Ideas matter. Words and music are powerful; they can profoundly alter how we view ourselves, everything outside ourselves, and the intersection of the two. What can the works of composer Ludwig van Beethoven and poet William Blake teach us about the power of imagination and the possibilities of human freedom? Through close listening and reading, we will study the textures of their work in the context of the 19th century, as well as consider several of their late 19th-century inheritors and 20th-century transformers and critics: in poetry, the experimental formalism of Gertrude Stein and Louis Zukofsky (“upper level music, lower level speech”); and in music, the compositions of Richard Wagner and John Adams. Other readings will include Nietzsche’s Georg Buchner's and Adalbert Stifter's as well as essays by Maynard Solomon, Richard Taruskin, Edward Said, and Theodore Adorno. Particular works of Beethoven to be considered are the 3rd, 5th, and 9th symphonies, piano sonata No. 17, and his late string quartets.	Leonard Schwartz Andrea Gullickson	Mon Tue Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
The Business of Art: Earning a Living as an Artist Andrew Buchman, Lee Lyttle and Jon Baumunk business and management economics music theater visual arts	Program	FR–SOFreshmen–Sophomore	16	16	Day	F 15 Fall	W 16Winter			This program is designed for business and arts students with a strong interest in making a living as an entrepreneur, operating in the nonprofit art world, or making a career in creative industries, and bridging the conventional gaps between creativity, business sense, and social engagement. An artist or entrepreneur who understands the principles of a well-run organization and can deal effectively with management issues like economics, finance, business planning, marketing, negotiating contracts, legal issues such as free speech and fair use, applying for grants, and strategic planning, we'll find, is likely to gain more artistic and professional freedom. For-profit and nonprofit organizations are different, and we want to make sure students gain knowledge of the vast range of ways they can make a living in and around the arts. By examining art, music, and theatre worlds, we will discover structures that help foster vibrant artistic communities—but also basic business and entrepreneurship principles applicable in many other contexts, including the entertainment and media industries. We'll meet business and nonprofit leaders (often artists themselves) who bring artists and art lovers together. We'll cover concepts in economics, gain critical reasoning skills, and learn about entrepreneurship, how to start a business, and management as a profession. We'll cover topics like strategic planning, tax and copyright law, prices and markets, promotion and marketing, budgeting, fundraising, job-hunting using social media, and working with employees, customers, and boards of trustees. Financial accounting and budgeting, two skill areas covered in some depth in winter quarter, will use and develop your quantitative and symbolic reasoning skills.Activities in the program will include options for related independent creative work and research on working artists, workshops on how to create and read complex spreadsheets and budgets, career counseling, and a rich mix of critical and creative projects, including a series of visits to local arts organizations and with Evergreen alumni active in many creative endeavors, followed by further research, analysis, and critiques. Each quarter's work will include an optional week of travel and study to a big city in the United States: to New York City during the fall and Los Angeles during the winter. Students unable to travel to these cities can pursue related fieldwork in the Pacific Northwest. By the end of the program we expect you to have developed practical skills in financial literacy and career-building, be able to think creatively about ways to connect your own artistic and wage-earning work lives, have an impact on organizations in communities you care about, acquire firsthand knowledge of a diversity of successful arts initiatives, and communicate effectively in the languages of business and nonprofit administration.	Andrew Buchman Lee Lyttle Jon Baumunk	Tue Wed Thu	Freshmen FR Sophomore SO	Fall	Fall Winter
Concert Band- at SPSCC TBA music	Course	FR–SRFreshmen–Senior	2	02	Evening	F 15 Fall				Students in this course will perform a variety of band literature from classic Sousa marches to modern compositions. It is open to all students with proficiency on woodwind brass and percussion instruments. Previous band experience recommended.This class meets at South Puget Sound Community College, 2011 Mottman Road, SW, Olympia, WA 98512, Building 21, room 253.	TBA	Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Concert Band- at SPSCC Scott Pierson music	Course	FR–SRFreshmen–Senior	2	02	Evening		W 16Winter			Students in this course will perform a variety of band literature from classic Sousa marches to modern compositions. It is open to all students with proficiency on woodwind brass and percussion instruments. Previous band experience recommended.	Scott Pierson		Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
The Evergreen Singers Marla Elliott music	Course	FR–SRFreshmen–Senior	2	02	Evening	F 15 Fall				No auditions are needed for this continuing singing ensemble. We learn the basics of good voice production and master songs from a wide range of musical idioms. Members of the Evergreen Singers should be able to carry a tune, learn their parts, and sing their parts with their section. This class requires excellent attendance and basic musicianship skills. Credit will be awarded in Chorus.	Marla Elliott	Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
The Evergreen Singers Marla Elliott music	Course	FR–SRFreshmen–Senior	2	02	Evening			S 16Spring		No auditions are needed for this continuing singing ensemble. We learn the basics of good voice production and master songs from a wide range of musical idioms. Members of the Evergreen Singers should be able to carry a tune, learn their parts, and sing their parts with their section. This class requires excellent attendance and basic musicianship skills. Credit will be awarded in Chorus.	Marla Elliott	Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
The Evergreen Singers Marla Elliott music	Course	FR–SRFreshmen–Senior	2	02	Evening		W 16Winter			No auditions are needed for this continuing singing ensemble. We learn the basics of good voice production and master songs from a wide range of musical idioms. Members of the Evergreen Singers should be able to carry a tune, learn their parts, and sing their parts with their section. This class requires excellent attendance and basic musicianship skills. Credit will be awarded in Chorus.	Marla Elliott	Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Inside and Out: Creative Writing, Sound Art and Psychoanalysis Lynarra Featherly aesthetics literature media arts music philosophy writing	Program	FR–SRFreshmen–Senior	16	16	Day		W 16Winter			In this all-level winter program in experimental creative writing, sound art and psychoanalysis, we will study the sounds and markings of internal thought and affect in the forms we find them in the world, as externally expressed. We will employ several modes of theoretical, critical, and creative inquiry and expression, listening for and bringing forth our internal processes in both creative and critical products. In our work together, we will ask how do the sounds and markings of language and the language of sound shape our creative and critical output. In our writing and sound collage work, we will explore how collecting, shaping and re-shaping found language and sound might bring the surprise of self-recognition, strike a familiar chord. We will ask how working within the constraints of found or overheard material might disrupt our ability to fully articulate who we imagine ourselves to be. In an attempt to produce creative work differently, our creative writing and sound art will take up experimental procedures, e.g., using source texts and sounds as material to manipulate, distort, transform and otherwise “translate” using combinatorial play, re-structuring or de-structuring. Our psychoanalytic, literary, sonic and poetic interlocutors will likely include Kristeva, Lacan, Žižek, Michel Chion, Gertrude Stein, John Cage and Emily Dickinson.Throughout the quarter, we will closely read psychoanalytic texts as well as texts in critical, literary and sound theory. We will engage these works in seminars, small groups, lectures, and reading sessions. Our work in this program will also include a substantial art and writing studio component. Students will spend the quarter working on one sustained creative writing project and one sustained sound art project. To those ends, students will receive ample training in sound technology and guidance in working with source texts and sounds.	Lynarra Featherly	Mon Mon Tue Tue Wed Thu Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Irish Drama in Theory and Practice Sean Williams and Walter Grodzik cultural studies music theater	Program	FR–SRFreshmen–Senior	16	16	Day			S 16Spring		This all-level one-quarter program engages Irish drama in terms of both its content and its context. Our explorations will encompass plays and ideas from the 19 century Anglo-Irish period through Ireland’s post-colonial time of nation-building, and the edgy works of contemporary playwrights. We will also examine aspects of Irish-American dramaturgy and playwriting. The study of various social issues as Irish (-American) identity, and religious, class, sexuality, gender, and family dynamics will all be part of what informs our studies this quarter. Weekly activities will include reading plays, participating in workshops and other hands-on activities, and developing skills in critical analysis through classroom discussions, films, and lectures. Because working with every aspect of the theatre requires public risk-taking, students should expect to be on their feet and in front of their peers from the first day of class. The faculty have an inflexible policy regarding timely and attentive participation, and assume that each student already has college-level writing skills.	Sean Williams Walter Grodzik	Mon Tue Tue Tue Wed Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Irish Language and Song Sean Williams cultural studies language studies music	Course	FR–SRFreshmen–Senior	2	02	Weekend				Su 16 Session I Summer	The Irish language (Gaelic) has a number of complex rules (grammar, spelling, pronunciation) that are remarkably easier when the language is spoken, sung, conversed in, joked with, and celebrated. We will work our way through the rules by singing gorgeous songs in the Irish language, making small talk with each other, doing exercises designed to smooth the way in Irish conversations, and figuring out how and why "go raibh maith agat" means "thank you." We'll meet just once a week on Saturdays, but you will have access to online resources and exercises to keep things fresh during the week. By the end of the session you will be able to sing about a dozen songs and engage in small talk.	Sean Williams	Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Jazz Ensemble - at SPSCC James Schneider music	Course	FR–SRFreshmen–Senior	2	02	Evening	F 15 Fall				This class provides the instrumentalist with an opportunity to study, rehearse and perform selected jazz music, and is open to students who have the ability to play a wind instrument. Students will develop skill in musical improvisation. Participation by “non-music majors” is highly encouraged. Students must have the ability to read music and have basic knowledge of music theory and ability to play a jazz instrument. College drums and piano will be used. Otherwise, students are expected to use their own instruments. If you’re uncertain whether your instrument is appropriate for this ensemble, contact faculty. Fees payable at SPSCC: $10 for music Faculty: James Schneider NOTE: 2011 Mottman Road, SW, Olympia, WA 98512, in Building 21, Room 253, Tuesday evenings from 5:30 to 8:30 p.m. BOOKS: If a text is required students will need to purchase texts for this course from the SPSCC bookstore. The book list can be found on the bookstore website under the course Musc 134.	James Schneider	Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Jazz Ensemble - at SPSCC James Schneider music	Course	FR–SRFreshmen–Senior	2	02	Evening		W 16Winter			This class provides the instrumentalist with an opportunity to study, rehearse and perform selected jazz music, and is open to students who have the ability to play a wind instrument. Students will develop skill in musical improvisation. Participation by “non-music majors” is highly encouraged. Students must have the ability to read music and have basic knowledge of music theory and ability to play a jazz instrument. College drums and piano will be used. Otherwise, students are expected to use their own instruments. If you’re uncertain whether your instrument is appropriate for this ensemble, contact faculty. Fees payable at SPSCC: $10 for music Faculty: James Schneider NOTE: 2011 Mottman Road, SW, Olympia, WA 98512, in Building 21, Room 253, Tuesday evenings from 5:30 to 8:30 p.m. BOOKS: If a text is required students will need to purchase texts for this course from the SPSCC bookstore. The book list can be found on the bookstore website under the course Musc 134.	James Schneider		Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Jazz Ensemble - at SPSCC James Schneider music	Course	FR–SRFreshmen–Senior	2	02	Evening			S 16Spring		This class provides the instrumentalist with an opportunity to study, rehearse and perform selected jazz music, and is open to students who have the ability to play a wind instrument. Students will develop skill in musical improvisation. Participation by “non-music majors” is highly encouraged. Students must have the ability to read music and have basic knowledge of music theory and ability to play a jazz instrument. College drums and piano will be used. Otherwise, students are expected to use their own instruments. If you’re uncertain whether your instrument is appropriate for this ensemble, contact faculty. Fees payable at SPSCC: $10 for music Faculty: James Schneider NOTE: 2011 Mottman Road, SW, Olympia, WA 98512, in Building 21, Room 253, Tuesday evenings from 5:30 to 8:30 p.m. BOOKS: If a text is required students will need to purchase texts for this course from the SPSCC bookstore. The book list can be found on the bookstore website under the course Musc 134.	James Schneider		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Knowing the World through Thought, Sound, and Vision Joseph Tougas, Pauline Yu and Sean Williams biology cultural studies marine science music philosophy philosophy of science visual arts	Program	FR ONLYFreshmen Only	16	16	Day	F 15 Fall	W 16Winter			This first-year program focuses attention on the idea that each of us has a unique way of understanding the world because of the contexts to which we have been exposed. What is your context? How has it shaped the ways you interact with humans, institutions, and the natural world? Considering these questions opens the idea of having not just one, but several lenses through which we have built our understanding: we use all of our senses in addition to larger societal, linguistic, and biological structures to inform and guide us. The languages we use and the social structures in which we live can be thought of as systems of representation—tools that living organisms can use to get a grip on reality. In the case of language, we might say that is the material we have to work with, ( ) is the order in which we can combine those materials, and is the place where language becomes meaningful or useful. Other systems of representation—in music, visual art, and science, for example—have similar structures. How do you make sense of the world when your “lived vocabulary” includes rhythms and notes, shapes and lines, molecules and ecosystems, or color and light? How does your picture of the world change when your epistemology—your way of knowing—includes multiple systems of representation and is not limited to just words and syntax? In learning by doing, we will explore how artists use geometry and math, how musicians use physics, and how scientists engage the mystery of their environment. We will examine these systems of representation and develop new ones through creative play to explore the range of human experiences.Weekly activities will include lectures, films, and seminars. There will also be field trips in each quarter, workshops, collaborative presentations, and guest lectures. Students are expected to focus on enhancing their college-level writing skills throughout the program; each quarter's major writing assignments will require students to master the process of revision. In fall quarter, students will be introduced to important skills in approaching this material through multiple modes; issues of perspective, critical analysis, and context are important factors in deepening our understanding. As we move into winter quarter, students will have more chances to develop individual and collaborative projects focusing on particular areas of interest.	Joseph Tougas Pauline Yu Sean Williams	Mon Mon Tue Tue Wed Wed Thu Thu	Freshmen FR	Fall	Fall Winter
Multitrack Audio Production Terry Setter media arts music	Program	FR–SRFreshmen–Senior	16	16	Day				Su 16 Summer	This class provides instruction in the use of digital recording studio equipment, microphone design and placement techniques, mixing console design, signal flow, monitoring techniques, room acoustics, and signal processing. There will be written assignments based upon readings in Huber's , and students will present research on topics related to audio production. In addition to the in-class activities, students will do at least 50 hours of recording and familiarization work in teams of two people each. We will record local musicians and produce finished mixes of the sessions.	Terry Setter	Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Multitrack Composition I, II, III Peter Randlette media studies music Signature Required: Fall Winter Spring	Course	JR–SRJunior–Senior	4	04	Evening	F 15 Fall	W 16Winter	S 16Spring		Multitrack Composition is the study of audio technology and its role in changing the art of music composition and production. This three quarter long continuing class is concerned with the use of modern recording technologies as instrument. The use of signal processing, tape/computer based manipulation, and the structure of multitrack recorders and audio consoles allow a great number of techniques to be created on the fly to generate, modify, and document musical sound. Fall quarter will be spent reviewing operation, design and application of the campus facilities to gain common skill levels and technical knowledge, and complete proficiency in the Communications Building API1608 and Neve 5088 studios and associated facilities. The course is for musicians and engineers who want to develop compositional, technical and collaborative skills in modern production. This is a lab course with limited (20) positions available. Please make sure you complete an application and speak with the sponsor regarding your skills. If you have any questions, please contact the sponsor.	Peter Randlette	Tue	Junior JR Senior SR	Fall	Fall Winter Spring
Music Addressing Complexity: Countershapes, Counterpoints, and the Resistance to Homophony Arun Chandra aesthetics computer science media studies music Signature Required: Winter	Program	JR–SRJunior–Senior	16	16	Day	F 15 Fall	W 16Winter	S 16Spring		Western European music has had a long development of simultaneous complexity, from the introduction during Medieval times of independent voice leading, to the multi-voiced complexity of Gyorgi Ligeti's in the 1960s. is the presence of multiple, independent musical voices, where the differences of each voice emphasize the differences of the others. It is the opposite of , in which musical lines are hierarchically bound to one another, harmonically and metrically, as in a barbershop quartet. From the 1920s through the 1940s, the anthropologists Gregory Bateson and Margaret Mead studied the cultures of the South Pacific, as well as those of North America and Europe. They traced and articulated the differences between cultures, while noting the simultaneous shared properties held between them. In the 1940s, Bateson and Mead (along with Heinz von Foerster, W. Ross Ashby, and others) began what was later called cybernetics. In our program, we will be reading papers by Bateson, Mead, von Foerester, and others. We will study the mathematical theory of information and create compositions in sound that mirror and address the complexities that these scientists wrote about, by means of the musical techniques of polyphony and voice-misleading.We will also investigate and learn how to program in the C programming language under the Linux operating system, in an attempt to create acoustic events that might begin to match the complexity of our own times, using polyphony, and study the ideas of counterpoint as shown in the compositions of J. S. Bach, Arnold Schoenberg, Gyorgi Ligeti, and contemporary composers.  During the first quarter, we'll study the basics of C programming, getting familiar with the fundamentals of digital synthesis and the Linux operating system. Projects will include the creation of single-channel sound files and learning about the fundamental waveforms, additive synthesis, mixing, and frequency modulation. By the second quarter, we'll expand the work to include two-channel sounds, algorithms for equal-power panning, filtering and granular synthesis. In the third quarter, students will create 8-channel compositions, study direct waveform synthesis, and utilize all the algorithms that we studied through the year. Throughout the year, students will also be expected to write and perform vocal exercises in musical counterpoint, which they will perform in groups.There will be regular listening sessions, musical projects, and writing assignments using the writings of cyberneticians as models. The program will attend concerts of music in Seattle and Portland and give a public concert of our final compositions.	Arun Chandra	Tue Tue Wed Thu Thu	Junior JR Senior SR	Fall	Fall Winter
Music Creation and Performance Terry Setter and Andrea Gullickson music	Program	SO–SRSophomore–Senior	16	16	Day		W 16Winter			This quarter-long program will investigate the relationship between music composition and music performance. The program structure mixes independent work in music with weekly lectures, seminars, and performance workshops. Students will compose original pieces that explore contemporary compositional techniques and work to improve their performance skills. The program is for experienced composers and performers. It is not a course in songwriting, beat making, or popular music. The goal of the program is for students to become better composers and performers. To do this, we will have weekly workshops in performance practice, as well as composition forums to review and help the members of the group refine their ideas. Students will work to develop greater understanding of the qualitative aspects of listening and how music “functions” in their lives. We will read texts that deal with established contemporary compositional techniques, such as , by David Cope, as well as recent findings related to the effects of music on the body. We will also read texts related to various aspects of performance, such as , by Pedro de Alcantara. These readings will help students build vocabulary and a broad spectrum of approaches to our work. They will also help us develop useful critical skills. All students will select a topic for a 20-minute formal research presentation that will be presented orally during week 9 as the culmination of their independent work during the quarter. There will be an overnight retreat during which guest musicians will work with the students and share information about their approaches to the creation and performance of music. There will also be a public concert of original pieces at the end of the winter quarter.	Terry Setter Andrea Gullickson	Tue Tue Wed	Sophomore SO Junior JR Senior SR	Winter	Winter
The Nature of Music: Patterns, Paradox, and Possibilities Andrea Gullickson music	Program	FR–SRFreshmen–Senior	16	16	Day	F 15 Fall				.” – Margaret Mead – Brian Greene The human brain seeks comprehension through the identification of patterns. Yet while we seek predictable organization, we also crave the excitement of the unexpected. Could an examination of this paradoxical human desire increase our understanding of the powerful role music plays in the lives of individuals and the communities in which they live? In this program, we will examine the many layers of patterns that fill our music as well as the unexpected disruptions within those patterns that captivate our imagination. We will consider corresponding patterns in the natural world and other human endeavors in order to better understand our environment, our place in it, and the role of art in shaping our experiences.Our work with progressive skill development will require physical immersion into the practices of listening, moving, and making music. Theory and literature studies will require the development of a common working vocabulary, writing skills, quantitative reasoning, and critical-thinking skills. Weekly activities will include readings, lectures, seminars, and interactive workshops designed to encourage students to expand and meld their creative interests within an intellectual infrastructure. Performance workshops will provide opportunities to gain firsthand understanding of fundamental skills and concepts as well as the transformative possibilities that exist through honest confrontation of challenging experiences. Writing workshops and assignments will encourage thoughtful consideration of a broad range of program topics. This balanced approach to the development of physical craft, artistry, and intellectual engagement is expected to culminate in a significant written and performance project.	Andrea Gullickson	Mon Wed Thu Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Of Blood and Beauty: The Thought, Literature, and Art of German-Speaking Cultures Marianne Bailey, Marianne Hoepli and Kathleen Eamon aesthetics art history cultural studies international studies language studies literature music philosophy psychology theater Signature Required: Winter	Program	SO–SRSophomore–Senior	4, 12, 16	04 12 16	Day	F 15 Fall	W 16Winter	S 16Spring		Our program will explore the productive paradoxes of Germanic sensibilities by working through foundational works in literature, philosophy, psychoanalysis, music, and visual arts from German-speaking thinkers and makers. We will be especially concerned with the unmistakable coexistence of a drive toward order, structure, technology, and systems, with an equally persistent melancholy, deep inwardness, and mysticism. Goethe’s is written in German; so, too, is the Dada The philosophical systems of Kant and Hegel, for example, feed Nietzsche’s critical tongue. Freud and the psychoanalytic tradition name and analyze the chaotic forces of human depths decades after German Romantics intimated and sang praises of that darkness, figuring its caves, jewels, and labyrinths in their poems and paintings. The operatic wave of Wagnerian ritual “Gesamtkunst” (total art) joins, in the German canon, the ethereal choirs of medieval mystic, Hildegard of Bingen, and the perfect symmetry of a piece from Mozart. We will ask what in this dual mentality allowed the rise of fascism, and how the artists and thinkers who opposed it and came of age in its wake were radically changed in their understanding of their language, their work, themselves, and their notions of art and of humanism. In fall and winter quarters, we will work across a long history, drawing from the Medieval and Renaissance eras with the aim of better understanding German Romantic literature, art, and philosophy of the late 18th and 19th centuries, and studying that period in turn so that we can approach works from 20th-century moderns, as well as works by outsider artists found in the fringe galleries and theaters in contemporary Berlin. Language study (beginning and intermediate) will be integral to our work for all students who plan on traveling to Germany in spring quarter. Spring quarter will include further language, philosophical, and cultural study, as well as significant individual project work. Students may elect to travel to Germany for nine weeks of field study, first in Berlin for intensive language and cultural studies, and then on excursions into, for example, Austria, Switzerland, and southwestern Germany during students’ “ (walking time). In Berlin, we will continue our historical trajectory with an emphasis on works of post-modernity and the situation of the contemporary European and world city, studying Berlin’s art, music, drama, and architecture. During the students will pursue their self-designed curriculum incorporating travel and cultural research; a portion of winter quarter will be devoted to developing those projects. Students on campus will engage a version of the all-program syllabus while developing their own individual projects with the support and help of faculty and one another. These students will have their own version of the when they can make field trips of their choosing. These might include touring independent poetry publishers, traveling to a nearby or distant museum or archive important to their research, or wandering the mountains or seashore reading and writing about the German Romantic poets and thinkers like Nietzsche, Novalis, or Hesse. All students will join together at year’s end to present their spring experiences and projects. This program will offer advanced work in the humanities and excellent preparation for graduate work.	Marianne Bailey Marianne Hoepli Kathleen Eamon		Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Orchestra - at SPSCC Chip Schooler music	Course	FR–SRFreshmen–Senior	2	02	Evening	F 15 Fall				Musicians proficient on orchestral string instruments will rehearse and perform works from the standard orchestral repertoire, together with students at South Puget Sound Community College. No audition is required. Required fee payable at SPSCC: $45 for orchestra music Faculty: Chip Schooler NOTE: , 2011 Mottman Road, SW, Olympia, WA 98512, Building 21, room 253, Thursdays, from 7-9:30 pm BOOKS: If a text is required students will need to purchase texts for this course from the SPSCC bookstore. The book list can be found on the bookstore website under the course Musc 160	Chip Schooler	Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Orchestra - at SPSCC Chip Schooler music	Course	FR–SRFreshmen–Senior	2	02	Evening			S 16Spring		Musicians proficient on orchestral string instruments will rehearse and perform works from the standard orchestral repertoire, together with students at South Puget Sound Community College. No audition is required. Required fee payable at SPSCC: $45 for orchestra music Faculty: Chip Schooler NOTE: , 2011 Mottman Road, SW, Olympia, WA 98512, Building 21, room 253, Thursdays, from 7-9:30 pm. BOOKS: If a text is required students will need to purchase texts for this course from the SPSCC bookstore. The book list can be found on the bookstore website under the course Musc 160	Chip Schooler		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Orchestra - at SPSCC Chip Schooler music	Course	FR–SRFreshmen–Senior	2	02	Evening		W 16Winter			Musicians proficient on orchestral string instruments will rehearse and perform works from the standard orchestral repertoire, together with students at South Puget Sound Community College. No audition is required. Required fee payable at SPSCC: $45 for orchestra music Faculty: Chip Schooler NOTE: , 2011 Mottman Road, SW, Olympia, WA 98512, Building 21, room 253, Thursdays, from 7-9:30 pmBOOKS: If a text is required students will need to purchase texts for this course from the SPSCC bookstore. The book list can be found on the bookstore website under the course Musc 160	Chip Schooler		Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Producing and Sequencing Music Peter Randlette computer science music	Program	FR–SRFreshmen–Senior	8	08	Day				Su 16 Session I Summer	Computers are now the basic sketchpad for creating music. From recording instruments into them to using software instruments that sound like nearly anything, software allows extremely complex production. This five-week class will familiarize members with the use of computer-based MIDI soft and hardware, synthesizers, and will cover some of the technical ‘mysteries’ which are critical to comprehending their use. Studio production, recording with mics, and basics of audio will be covered. This class is mostly about exploring the musical production process. The only prerequisites are interest in music, some keyboard and/or guitar skill, and curiosity. The class structure will consist of three separate elements. Lecture/Workshop sessions will cover operation of the systems, demonstrating different techniques in a group setting. This will be the time for reviewing readings, presenting questions, and troubleshooting. Students will play back their pieces for feedback and so others can see how different people compose. Individual studio times will be assigned to each student, for trying the different functions of the software, creating short musical ideas to apply learned skills, and experimenting with new techniques. Members will be expected to spend a minimum of two 4 hour blocks in the studio per week. Consulting times will be scheduled to permit students to meet for individual or small group assistance in the studio.	Peter Randlette	Tue Wed Thu Fri	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Readings in Art and Cybernetics Arun Chandra aesthetics computer science music philosophy of science	Course	FR–SRFreshmen–Senior	4	04	Day			S 16Spring		This class will meet once a week to discuss a series of readings that address art, cybernetics, and their interrelationship. The quarter will end with participation in the conference of the (in Olympia) during week 10. The reading list will contain: Students will be asked to write a short paper making connections between the readings.	Arun Chandra	Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Russian, Beginning I, II, III Elena Smith cultural studies history language studies music visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening	F 15 Fall	W 16Winter	S 16Spring		This year-long course is designed to teach students to read the mysterious looking Cyrillic script, write the unique Russian cursive, construct sentences and express themselves in Russian. Students will immerse themselves in the colorful cultural and historical context provided by authentic text, film, music, and visual arts. Exploring selected works by such literary masters as A. Pushkin, L. Tolstoy, and A. Chekhov, to name a few, students will be able to understand not only the specifics of Russian grammar and vocabulary but also the complexities of Russian character and the Russian way of thinking as documented and preserved by outstanding Russian authors.	Elena Smith	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Therapy Through the Arts (daytime) Tacoma Gilda Sheppard and Carl Waluconis aesthetics art history communication consciousness studies cultural studies education media arts media studies music psychology sociology theater visual arts writing	Program	FR–SRFreshmen–Senior	8, 16	08 16	Day and Evening				Su 16 Summer	This program will explore the role that movement, visual art, theater, music, and media can play in problem solving and in the resolution of internalized fear, conflicts, or blocks. Through a variety of hands-on activities, field trips, readings, films/video, and guest speakers, students will discover sources of imagery, sound, and movement as tools to awaken their creative problem solving from two perspectives—as creator and viewer. Students interested in human services, social sciences, media, humanities and education will find this course engaging. This course does not require any prerequisite art classes or training. Students may attend either day or evening sessions; first, second or full sessions for 8 or 16 credits accordingly.	Gilda Sheppard Carl Waluconis	Mon Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Therapy Through the Arts (evening) Tacoma Gilda Sheppard and Carl Waluconis aesthetics art history communication consciousness studies cultural studies education media arts media studies music psychology sociology theater visual arts writing	Program	FR–SRFreshmen–Senior	8, 16	08 16	Day and Evening				Su 16 Summer	This program will explore the role that movement, visual art, theater, music, and media can play in problem solving and in the resolution of internalized fear, conflicts, or blocks. Through a variety of hands-on activities, field trips, readings, films/video, and guest speakers, students will discover sources of imagery, sound, and movement as tools to awaken their creative problem solving from two perspectives—as creator and viewer. Students interested in human services, social sciences, media, humanities and education will find this course engaging. This course does not require any prerequisite art classes or training. Students may attend either day or evening sessions; first, second or full sessions for 8 or 16 credits accordingly.	Gilda Sheppard Carl Waluconis	Mon Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer