A lesson plan for an activity that explores the type of musical form used by the percussion orchestras of Bali.

A basic introduction to recognizing form in music.

This course comprises a broad survey of texts, literary and philosophical, which trace the development of the modern world from the seventeenth to the early twentieth century. Intrinsic to this development is the growth of individualism in a world no longer understood to be at the center of the universe. The texts chosen for study exemplify the emergence of a new humanism, at once troubled and dynamic in comparison to the old. The leading theme of this course is thus the question of the difference between the ancient and the modern world. Students who have taken Foundations of Western Culture I will obviously have an advantage in dealing with this question. Classroom discussion approaches this question mainly through consideration of action and characters, voice and form.

In this video segment adapted from NOVA, dramatic footage of avalanches and animations of ice crystals illustrate how a layer of weakly-bonded snow can contribute to a devastating avalanche.

In this video segment adapted from NOVA, scientists use computer simulations to explore the question of how supercell thunderstorms produce tornadoes.

Kevin Lynch's landmark volume, The Image of the City (1960), emphasized the perceptual characteristics of the urban environment, stressing the ways that individuals mentally organize their own sensory experience of cities. Increasingly, however, city imaging is supplemented and constructed by exposure to visual media, rather than by direct sense experience of urban realms. City images are not static, but subject to constant revision and manipulation by a variety of media-savvy individuals and institutions. In recent years, urban designers (and others) have used the idea of city image proactively-- seeking innovative ways to alter perceptions of urban, suburban, and regional areas. City imaging, in this sense, is the process of constructing visually-based narratives about the potential of places.

This course will introduce you to the field of literary theory by identifying and engaging with the key problems and questions that animate theoretical discussion among literary scholars and critics, including issues pertaining to ideology, cultural value, the patriarchal and colonial bases of Western culture, and more. The student will be acquainted with the basic principles and preeminent texts that have defined many of the major critical debates of the 20th and 21st centuries. Upon successful completion of this course, the student will be able to define both literary criticism and literary theory, and explain the emergence of literature as a discipline of study; identify and discuss classical Greek explanations of the purpose of literature; explain and account for the rise of critical theory in the 20th century, and describe the place of theory in contemporary English and cultural studies; provide a brief overview of the major tenets, practitioners, and ideas of the following critical and theoretical movements and/or schools: Russian Formalism, structuralism, post-structuralism, semiotics, Deconstruction, psychoanalysis, feminism, gender theory, Marxism, Reader-Response paradigms, New Historicism, Post-Colonialism, Ethnic and Cultural Studies, Eco-criticism and Eco-theory and trauma theory; identify and discuss some of the viewpoints opposed to the practice of criticism and literary theory; identify and discuss some of the newly emerging trends in literary theory, such as eco-criticism, trauma theory, chaos theory, game theory, and trans-identity criticism; identify, discuss, and define some of the key literary theories of such major literary and cultural critics and theorists as Plato, Aristotle, Karl Marx, Michele Foucault, Judith Butler, Jacques Derrida, Jacques Lacan, T.S. Eliot, Henry Louis Gates, Sigmund Freud, Carl Jung, Eve Sedgwick, and Frederic Jameson. (English Literature 301)

Through a progressive series of composition projects, this course investigates the sonic organization of musical works and performances, focusing on fundamental questions of unity and variety. Aesthetic issues are considered in the pragmatic context of the instructions that composers provide to achieve a desired musical result, whether these instructions are notated in prose, as graphic images, or in symbolic notation. No formal training is required. Weekly listening, reading, and composition assignments draw on a broad range of musical styles and intellectual traditions, from various cultures and historical periods.

Even young children can be introduced to the basic concepts in musical form, using activities centered around familiar forms.

An introduction to the analysis of tonal music. Students develop analytical techniques based upon concepts learned in Harmony and Counterpoint I and II. Students study harmony, counterpoint, melodic line and motivic relationships at local and large scale levels of musical structure. Three 7-page papers, one revised paper, and one oral presentation required.

Musical form is the wider perspective of a piece of music. It describes the layout of a composition as divided into sections, akin to the layout of a city divided into neighborhoods. In an A-type form, the focus is on continuity; in an A/B-type, on contrast.

""Reading Poetry" has several aims: primarily, to increase the ways you can become more engaged and curious readers of poetry; to increase your confidence as writers thinking about literary texts; and to provide you with the language for literary description. The course is not designed as a historical survey course but rather as an introductory approach to poetry from various directions – as public or private utterances; as arranged imaginative shapes; and as psychological worlds, for example. One perspective offered is that poetry offers intellectual, moral and linguistic pleasures as well as difficulties to our private lives as readers and to our public lives as writers. Expect to hear and read poems aloud and to memorize lines; the class format will be group discussion, occasional lecture."

"This course provides an introduction to important philosophical questions about the mind, specifically those that are intimately connected with contemporary psychology and neuroscience. Are our concepts innate, or are they acquired by experience? (And what does it even mean to call a concept 'innate'?) Are 'mental images' pictures in the head? Is color in the mind or in the world? Is the mind nothing more than the brain? Can there be a science of consciousness? The course will include guest lectures by Professors."

Covers principles and methods for technical System Architecture. Presents a synthetic view including: the resolution of ambiguity to identify system goals and boundaries; the creative process of mapping form to function; the analysis of complexity and methods of decomposition and re-integration. Industrial speakers and faculty present examples from various industries. Heuristic and formal methods are presented. Restricted to SDM students.

Theories about cities and the form that settlements should take will be discussed. Attempts will be made at a distinction between descriptive and normative theory, by examining examples of various theories of city form over time. The class will concentrate on the origins of the modern city and theories about its emerging form, including the transformation of the nineteenth-century city and its organization. It analyzes current issues of city form in relation to city making, social structure, and physical design. Case studies of several cities will be presented as examples of the theories discussed in the class.

Exploration of formal and informal modes of writing nonfiction prose. Extensive practice in composition, revision, and editing. Reading in the literature of the essay from the Renaissance to the present, with an emphasis on modern writers. Classes alternate between discussion of published readings and workshops on student work. Individual conferences. As the course title suggests, this class is meant to acquaint you with the literary and rhetorical tradition of the essay, a genre which has been described by one scholar as "the meeting ground between art and philosophy," and by another as "the place where the self finds a pattern in the world, and the world finds a pattern in the self". Though the essay is part of a tradition of prose which stretches back to antiquity, it is also a thoroughly modern and popular form of writing, found in print media and on the web.

" This course builds on the composition techniques practiced in 21M.303 Writing in Tonal Forms I. Students undertake further written and analytic exercises in tonal music, including a sonata-form movement for string quartet. Students will also have the opportunity to write short works that experiment with the expanded tonal techniques of the late 19th and early 20th centuries. Musicianship laboratory is required."