McClure (1 credit)
Materials Fee: $13.73
Prerequisite: Admission to Fairhaven College; required of all new students in their first quarter of enrollment at Fairhaven.
One credit, one credit is all it takes to teach you EVERYTHING you need to know to be a successful, interdisciplinary, revolutionary Fairhaven College student? As you've figured out already Fairhaven College is a different sort of place. That's why you're here. Most of you haven't experienced an educational system quite like Fairhaven. We get to show you the ropes. We are Fairhaven's Advising Coordinator, Jackie McClure and a cadre of savvy, skilled Peer Mentors. We hope you will leave this class understanding more about why you are in college and what you can do with your time here. Fairhaven College students, faculty and staff congregate by virtue of a shared vision of education. We want to help you experience that vision to better understand it. This class is structured by providing several small group workshops targeted to help de-code the mysteries of the educational practices we use (Writing Portfolio; Transition Conference; ISPs; Evals...) and sharing essential information you need to participate as an informed member of your new community of Fairhaven College and Western Washington University. Texts: Fairhaven College website. Credit/Evaluation: This Fairhaven College Core Class is a graduation requirement. Award of credit will be based on completion of assignments, documented participation in the required class meetings and workshops outlined in the syllabus as well as submission of a narrative self-evaluation. We expect your curiosity, your playfulness, your active engagement, your collaboratory spirit.
Larner (5 credits)
Materials Fee: $14.49
Prerequisite: Admission to Fairhaven College; required of all new student sin their first quarter of enrollment at Fairhaven.
JUSTICE & REVENGE
In this section we will focus on questions of justice and revenge. How does justice get connected with revenge, and what are the consequences for the shape and character of our society? Is it right, or good, to take revenge when someone wrongs you? Is it ok, or even good, to take revenge if someone cheats you, cheats on you, or otherwise hurts you emotionally? Does the answer change if the hurt is also physical? If revenge is a kind of justice, is any other kind satisfying? Are wars "just" when they are fought for revenge? Is there such a thing as a "just" war? Is the death penalty "justified" by arguments about revenge? What would you make of an argument that regards punishment of just about any kind as a foolish response to crime and criminals? How do we know what the right thing to do is? How can we understand what Right (or Rights), and Justice are? We will read moral, legal and social theory, read plays and see films, and ask about how revenge and justice appear in our popular entertainments and whether or not what we find reflects the actual character of our own society.
We will work on and practice writing in a community of writer-scholars, writing and speaking directly for ourselves and for each other, as well as for those beyond the limits of the class. We will practice the art of following and critiquing a sustained argument through its logical development and its testing with practical examples.
Readings will be selected from: JUSTICE: A READER, by Michael Sandell. ARGUING ABOUT WAR, by Michael Walzer; DEAD MAN WALKING, Sr. Helen Prejean; DEBATING THE DEATH PENALTY, ed. Hugo Adam Bedeau; THE DECENT SOCIETY, by Avishai Margolit; DOUBT, by John Patrick Shanley; A POCKET STYLE MANUAL, Diana Hacker, and others. We will also watch the occasional film in class.
Credit/Evaluation: Each student is expected to demonstrate a commitment to the class community, including reliable attendance and preparation for class discussion, as well as prompt preparation and submittal of written work. Learning to work with others to advance the learning of everyone in the group, to assist others when help is needed, and to do one's own best work--all are expected parts of this process collaborative community learning experience.
Materials Fee: $13.73
…people are almost universally unprepared to respond to the vanguard art of our present age. They are indeed unprepared, almost as if they belonged to an earlier century, to acknowledge it as art! --Arthur C. Danto
Today’s artists violate conventions once considered fundamental to art. Art critics and historians struggle to label, categorize, and define contemporary work that is more distinguished by theme than style or aesthetics. Contemporary art work, therefore, requires explanations of the artist’s intention, point of view, and social environment. In this class we will identify the aspects of our modern, changing, and overwhelming society that have stimulated artists to express themselves in new ways and in new media. Contemporary artists ingeniously create works to match the scope, speed, and complexity of current events. Using mediums such as pollen, toxic earth, used dolls, menstrual blood and urine, they respond to the dynamics of the media-permeated environment, the illusions generated by Hollywood and the crisis of a defiled environment. As a result, art work raises such questions as: Is it art if it doesn’t sit on a pedestal or hang on a wall? If it isn’t made by the human hand? If it isn’t the product of an inspired moment? If it isn’t enduring or pleasing? If visual stimulation is not the artist’s primary concern?
Throughout the quarter we will look at various contemporary (1970-2000) American artists who were and still are consistently pushing against institutionalized canons. We will study the art of David Hammons, an African American man who assembles his art from discarded vestiges of the streets of Harlem that White Americans are likely to categorize as debris. His work is molded to reference the lifestyle in Harlem or serve as reminders of this African heritage. Barabar Kruger’s bold black and white photo images incorporating healing and uplifting messages promote gender equity. James Luna, a member of the Luiseño/Diegueño tribe, uses performance art, photography and installation art as means to expose suppressed truths and project fantasies that afflict individuals and whole societies. The study of contemporary art and artists will not only help us to understand the art that exists in museums and galleries but will also enhance our perceptions of modern culture. Students will work to develop personal creativity, practice active and perceptive reading and writing skills, cultivate a keener appreciation of aesthetic objects and events, and acquaint themselves with the critical and analytical skills and techniques of research in the humanities. The goal is to develop a sharper sense and understanding of who you are, why you are making what you are making -- a knowledge which spreads naturally to other parts of your life.
Texts: To be announced, plus photocopied articles.
Credit/Evaluation: Regular class attendance, participation in discussion, completion of two visual art projects, regular journal/sketchbook entries, regular written assignments leading to a final term paper of approximately 10 pages, and development of an understanding of the visual arts as they reflect human experience.
Estrada (5 credits)
Materials Fee: $13.73
Prerequisites: admission to Fairhaven College: required of all new students in the first or second quarter of enrollment at Fairhaven.
This section will explore the process of social identity formation in the United States through the lens of modern social theory.
The goal of the class is to explore multiple perspectives on the formation of the state, individual rights within society, equality as well as the roles and responsibilities of individuals within their respective communities. The class will concern itself with the roots and application of Western ideals of freedom and equity that arguably form the basis for the United States' liberal democracy.
The seminar will outline the origins of the Enlightenment and the basis for "natural" rights and freedoms in conjunction with the derived roles of society and government. We will then examine how the universalist ideals of the liberal Enlightenment have implicitly or explicitly excluded those without property, people of color, and women. We will also define what the "social compact" has meant in different periods of American history, and the relationship of various groups to this compact. Can liberal democracy really provide equal citizenship for workers, women, and people of color? How have the movements of socialism, reconstruction, decolonization, ethnic identity and feminism tried to reformulate and transform the social order?
Texts: Selected Readings and Handouts on John Locke and Adam Smith.C.Lemert, 4th ed., SOCIAL THEORY: THE MULTICULTURAL AND CLASSIC READINGS (Jackson, TN: Perseus Books, 2009) R. D'Angelo & H. Douglas, 8th ed., TAKING SIDES: CLASHING VIEWS ON CONTROVERSIAL ISSUES IN RACE & ETHNICITY (NY: Mc Graw Hill,2011), M.J. Sandel, JUSTICE: WHATíS THE RIGHT THING TO DO (NY: Farrar Strauss and Giroux 2009). Recommended: Zinn, H. PEOPLE'S HISTORY OF THE UNITED STATES: 1492-PRESENT, (NY: Harper Collins, 2003)
Credit/Evaluation: Credit will be granted for regular attendance, evidence of preparation, satisfactory completion of 2-3 written perspective papers, in addition to a group term project and class group presentation. Criteria for evaluation include informed and active engagement in class discussions; informative, relevant group presentation and a term project paper that illustrates a sound grasp of social theory and critical paradigms.
Jack (5 credits)
Materials Fee: $13.73
Prerequisite: Admission to Fairhaven College; required of all new student in their first or second quarter of enrollment at Fairhaven.
Theories and Critiques
This interdisciplinary seminar draws on perspectives of psychology, history, sociology and social theory to examine how societies construct individual lives and social relationships. Among the questions we explore are: What is a social contract? What are the sources of power in our society and how is power reproduced? To understand the foundations of our society, we will read basic theories of Thomas Hobbes, Adam Smith, John Locke, W.E.B. Du Bois, Karl Marx, feminist writings, and a range of others. Since all social theorists base their formulation of the social contract on either an implicit understanding of “human nature,” we will also examine their underlying assumptions about human nature, comparing them to more recent investigations onto the complex territory of human nature. For example, as Hobbes argues, are humans naturally warlike and aggressive? What do contemporary theorists argue? Further, how has the social contract of our society affected women and minority groups? How do a range of critical social theorists, including those who have been excluded and who are writing from different standpoints of power and privilege, inform our understanding of social relationships and responsibility? You can expect to explore some of the most fascinating questions of our society and of our world.
Texts, References, Materials: Reading selections will be available through Blackboard; you are expected to print them out and bring them to class. Requirements for Credit and Criteria for Evaluation Regular, informed participation in class discussion. Students will be asked to lead one class discussion. In addition, two reflection papers will be required. Evaluation will be based on demonstrated understanding of multiple theoretical perspectives presented in the readings and on development of analytical skills.
Takagi (5 credits)
Materials Fee: $13.73
Prerequisite: Admission to Fairhaven College; required of all new student in their first or second quarter of enrollment at Fairhaven.
This course is an introduction to modern social theory focusing on the theme of POWER. By exploring the concept/resource of power, we will learn the various definitions of power, the theories concerning the sources of power, its application and the people who benefit and suffer because of power. We will also explore how the so-called “powerless” survive and even challenge the powerful. Unwittingly, you will become more familiar with and competent in critically reading texts, ideas, and competing theories. You will also learn to evaluate and interpret the experiences and writings of Maria Stewart, Hannah Arendt, Malcolm X, Audre Lorde and others within the context of economic materialism, military force, biological determinism and Foucaldian theory.
Competencies gained: Critical reading skills; critical writing skills; the ability to compare and contrast competing theories and ideas.
Texts: There are no texts to purchase. Everything is either on-line through Blackboard, or through established websites.
Credit/Evaluation: 1. Timely and consistent attendance; only 2 absences will be allowed. If you miss more than 2 times, you will not receive credit unless it is an emergency. 2. All readings must be completed on the date it is listed on the syllabus. You must be prepared to discuss the readings in class. 3. 2 papers (4 pages each) with 1 rewrite of each paper.
Tuxill (5 credits)
Materials Fee: $14.49
This course studies “biodiversity.”
Bio-what? The diversity and richness of life on earth, that’s what. Do you like to eat all kinds of fruits, vegetables, meats, or spices in your daily diet? Thankful for fast-acting medicine—or maybe a soothing herbal tea—when you’re sick? Appreciate a good roof over your head when its raining, and an inspiring view of mountains and forests when its sunny? You can thank biodiversity for all of that. Over the past two decades, biological diversity—including the variety of living organisms and ecological patterns in nature--has emerged as a key concept for how scientists, philosophers, and many others think about the environment and our place in it. The future that we determine for biodiversity will play a crucial role in the health of our planet and the sustainability of our communities and society. This course has two primary goals. First, investigating the conservation of biodiversity provides an opportunity to gain greater insight into the scientific method, for learning how to evaluate and comprehend scientific work, and for understanding the relationship between science and societal goals like sustainability. The second goal is to explore biodiversity conservation in the United States and worldwide. Students will begin by learning how biodiversity is defined, measured, mapped, and conceptualized by biologists and other scientists. Among the questions central to our subsequent discussions are: What are the benefits that biodiversity provides for human communities and societies? How can biodiversity serve as a touchstone for critical thinking about human evolution and ecological sustainability? In exploring both threats to biodiversity and the ways that people and institutions are attempting to conserve it, we will examine underlying assumptions about globalization, sustainability, and environmental preservation. Class readings and discussions will encompass global patterns and case studies, but we also will give particular attention to understanding biodiversity and its interrelationships here in the Pacific Northwest.
Texts: CASCADE-OLYMPIC NATURAL HISTORY by Mathews, and BIOPHILIA by Wilson. Additional reading assignments on Blackboard.
Credit/Evaluation: Regular attendance and informed contribution to discussions is essential. Students also will 1) prepare a presentation and paper on the biodiversity of the Pacific Northwest; 2) keep a field journal; and 3) complete a final take-home essay exam.
Symons (5 credits)
Materials Fee: $11.06
What is justice? Do the legal systems of the United States provide it? This course is an introduction to the federal, state and tribal legal systems. We will look at the common law (cases written by judges), statutes, and the U.S. Constitution. Over the course of the quarter, students will learn how to read and analyze cases and statutes and use legal reasoning techniques to make legal arguments. We will consider the role of attorneys and judges in society and the role of the legal system in society as one of our most critical institutions. Throughout the quarter we will ask how/whether the legal systems provide access to justice. In this course, we will focus on the development of the Constitutional Rights as seen through Supreme Court decision. We will read the cases developing the constitutional rights, as well as the cases limiting them. By the end of the quarter, students will have a thorough understanding of Constitutional rights and be able to analyze the possible directions the U.S. Supreme Court might take in upcoming cases. We will look closely at how changes to the make up of the Court impact the analysis of legal issues. This course is a required prerequisite for all upper division law-related courses.
Text: LAW 101: EVERYTHING YOU NEED TO KNOW ABOUT THE AMERICAN LEGAL SYSTEM, by Feinman. There will be a course reader required for this course as well (articles will be posted on Blackboard). Credit/Evaluation: In order to receive credit for this class, every assignment must be turned in. In addition, excellent attendance will be required (missing more than two classes may result in no credit). Evaluations will be based upon successful completion of assignments, attendance, and class participation.
Takagi (3 credits)
Materials Fee: $13.23
Also offered as AMST 205.
This is an introduction to the history and experience of Asians in America. This class will explore the factors for immigration, working and living conditions of Asian laborers in this country, and the social relations between the minority and majority, as well as those between the various Asian ethnic groups. Lectures, the readings, creative projects and documentary films will help illuminate the trials, tribulations, and the resilience of Asians on these shores. Texts: STRANGERS FROM A DIFFERENT SHORE by Takaki; Yen Le Espiritu, ASIAN AMERICAN WOMEN AND MEN by Le Espiritu (2008 version); and articles on Blackboard and on-line through Wilson Library database. Credit/Evaluation: A. 9 in-class quizzes, each worth 10 points. Quiz 9 will be worth 20 points. (Total 100 points) B. 1 paper (10 pages) This is a joint project. This paper is worth 33.3% of the total grade. (Total 100 points) C. Take home exam. This exam is worth 33.3% of the total grade. (Total 100 points)
Additional Requirements: Regular attendance. A single absence will result in mean glances and exasperated sighs. Two absences will result in a 10-point loss (Example: from 187 to 177). More than 2 absences will be an automatic failure. For Fairhaven students, two absences will be reflected poorly on your evaluation. More than two absences will result in an automatic failure. Should there be some special circumstances, please notify me as soon as possible.
Hazelrigg-Hernandez (3 credits)
Materials Fee: $13.23
This course will examine the socio-political, cultural and institutional structures directly impacting Latino/a-Chicano/a-Hispano-a populations within the United States and will provide an introduction to the historical and contemporary development of the Latino/a community. An interdisciplinary approach will be taken as we focus on such topics as education, immigration, economic stratification as well as urbanization. Special emphasis will be given to the evolution of the roles of Chicanas/Latinas, as well as the development of social protest and social change within the barrio setting. Texts: FROM INDIANS TO CHICANOS: THE DYNAMICS OF MEXICAN AMERICAN CULTURE by Vigil; MASSACRE OF THE DREAMERS: ESSAYS ON XICANISMA by Castillo.
Credit/Evaluation: The course will meet two times a week. Attendance is mandatory unless cleared by the instructor ahead of time or in the case of illness. The course will consist of lectures, discussions, videos and guest lecturers. The course is cross listed with AMST 203 and Fairhaven students will be evaluated in the Fairhaven manner rather than receiving a final grade for the course. Evaluation is based on participation in classroom discussions, two perspective papers, one midterm exam and a group term project paper and oral presentation.
Cornish (4 credits)
Materials Fee: $14.37
There are days when you go out into the bright spring fields with the blue halter, the thick length of rope with its sky-and-cloud braiding, even the bucket of grain-- all corn-and-molasses sweetness, the maraca sound of shaken seduction-- and the one you have gone for simply will not be caught…. Jane Hirshfield The poet Jane Hirshfield reminds us that writing is like trying to slip the halter on a horse that shies away. We’ve all known the frustration of trying to capture in words––get down on paper–– what it is we want to say. If it’s difficult to please ourselves when we write, what happens when we try to meet the expectations of others as well? In this class, we make a community of writers willing to share both the excitement and fear of writing––an excitement and fear that are present in any act of discovery. And all good writing is discovery. In this class, you’ll throw yourself into the writing life. You’ll find your own ideas as you write informally in an ongoing journal; you’ll read carefully the ideas of others and explore how to express your responses in papers that interpret or persuade or analyze. With your peers, you’ll critique and revise––helping each other get ever nearer to the clear-minded, clear-worded beauty of good prose (that tricky horse!).
Text: A Pocket Style Manual (Hacker); others as announced
Credit/Evaluation: Students are expected to make a commitment to our writing community, bringing with them an absolute respect for the potential of each voice––their own as well as that of others. They’ll participate in the growth of those voices by: completing all writing assignments and rewrites; studying all assigned readings; taking an active part in class discussions and peer critiques. The nature of workshop is collaborative and supportive—dare I say loving? Attendance is required: more than three absences and you will not receive credit for the class. Writing will include personal essay; interpretive essay; informal persuasive essay; analytical essay; papers of argument and research.
Tag (1 credit)
Materials Fee: $7.20
“What is a comma but a claw rending the sheet, the asthmatic’s grasp? What is a question mark but what’s needed to complete this thought? Punctuation: what is it, after all, but another way of cutting up time, creating or negating relationships, telling words when to take a rest, when to get on with their relentless stories, when to catch their breath?”—Karen Elizabeth Gordon
If you care even the least whit about how you write, this is a class for you. We will certainly examine the rules and principles of English composition, including grammar, punctuation, word usage, sentence construction, and strategies for proofreading and revision. But such examinations are sometimes dull, stuffy, self-righteous, and boring. Ours will attempt a more stylish exploration of written style, like trying on hats in a haberdashery, or hounding the hobgoblins from our foolish consistencies, or swinging outward on a swaggering buccaneer’s highest rope. Will it be dangerous? Of course! An education should be. So come all ye word-sick, word-loving, word-puzzled pilgrims. Bring your grammatical contusions and confusions. Your punctuated paralysis. Your fears of saying what you have to say, clearly, directly. Together we will try to unlock the mysteries of writing with style (or at least help decide when to use a dash—when parentheses). We will un-dangle our modifiers, un-awk our words. All are welcome to take this course. This will be a fun and challenging one-credit course, hopefully helping each of us get out of our one-horse towns, tilt at a few windmills, and learn what there is to learn in the wide, wide world of writing well.
Text: A DASH OF STYLE, by Lukeman
Credit/Evaluation: Faithful attendance. Active participation in all in-class writing exercises. Quality and completion of weekly writing assignments. Presentation of a special project.
Bornzin (3 credits)
Materials Fee: $14.49
Note: This class will be coordinated by Fairhaven College and/or Huxley students under the supervision of Professor Bornzin. For guidelines for such courses, see the "Student Guide to Fairhaven College."
The field of human ecology explores relationships between human systems and the environment. Such systems may be considered sustainable if they are maintained and renewed through internal processes and external interactions which are non-exploitative and do not rely on non-renewable resources. This class explores the concept and physical reality of sustainability through shared reading, group interaction, and the development of new skills. The class is intended to further students' awareness of their own ecological relationships, and to enable students to live more simply, in greater harmony with the environment. The most basic human activities of growing and gathering food and herbs, creating shelter, restoring and maintaining the natural environment, and developing cooperative communities are examined in light of the principle of sustainability. Consumerism, technology, food, agriculture, and the many faces of change will be addressed and discussed in a comfortable yet challenging group environment. Academic studies, including models of sustainable development and appropriate technology, complement the learning and practice of practical skills such as making compost and growing vegetables using the five-acre Outback Outdoor Experiential Learning Site.
Text: Discussions will be based on readings available on-line, and on individual student research. Readings vary each quarter according to the interests of the class, but typically include articles such as Wendell Berry, "Waste"; Gary Snyder, "Four Changes" Gary Paul Nabhan, Food, "Health, and Native American Agriculture"; David McCloskey, "Cascadia"; Dana Jackson, "The Sustainable Garden"; Susan Griffin, "Split Culture"; Peter Berg," A Green City Program"; and selections from STAYING ALIVE by Shiva, ONE STRAW REVOLUTION by Fukuoka, IN THE ABSENCE OF THE SACRED: THE FAILURE OF TECHNOLOGY AND THE SURVIVAL OF THE INDIAN NATIONS by Mander, and ECO-JUSTICE: LINKING HUMAN RIGHTS AND THE ENVIRONMENT by Sachs.
Credit/Evaluation: Students are expected to attend regularly and to participate actively in the class discussions, exercises, and outdoor projects. For experiential learning to be successful, students must be present and engaged. Students will also be required to write one five-page research paper on a related topic, or a reflection paper on a service learning experience of their choice, and make a brief presentation of their topic or experience to the class.
Bornzin (4 credits)
Several years ago, in a large dietary study undertaken in the State of Minnesota, researchers were shocked to find a statistically significant correlation between the eating of oatmeal and stomach cancer. Imagine the headlines: OATMEAL CAUSES STOMACH CANCER! On further investigation, however, they discovered that many people with stomach cancer liked to eat oatmeal because it was easy on their stomachs. So eating oatmeal didn't cause cancer; cancer caused eating oatmeal! Correlation does not imply cause. Statistics are all around us every day--in the newspapers, on TV, in textbooks in practically every field, in medical research, in environmental studies, in political decisions, in public debate. Statistics are used and abused in nearly every argument, court case, and cause. At times we may be deceived by an improper use of statistics or by our own uncritical acceptance, and find ourselves believing or acting on a false claim. At other times, we may be so saturated with statistics or so cynical about their reliability that we just dismiss them with the cliche', "you can prove anything with statistics." Some people are downright stats-phobic, disempowered by immediately shutting down in every encounter with statistics. The objective of this class is to help develop a stronger critical understanding of statistics and statistical arguments, their strengths and weaknesses, uses and abuses, to diminish the chance of being deceived by them and to increase confidence in dealing with them. Through examples, exercises, case studies, and projects linked to real-world realms of interest such as social, environmental, and health issues, we will gain familiarity with terms, concepts, and techniques ranging from graphing to hypothesis testing.
Texts: Required: STATISTICS: A SELF-TEACHING GUIDE, by Koosis. Recommended (available on reserve): 100 WAYS OF SEEING AN UNEQUAL WORLD, by Sutcliffe; DAMNED LIES AND STATISTICS: UNTANGLING NUMBERS FROM THE MEDIA, POLITICIANS, AND ACTIVISTS, by Best; HOW TO LIE WITH STATISTICS, by Huff, 1954 (a real classic!), STATISTICS: CliffsQuickReview, by Volker, et al.
Credit/Evaluation: Students are expected to attend regularly, participate actively in class discussions and exercises, complete reading assignments and homework exercises, bring several examples to class of the uses of statistics in their particular fields of interest, and complete and present to the class a project (preferably with a small group) which involves forming and testing a hypothesis, the gathering of data, the creative use of graphical techniques, and the use of statistical techniques.
S'eiltin (4 credits)
Materials Fee: $21.13
*This course is being co-taught with Fair 351W Printmaking Narratives
In this studio art class we will explore various skills and techniques in relief printing. A relief print is created by carving into a surface that yields an image by inking only the raised areas. This technique can be applied to a wide variety of surfaces, which are considered plates. We will begin by carving into linoleum blocks, and later work with wood and plexiglass. Of all the forms of expression in printmaking, the relief print is the most ancient. In the process of creating relief prints we will also explore some of printmaking’s rich history. The primary focus of this class will be relief printing and its history, but we will also create and combine experimental printing techniques. Monotypes and collographs are some of the alternative printing methods that will incorporated with relief techniques. Also emphasized in this class will be the importance of content and visual narratives. Students will be encouraged to create images based on a theme of their choice. Personal themes will be developed throughout the quarter with feedback form classmates and instructor. The goal is to create images that successfully reflect a particular subject matter.
Text: THE COMPLETE PRINTMAKER by Romano.
Credit/Evaluation: Final prints will be critiqued twice a week. Final evaluation is based on the student’s ability to break creative boundaries and to produce technically skilled prints that successfully reflect the development and refinement of a specific subject matter or theme.
Materials Fee: $7.52
This course combines playing traditional folk music with the study of the contexts in which folk music has evolved. For this quarter, the course will focus on the history of blues music. Students will be expected to participate in discussions on the book Turn! Turn! Turn!: The '60s Folk-Rock Revolution during the first five weeks of the course. The class will choose several tunes to practice together over the course of the quarter. In addition, each student will also be asked to introduce one song to the class that enriches our knowledge of folk music or the context within which folk music has been written and performed. We will encourage, but will not require, that these songs come from the ‘60s folk tradition. Students will write a short research paper that forms the basis for their presentation on the song and its context. Students will also be responsible for learning and practicing the songs that are presented to the class, including practice in small groups. Students are encouraged to gain practice at playing one or more folk music instruments during the course, and are invited to join the course even if they are beginners at playing an instrument or if they prefer to just sing.
Texts: RICHIE UNTERBERGER: TURN! TURN! TURN!: THE '60S FOLK-ROCK REVOLUTION.
Credit/Evaluation: Regular attendance and participation in our weekly sing, informed participation in class discussions, one short research paper and song presentation, and practicing music in a small group. Writing in this course: One draft of a one page single-spaced research paper.
Rowe (3 credits)
Materials Fee: $3.33
Also offered as AMST 202
An introduction to the indigenous people of what is now the United States through an examination of American Indians’ cultures, histories, and governments. Focuses on sovereignty (self-government, legal jurisdiction, land claims), treaty rights (fishing, hunting, gathering), Indian/White relations (stereotypes, sports mascots, discrimination), education (ethnic fraud, under-representation), and economic development (casinos, tourism, mineral extraction). Employs lectures, readings, films, discussions, and activities. Students will write short response papers and an essay on the assigned novel.
Texts: Required: THE NATIVE PEOPLES OF NORTH AMERICA by Johnasen; and FOOLS CROW by Welch.
Credit/Evaluation: Evaluation for purposes of granting credit will be based on regular attendance, meaningful participation in discussions, completion of assignments, completion of midterm and final exams, and quality of writing.
Miller (2 credits)
Materials Fee: $49.89
This class will introduce basic camera use and video editing in the digital medium. Students will script, shoot, and edit 5 assignments using Final Cut Pro. Projects range from a 30-second commercial to a 3-5 minute final video on the student's choice of topic. The assignments are set up to encourage individual creativity & personal editing styles.
Texts: Optional, but recommended, FINAL CUT PRO 5 FOR MACINTOSH by Brennies. Students will need to purchase 5 mini DV tapes at a cost of about $25.
Credit/Evaluation: Completion of assignments, participation in class, attendance, and understanding gained from the class assignments.
Vita (4 credits)
Materials Fee: $71.39
Audio Recording Techniques I explores the techniques, tools, and technology used in multi-track recording. From a beginner's perspective, this course follows the recording process starting with the tracking session, then the overdub session, and through the mix-down session. By examining the various pieces of the recording process students will learn the concepts and skills necessary to use studio equipment such as microphones (their characteristics and placement), mixing consoles (explained in detail), multi-track recorders (analog and digital), patchbays, signal and effect processors, headphone systems, and multi-track punching and bouncing. Each student is also expected to attend a weekly two-hour small group lab, held in the studio, giving the student a chance to experience multi-track recording in a "hands-on" manner. A detailed manual will be provided to each student so that each concept will be encountered first in independent reading, then in lab, and finally in the class meetings. All time spent in the studio will be documented in the lab manual in a journal entry fashion.
Texts: THE RECORDING ENGINEER'S HANDBOOK by Owsinski
Credit/Evaluation: Students will be evaluated through a combination of participation, attendance (lab and lecture), and understanding gained from the material evaluated from a written and "hands-on" assessment.