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ADVISING HANDBOOK FOR FIRST-YEAR STUDENTS
student-composed works. Simple, single-line melodies; chamber,
choral, percussion, full orchestral, or band scores; as well as the
creation of MIDI demonstration recordings and extraction and
preparation of parts are covered in depth. Extensive use of computer
workstations by students. Laboratory fee.
COM 470, 471 Composers’ Seminar [.5, .5]
A forum for students to discuss issues related to their compo sitional
activities. Topics include new compositions and contemporary
composers, the role of the composer in contemporary society,
issues of aesthetics and style, and the workings of professional
organizations that support composers (e.g., universities, foundations,
performing organizations, licensing organizations, etc.). Students
have the opportunity to speak with professional composers who are
guests. Composition majors (except doctoral students) are required
to enroll every semester.
DFA 120-121 Classical Ballet I [2-2]
The first and second semesters, at the beginning level, of an eightsemester
sequence of graded training in classical ballet technique.
Prerequisite for DFA 120: Audition or permission of instructor.
Prerequisite for DFA 121: DFA 120 or permission of instructor.
DFA 122 José Limón Technique [2]
This course introduces the Limón technique. Preliminary warm-up
and center work introduces the movement principles based on the
philosophies of Doris Humphrey and José Limón. Locomotive
patterns reference their repertory.
DFA 124-125 Martha Graham Technique I [1-1]
The first and second semesters, at the fundamental level, of an
eight-semester sequence of graded training in the Martha Graham
technique. Prerequisite for DFA 124: DFA 122. Prerequisite for
DFA 125: DFA 124 or permission of instructor.
DFA 126-127 Contemporary Dance Forms I [1-1]
Introductory-level training in modern dance forms in varying
techniques (Cunningham, jazz, Limón, tap, and world dance forms).
Prerequisite for DFA 126: Audition or permission of instructor.
Prerequisite for DFA 127: DFA 126 or permission of instructor.
DFA 130 Ballet Pedagogy I [2]
The study of a syllabus for dance teaching. Structuring the
ballet lesson. Study of correct technical execution of classical
ballet vocabulary. Study of Labanotation and ballet vocabulary
in a connective manner. Covers materials in preparation for
preprofessional study (foundation ballet) and for the beginning
of preprofessional study (ballet).
DFA 131 Ballet Pedagogy II [2]
The study of a syllabus for dance teaching. Structuring the ballet
lesson. Study of correct technical execution of classical ballet
vocabulary. Study of Labanotation and ballet vocabulary in a
connective manner. Continued development of exercises and topics
begun in Level I. Introduction of more of the ballet vocabulary and
its progression from previous material. Beginning of separate work
for male dancers and pointe work for females. Prerequisite: DFA 130
or permission of instructor.
DFA 132-133 Pointe I [1-1]
The first and second semesters, at the beginning level, of an eightsemester
sequence of graded training in classical ballet pointe
technique. Prerequisite for DFA 132: Audition or permission of
instructor. Prerequisite for DFA 133: DFA 132 or permission
of instructor.
DFA 140 Movement Fundamentals [3]
Introduction to movement observation and analysis as applied to
dance teaching and performing. Based on the work of Rudolph
Laban, course work includes relaxation skills, warm-up techniques,
body mechanics, and introduction to effort/shape.
DFA 150 Improvisation I [1]
Exploration of the basic elements of dance to develop the students’
awareness of their own creative potential and their ability to relate
to others through movement. Problem solving through movement.
Introduction to contact improvisation.
DFA 160-161 Repertory/Performance I [1-1]
Learning and performing contemporary and classical dance works;
and classical, romantic, and neoclassical ballet literature. Study and
development of rehearsal skills and techniques, including the roles
of choreographer, ballet master, and others involved in the process
of preparing concert dance for the stage. Assessment of student
performance in the following areas: technical merit, conduct and
deportment in theatre, growth in performance qualities, and effort
and improvement in all of these areas. Prerequisite for DFA 160:
Audition or permission of instructor. Prerequisite for DFA 161:
DFA 160 or permission of instructor.
DFA 162 Variations/Pas de Deux I [.5]
Learning and performing solo works and pas de deux from the
classical, romantic, and neoclassical ballet literature, as well as
from varying modern forms. Study of style, content, and format of
modern and classical roles and ballets, and the historical context
of their development. Study and development of rehearsal skills
and techniques, including the roles of the ballet master and others
involved in the process of preparing the concert dance for the stage.
The exploration and execution of partnering techniques.
Prerequisite: Audition or permission of instructor.
DFA 166-167 Production Practicum [.5-.5]
Practical experience in major areas of dance production:
administration, marketing and publicity, costume and/or lighting
design and execution, stage management/crew, audition/rehearsal
assistant. Students select areas of concentration in support of
department or professional productions.
DFA 270-271 Dance Kinesiology I-II [3-3]
The study of the dancer’s instrument—the human body. Structural,
biomechanical, and neuromuscular analysis of body systems.
Understanding the physical variables involved in dance in order to
allow more efficient and effective training, performance, and injury
prevention. Prerequisite for DFA 271: DFA 270 or permission
of instructor.
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