This course combines discussion of contemporary artists and artworks, texts and artists’ writings, individual and group critiques of students’ work, and an in-depth study of contemporary art, exhibitions and relevant cultural production. Throughout the semester, each student completes studio projects, written responses, presents and participates in group critiques and builds and maintains a personalized portfolio.
This class includes autobiographical works by writers, filmmakers and artists as well as psychological and philosophical concepts evolving around the problem of (aesthetic) personal formation between freedom and determinism. Students research this question by studying the assigned material and by interviewing a person of their choice. Interview results are presented to the class.
One common trait of experimental modernist and contemporary art is the pressure it exerts on conventional ideas about what art is and what it can do. This research seminar will address some of the many forms this redefinition has taken, combining art historical methods with approaches drawn from critical aesthetics and curatorial theory. Whenever possible, we will meet directly with artists, conduct site visits, and utilize NYU's extensive archives.
This course considers the history and possibilities of imagining and representing the Other and the Unknown. It is centered on the close study of films, texts and media, including Yermek Shinarbaev’s Revenge, on the Korean diaspora in central Asia, Susana Aikin’s The Salt Mines, Kpop, texts drawn from critical theory, fiction, and the news. Through experimentations with various media ranging from writing, storytelling, films and diagrams, students are asked to find ways to bring the unknown to the realm of the familiar, while questioning the merits of this practice.
This course examines the current developments in contemporary art over the past decade – the art of ‘now’ – from the viewpoint of an artist’s practice & working ideas, looking at current global art production in aesthetic, economic, & social contexts. The major movements in painting, photography, sculpture, installation & performance are examined. Readings will be drawn from first hand interviews & point-of-view accounts, reviews, & critique; a major emphasis on interviews & online studio visits will accompany the texts. Guest artist lectures & off-site museum & gallery viewings will complement the weekly visual presentations & theory conversations.
Liberal Arts Core/CORE Equivalent - satisfies the requirement for Expressive Cultures for Steinhardt students.
'Art: Practice and Ideas' examines key developments in the visual arts from modernity to the present. Focusing on the ways in which representations both create and reflect the values of a society, the course introduces students to the full range of expressive possibilities within the visual arts, covering painting and sculpture, as well as photography, film, video, conceptual art, and computer media. Topics to be covered include classical, modern, and postmodern relationships to politics, vision, the mind, the body, psychology, gender, difference, and technological innovation. Students will see and understand how artists have integrated perceptions of their historical moment, as well as physical and social space, into creative practices that have, in turn, had a significant impact on the culture of the time.
Liberal Arts Core/MAP Equivalent - satisfies the requirement for Expressive Cultures for Steinhardt students.
Formal and informal methods of assessing student learning including major standardized tests, criterion references instruments, curriculum-based assessments, various observational techniques and portfolio assessments. Students will learn to use information gathered through assessment to plan or modify instruction.
Principles and techniques of audiologic evaluation and management of hearing impaired infants and children. Both personal and assistive amplification listening systems are covered. Speech reading and auditory training techniques. Educational and communicative options for children of different ages with different types and degrees of hearing loss. The cochlear implant: implications for rehabilitation and education of profoundly hearing-impaired children are included.
A performance class geared towards students who are taking auditions for graduate school. Included in the class are two recording sessions to make pre-screen recordings. Readings will include studies on proper breathing & stage presence. The class includes mock audition sessions.
In Aural Comprehension IV the students will continue their exploration of the main elements of music - melody, harmony, rhythm, and form - through active listening, sight-singing, and dictation. Course activities are correlated with materials from Music Theory IV. The tonal material will remain a part of our exercises, but we will work with elements of atonal music and complex rhythms too. Besides regular sight singing, prepared singing, dictations and transcriptions of recorded music we will also listen to orchestral instrumentation, identify musical forms from listening to recordings, try to hear overtones, micro-intervals, improvise second voice to a song and write and sing a short piece of music.
Aural Comprehension III is a one-credit course, building on the foundations you have created in AC I and II. The two weekly class sessions will be devoted to group work in sight-singing and dictation: melodic, rhythmic and harmonic -- and in listening to longer segments of work to sharpen your perception of musical form. You will be expected to keep up a regular practice of these skills outside of class. In addition, we will arrange tutorials (at least three per semester) for individual work and assessment.
The musical materials of AC III will be taken mostly from 19th-century sources,
reinforcing your work in Music Theory and Music History III. We will also work with more chromatic music of the 18th century, as well as jazz, popular music and relevant world cultures.
Intermediate level aural skills. Courses under this general title introduce students to listening and sight-reading techniques coordinated with topics in the corresponding co-requisite Theory & Practice II course.
Techniques of music listening developed through musical sight-singing, dictation, and aural analysis. Topics are coordinated with the co-requisite course, Theory & Practice II: Popular Music. This course builds on skills developed in Aural Skills I. Students learn techniques for critically listening to, analyzing, and notating musical elements of instrumentation, sound production and timbre, advanced rhythm and meter, loops and harmonic chord schemas, advanced diatonic harmony, and basic chromatic harmony including secondary functions and modulation.
Techniques of music listening developed through musical sight-singing,
dictation, and aural analysis. Topics are coordinated with the co-requisite
course, Theory & Practice II: Popular Music. This course builds on skills
developed in Aural Skills I. Students learn techniques for critically
listening to, analyzing, and notating musical elements of instrumentation,
sound production and timbre, advanced rhythm and meter, loops and harmonic
chord schemas, advanced diatonic harmony, and basic chromatic harmony
including secondary functions and modulation.
Techniques of music listening developed through musical sight-singing, dictation, and aural analysis. Topics are coordinated with the co-requisite course, Theory & Practice II: Tonal Harmony & Voice Leading. This course builds on skills developed in Aural Skills I. Students learn techniques for critically listening to, analyzing, and notating four-part diatonic harmony and basic chromatic harmony including secondary functions and modulation, advanced rhythm and meter, chromatic melodies, and instrumentation.
Techniques of music listening developed through musical sight-singing,
dictation, and aural analysis. Topics are coordinated with the co-requisite
course, Theory & Practice II: Tonal Harmony & Voice Leading. This course
builds on skills developed in Aural Skills I. Students learn techniques for
critically listening to, analyzing, and notating four-part diatonic harmony
and basic chromatic harmony including secondary functions and modulation,
advanced rhythm and meter, chromatic melodies, and instrumentation.
The objective of this course is to develop a broad understanding of language and
communication in autism. We discuss the history of scientific understanding of autism, current evidence, the neurodiversity movement, and cover a range of current ideas in theory and practice. We learn about the characteristics of autistic language and communication at multiple levels of linguistic analysis. We learn from a variety of perspectives, including those of autistic individuals, speech-language therapists and other clinicians, and friends and family members.
