A small group activity in which students interpret an example of Renaissance dance notation: “The Washerwoman’s Branle,” taken from Thoinot Arbeau’s 1589 book Orchesography. Students are tasked with figuring out what information is communicated by each column, imagining how one might use the example to learn this dance, and considering the strengths and weaknesses of the notation method. This worksheet includes space to summarize the group discussion and an image of the dance notation divided by rectangles.

Six different definitions of music are included on this handout. In small groups, students read the definitions and discuss the following prompts included on the handout: What definition makes the most sense to you? Why do you think other people would disagree with your chosen definition? What’s one definition you don’t like? Best suited to the first week of classes, can also be used in courses like Music Fundamentals or World Music.

An icebreaker activity for the first day of class. Instructor introduces the idea of the “Three Bs” in classical music, before introducing the “Three Bs” of current popular music (this instructor chose Beyonce, Bad Bunny, and BTS). Students choose their favorite “B” and pair up with others who made the same choice. Other grouping prompts can easily be substituted here, like favorite genre of music. Students then take turns interviewing each other, asking two questions and summarizing their partner’s answers in writing. At the end, groups can share their answers with the clas and the instructor can type them out on the Powerpoint.

This course examines musical works, composers, and aesthetics from antiquity to the present. Central to our curriculum are the questions, “what are music’s meanings?” and “how can music communicate meaning?” Through the process of discovering the varied answers to these questions, we will learn about music history, music philosophy, composer biographies, and how aesthetic concerns change across time and place. As a result of our work, you will develop the critical skills needed to understand the socio-historical events that inspire musical compositions and styles.

A definition-focused worksheet about the musical elements based on vocabulary from the textbook Music: A Social Experience, 2nd ed. by Steven Cornelius and Mary Natvig. This assignment can be easily reworked to match an alternative textbook.

The Music and… Playlist is a semester-long scaffolded writing assignment that I designed to replace a midterm and final exam. (Scaffolding refers to breaking a larger writing assignment into step-by-step, cumulative stages.) This assignment requires students to: choose a social topic (e.g. coming of age, feminism, holidays); write a topic proposal describing how their topic relates to music; choose six pieces of music from different genres; write short playlist entries that discuss the social and musical characteristics of each piece; and create a slide presentation summary. The document below includes handouts for each stage of the assignment.

Peer review pair activity intended for early stage of the writing process. Students ask each other questions about their project and record the answers, allowing them to explore and articulate the ideas that will eventually be included in their paper. After finishing the interviews on pages 1 and 2, students write down helpful suggestions for their partner on page 3. The questions in this activity can easily be changed to fit other writing assignments like a concert report or research paper.

In-class activity for small groups of 3-4 students; intended to review the musical characteristics associated with four genres of sacred music: plainchant; organum; Renaissance mass; chorale. In the first phase, groups are asked to fill out a table with the musical characteristics of each genre while looking over their notes and textbook. In the second phase, groups are given online access to four anonymous musical examples (one for each genre). While listening and discussing at their own pace, groups should identify the genre for each example and give two reasons behind their choice. The format of this activity can be easily repurposed to fit other musical genres, periods, or styles.

This was an assignment developed to serve as an alternative to a concert report during the first stage of the Covid-19 pandemic in Spring 2020, in which the student is asked to compare three different versions of Bach’s Toccata and Fugue in D minor, BWV 565 (the original for organ, Stokowski’s orchestration, and a version for brass ensemble), noting not only musical differences, but differences of venue and filming style. It is a medium-length writing assignment, intended to be done mid- to late-semester (once the students have learnt the musical elements) and to be worth approximately 10% of the final semester grade.

This is an assignment intended to serve alongside the traditional concert report, in which the students would observe and report on all the sounds they heard in a chosen environment over a thirty-minute period. It is based on a Pauline Oliveros listening exercise. It is a medium-length writing assignment intended to be completed mid- to late-semester (after the students have learnt the musical elements) and to be worth approximately 10% of the total course grade.

Chronological survey of Western art music taught online (synchronous). Assigned Textbook: Cohen, Doud, Music: Its Language History, and Culture (OER, Brooklyn College). Repertoire largely cribbed from Kerman, Joseph and Gary Tomlinson, Listen, 9th ed. (W. W. Norton).

Online and in-person. Organized by social topics rather than chronology; incorporates world music and popular music alongside Western art music. Assignments include blogs, online quizzes, and a semester-long scaffolded writing project to replace midterm and final exams. Textbook: Stephen Cornelius and Mary Natvig, Music: A Social Experience, 2nd. ed.

In-person, non-major introduction to music featuring quizzes in combination with a midterm presentation and final project. Assigned textbook: Esther M. Morgan-Ellis’ Resonances: Engaging Music in its Cultural Context.

" Offered in the spring and fall terms, Introduction to Stagecraft is a hands-on course that gets students working with the tools and techniques of theatrical production in a practical way. It is not a design course but one devoted to artisanship. Among the many remarkable final projects that have been proposed and presented at the end of the course have been a Renaissance hourglass blown in the MIT glass shop and set into a frame turned on our set shop lathe; a four harness loom built by a student who then wove cloth on it; a number of chain mail tunics and coifs; a wide variety of costume and furniture pieces and electrified period lighting fixtures."

An Introduction to Technical Theatre draws on the author’s experience in both the theatre and the classroom over the last 30 years. Intended as a resource for both secondary and post-secondary theatre courses, this text provides a comprehensive overview of technical theatre, including terminology and general practices.

Introduction to Technical Theatre’s accessible format is ideal for students at all levels, including those studying technical theatre as an elective part of their education. The text’s modular format is also intended to assist teachers approach the subject at their own pace and structure, a necessity for those who may regularly rearrange their syllabi around productions and space scheduling.

This survey course is designed to provide students with a thorough understanding and greater appreciation of the theatrical form. Readings and lectures will focus on the relationship between theatrical theory and practice, the various creative/production roles essential to theatre, as well as major artists and movements throughout theatrical history. Students will analyze major works of dramatic literature to offer context for course content, as well as attend a live theatrical performance on campus.

Learning Objectives:

Theatrical Theories & Terminology: Identify and apply the fundamental concepts, theories and roles associated with modern theatrical practice and professional theatrical production (i.e. suspension of disbelief, empathy, actor, designer, Broadway, Off-Broadway, etc.).
Theatre & Creativity: Examine and define the skills, considerations and tasks associated with the creation of theatre, both individually and as a collective whole.
Theatre & Society: Evaluate and articulate how theatre is a socially-responsive artform that creates meaning and fosters discussion, debate and community.
Theatre, History & Cultures: Analyze and define the central characteristics of the theatrical artform, both generally and in relation to the history of the United States and Global Cultures.
Oral Communication & Writing Skills for the Theatre: Analyze and evaluate the experience and the various components of live theatrical production, and articulate its value both verbally and in writing.

This course will introduce you to the various elements of the theatre with particular attention to the following inquiries: What is theatre? How is it created? What are the various occupations in the theatre? What is the position of theatre in society? How are theatre and history interconnected? My goal for this course is to give you the means to discuss theatrical experiences (either as theatre makers or spectators) as well as a great variety of theatrical traditions and provide a basis for your future endeavors with this art form. This will be based on lectures, readings, in-class discussions, and seeing theatrical productions.

As one of the oldest artistic forms, theatre has been an enduring witness to the vicissitudes of art and society. This course will offer a survey of the creative dimensions of theatre, such as dramatic literature, directing, acting, scenography, lighting, costume etc. It will also introduce you to the various occupations of this collaborative art, such as director, playwright, dramaturg, designer, producer etc. Meanwhile, we will inquire about the relation between theatre and space, history, politics and society and contemplate our roles as audience and critics in the theatrical experience. The goal for this course is to offer students the means to discuss theatrical experiences (either as theatre makers or spectators) as well as a great variety of theatrical traditions and provide a basis for their future endeavors with this art form. This will require students to have a sound grasp of the course readings, reflect on them critically, articulate their own ideas, and eventually formulate their own understanding of this art form.