Interim 2009

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2009 INTERIM SCHEDULE—Schools of MUSIC and THEATER

*Credit hours for Interim activities are assigned based on class contact hours and, in some cases, preparation time.
Students are expected to enroll in a minimum of 45 hours of activities.

*Interim Courses are open to ALL students, regardless of School or Program, except where indicated otherwise.
Observers are welcome at any time (pending space), but in order to receive credit for a course/workshop, students must
register for and attend all sessions. In courses requiring much outside preparation or special skills on the part of
participants, additional credit may be given. Please note that some courses require an extra fee.


[Mu] Accordions!—Paul Berkolds
Accordionists come out of hiding, strap it on, and join us in the lovely in and out. Beginner/Intermediate OK.
• enrollment limited to 6 (if you have your own squeezebox, please contact Paul Berkolds (berkolds@calarts.edu) as
enrollment number may be increased)
• enrollment open to the Institute
Week 1: M/W/F 1PM–2PM, B311
Week 2: W/F 1PM–2PM, B311
Credit Hours: 5


[Th-01] Adrienne Kennedy Complete—Erik Ehn
A marathon session reading the works of playwright Adrienne Kennedy, whose work we will feature in the 2009-10
season.
• enrollment open to the Institute
Week 2: F 9AM–6PM, F100a
Credit Hours: 10


[Th-02] Advanced Model Making Techniques – Michael Smith, Ernie Avila, Gloria Lamb
Plastics, resin molds, metal, computer laser cuts, professional model making in the industry outside theater.
Class Fee: $5
• enrollment limited to 20 – open to BFA Sc, Ltg & Cost Des only
Week 1: Sat 10AM–2PM, BB#2
Week 2: Sat 10AM–2PM, BB#2
Credit Hours: 20


[Mu] Alexander Technique—Babette Markus and Associates
Workshops led by visiting instructors in this powerful educational method focusing on changing harmful, habitual
physical behaviors that can lead to performance injuries. Participants will learn increased sensory awareness and
kinesthetic sensitivity. The Alexander Technique focuses on the relationship of the head, neck and back, and teaches
participants to incorporate improved coordination into their daily activities, including musical activities.
• enrollment limited to School of Music students: 60 beginning participants and 10 participants who have had
previous training but wish to pursue more advanced study.
Week 1: M/T/TH/F 9AM–11AM, Main Gallery, A300, B311, B312, B318, B319, B324
Week 2: T/TH/F 9AM–11AM, Main Gallery, A300, B311, B312, B318, B319, B324
Credit Hours: 15


[Mu] Analysis of Persian Music —Houman Pourmehdi
Students will analyze Persian rhythm and Persian classical music.
• enrollment open to the Institute
Week 1: W 2PM–4PM, B311
Week 2: W 2PM–6PM, B311
Credit Hours: 10
[Mu] Art Lande: Open Improvisation—Art Lande, guest artist; facilitated by David Roitstein
—How to realize musical form and content without preparing.
• enrollment open to the Institute
Week 1: M/T/W/TH/F 5PM–8PM, B319
Credit Hours: 15


[Th-04] Arts in the One World – Erik Ehn and Guests
Focus of this year’s conference will be “Motherhood and Revolution”: How women, and mothers in particular, are
innovating in conflict and post-conflict circumstances, and expanding the models for ways in which one is an
artist/activist in the world.
• enrollment open to the Institute
Week 1: W 7PM–11PM, TH/F/SAT 9AM–11PM, SUN 9AM–4PM Main Gallery, Coffeehouse, and
various other locations
Credit Hours: 45


[Th-05] Audition Workshop – Maureen Huskey, Allison Jones, Susan Abramson
The focus of the workshop will be to explore the ins and outs of auditioning for television and film. Abramson’s recent
casting credits include HBO’s award winning Entourage. Emmy Award winning Jones’ casting credits include The
Office, Curb Your Enthusiasm, Arrested Development and the film Knocked Up, among others.
• enrollment limited to 30 -- Preference given to BFA 4 & MFA 3 actors and directors
Week 1: Section A: F 12PM–3PM, C105 (Susan Abramson)
Section B: SAT 12PM–3PM, C105 (Allison Jones)
Credit Hours: 5 each session


[Th-06] Automated Lighting Design Workshop – Don Holder, Assisted by Matthew Cotter and Industry
Professionals
A hands-on discussion and demonstration of the capabilities of today’s automated lighting fixtures, a philosophical
approach to their use, and an analysis of moving light programming technique. This session will take place either at
CalArts or in a local Los Angeles lighting shop or manufacturer’s showroom facility: exact location TBD. Second half of
the workshop will include the preparation and critique of individual (or group) design assignments using automated
lighting fixtures and control consoles.
• enrollment open only to Lighting Design students
Week 2: M 9AM-12PM offsite & T 10AM–4PM, Lt Lab
Credit Hours: 15


[Mu] The AXOLOTL—Amy Knoles
An opportunity for cellists and composers to play with the interactive technology of the "Electronic Ghost Score" for the
solo cello and electronics piece Axolotl, created by the Grandfather of Techno—Morton Subotnick.
Axolotl (for cello and electronic ghost score) was commissioned by Joel Krosnick and first performed by him at the
Library of congress on February 13, 1981. It is the first of two works in Part I of a series entitled The Double Life of
Amphibians (Part I, Amphibians; Part II, Beasts; Part III; Angels). The other work in Part I is called Ascent Into Air.

The axolotl is a Mexican salamander; it is transparent and delicate with two filigree wing-like appendages extending from
either side and floating above the creature. These are its lungs for its future ascent onto land but the axolotl never goes
through the final stage of its potential development—it never reaches air and it remains forever in water. Notes: The
electronics in Subotnick's "ghost" score pieces are currently running in the MAX/MSP format. Special guest artist Erika
Kirkpatrick will be there to assist!
• enrollment open to the Institute
Week 1: M 6PM–8PM, A300
Week 2: TH 6PM–8PM, A300
Credit Hours: 5


[Mu] Bach Highlights—Allan Vogel
We will hear the most beloved repertoire for instruments, voices, and keyboard and will discuss different ways to
carefully listen to, understand, and appreciate these great pieces.
• enrollment open to the Institute
Week 1: T/F 2:00–4:00 B324
Week 2: T/F 2:00–4:00 B324
Credit Hours: 10


[Mu] Bassoon Reed Making Intensive—Julie Feves
Week TBD, Time: TBA (See Julie at class sign-up)
Credit Hours: 5


[Mu] The Beatles—Wanda Bryant
A two-part in-depth look at the music of the Beatles, including a brief history of the group, an in-depth examination of
the musical elements manipulated by the Beatles, and a substantial discussion of the Sgt. Pepper’s Lonely Hearts Club
Band album.
• enrollment open to the Institute
Week 1: W 12PM–2PM, B318
Week 2: W 12PM–2PM, B318
Credit Hours: 5


[Mu] Derek Bermel (Guest artist and ALPERT AWARD WINNER for 2008)—facilitated by Paul Berkolds and
Mark Menzies
Alpert Award winning composer, virtuoso clarinetist and improviser Derek Bermel will be in residence at CalArts January
20-23, 2009. His compositional style draws from jazz, pop, rock, blues and gospel. Bermel’s many awards include Rome
Prize, Guggenheim and Fulbright Fellowships and an Academy Award from the Academy of Arts and Letters. He has
studied with William Bolcom, Michael Tenzer, Louis Andriessen and Henri Dutilleux. In addition, he studied
ethnomusicology in Jerusalem, Bulgaria, Dublin and Ghana. He will be giving clarinet and improvisation master classes, as
well as meeting individually with any interested composition students. For a complete bio see www.DerekBermel.com.
• enrollment open to the Institute

• Concert Rehearsal (Old Songs) w/Mark Menzies / Derek Bermel
Week 1: T/TH 4PM–6PM, B302 (ROD)
Week 2: W/TH 4PM–6PM, B302 (ROD)
Concert TH 8PM, B302 (ROD)
Credit Hours: 10


• Concert Rehearsal (Three Rivers) w/Mark Menzies / Derek Bermel
Week 1: W/F 1PM–4PM, B302 (ROD)
Week 2: T 1PM–4PM, TH 4PM–6PM, B302 (ROD)
Concert TH 8PM, B302 (ROD)
Credit Hours: 15

• Clarinet Master Class w/Derek Bermel
Week 2: T 4PM–6PM, B302 (ROD)
Credit Hours: 5


• Improvisation Master Class w/Derek Bermel
Week 2: W 12PM–2PM, B302 (ROD)
Credit Hours: 5


[Th-07] Be a Hermit – Louiza Collins
An expansion of the renewal & rejuvenation class offered last year. This course will aim to fill our time with activities
that are stimulating and enhancing for our minds, spirits bodies and creative juices. This will be accomplished by forcing
ourselves out of the fast-paced commercial materialistic world. There will be two class meetings, one at the beginning of
the first week as an orientation to the 16 hours of explorations and options available, and one at the end of week two to
discuss the journey of each student.
The students who sign up for this class must follow at least 3 of these guidelines:
• No computers (or electronic devices such as videogames, TV, movies, etc.) unless for class purposes.
• No recorded music (unless for class purposes)—live music is okay.
• Cell phones may be used for emergency use only and will need to be turned off for a majority of the 2
weeks. (I will collect cell phone chargers).
• Avoid groups of more than four people unless in class or other mandatory activities.
• Spend no more than $10 a day.
• enrollment limited to 20
• open to the Institute
Week 1: M 10AM–12PM in the Irene
Week 2: F 4PM-6PM in the Irene
Credit Hours: 20


[Th-08] The Bewildered Herd – How It Feels – Sherry Tschernisch, Cody Henderson
Actors experimenting to discover physical, emotional/psychological shape of Cody’s latest play, The Bewildered Herd.
• enrollment limited to 6–12, open to all actors
Week 1: M/T/TH/F 9AM–12PM, E106
Week 2: T, TH, F 9AM–12PM, E106
Credit Hours: 25


[Th-09] Big Screen Acting – Mirjana Jokovic
An introduction to film acting techniques, as well as the actor’s preparation for and place in the production process of
film.
• enrollment limited to 20, open to all with experience in acting
Week 2: T, TH 10AM–1PM in the Irene
Credit Hours: 10


[Th-10] Borderlands/La Frontera: New Play Workshop – Vicky Grise
Two day workshop on a new play about the building of the border wall between Mexico and the United States. We will
be reading text, experimenting in the body, and engaging in conversation about contemporary borders, boundaries and
walls.
• enrollment limited to 4–8, open to the Institute
Week 1: M/T 7PM–11PM, E197
Credit Hours: 10


[Mu] CalArts Saxophone Quartet—Ulrich Krieger
The quartet will meet twice during interim for 2 hours and work on new pieces. These are open rehearsals and can be
attended by everyone who is interested. Participants: Casey Anderson, Casey Butler and Emma Nilsson
• enrollment open to the Institute
Week 2: T/TH 6PM–8PM, MAIN GALLERY
Credit Hours: 5

[Th-11] Characterization in Acting – Lewis Palter
The alteration of the physical using direct observation and secondary characteristics. Short monologues and “jumps” will
be employed.
• enrollment limited to 12 actors (preference to BFA 2&3 or MFA2)
Week 1: T/F 1PM–4PM, E197
Week 2: T/F 1PM–4PM, E197
Credit Hours: 15

[Mu] Charlie Haden: A Life in American Music—Charlie Haden
Students will watch and discuss a documentary on Charlie Haden
• enrollment open to the Institute
Week 1: T 2PM–4PM, B320
Week 2: T 2PM–4PM, B320
Credit Hours: 5
[Th-12] Class on Teaching a Class – Chris Barreca
Chris will be leading a session about developing a syllabus and classroom techniques. Course is intended for those who
wish to teach courses at CalArts or elsewhere at the college level.
• by permission of Instructor only. Email chbarreca@aol.com
• enrollment limited to 8 (MFAs)
Week 1: M/T/W 9AM–12PM, E314
Credit Hours: 15


[Th-13] Creating New Work – Ellen McCartney, Tina Kronis, Richard Algers
Theatre Movement Bazaar is an LA-based company dedicated to creating original performance works. TMB merges
elements of dance, text, cinema and media from diverse sources to create provocative theatrical storytelling with an
emphasis on physical action. Since its formation in 1997, TMB has created and produced 12 original works including
adaptations of the myths of Adam and Eve, Orpheus and Eurydice, Apollo and Daphne, investigations into Strindberg,
Inge, Chekhov, Dostoevsky, and Gogol. TMB strives to reinvigorate the theatre for contemporary audiences.
This intensive interim session will explore the company’s eclectic methods for creating new work. Emphasis will be put
on developing new material through research, imagination, and physical performance techniques. The session will be led
by TMB founders Tina Kronis and Richard Alger. The text source for this session will be Robert Louis Stevenson’s “The
Strange Case of Dr. Jekyll and Mr. Hyde”. This interim session will be physical. Come prepared to move in appropriate
attire and bare feet.
• enrollment limited to 20, open to the Institute
Week 1: M/T/TH/F 12:30PM–5PM, F100
Credit Hours: 20


[Mu] “A Cycle of Cycles” – Paul Berkolds, Anna Grinberg, Vicki Ray, Liam Viney
The piano department, along with members of the vocal department, will focus their musical energies towards a recital of
song cycles as a culmination of the piano literature focus from fall semester ’08. During Interim each piano-singer team
will have two separate and highly intensive public coaching sessions. The first of these will take place during the first
week of interim (2 - 2 hr sessions) and will involve musical and dramatic coaching from Paul Berkolds and Vicki Ray.
During the second week (1 - 4 hr session) coachings will be facilitated by a guest clinician who is an expert in the field of
art song. All piano majors participating in the final recital are encouraged to take this course.
• enrollment open to the Institute
Week 1: T/TH 2PM–4PM, B321
Week 2: T 10AM–2PM, B321 W 8PM–10PM, ROD, Concert
Credit Hours: 15

[Th-46] Lisa D’Amour Workshops
Lisa D'Amour is the Theater School Alpert award winner for this year. She will be spending her residency here during
Interim. More information on the workshops to come next week.
Week 1: F 9AM–12PM in Cafe A
Week 2: T 9AM–12PM and 1PM–4PM in Cafe A
W 1PM–4PM in C105
TH 9AM–12PM in Cafe A and 1PM–4PM in E106
Credit Hours: There will probably be three sections offered, two for 5 credit hours and one for 15 hours. The
details of the workshop will be posted and sent out before 12/8.


[Th-14] Draping the Human Anatomy – Marvin Tunney
Based on the flow of energetic anatomy trains (myofascial meridians) that move throughout the body. Referenced from
the books ANATOMY and ANATOMY TRAINS by Thomas W. Myers.
• enrollment limited to 16—intended for performers and costume designers
Week 1: M/T/TH/F 10AM–12PM, E197
Week 2: T/TH/F 10AM–12PM, E197
Credit Hours: 15


[Th-15] Excel Workshop – John Sherwood
A 3-session workshop focusing on utilizing Excel’s features as a database program, including an exploration into the
range of documents and uses for which this workhorse program can be used
• enrollment open to the Institute but intended for managers and other D&P students
• enrollment limited to 12
Week 1: M/TH/F 10AM–1PM, F109a
Credit Hours: 10


[Mu] The Establishment of Gamelan Music and Dance in the United States— Pak Walujo, I Nyomen Wenten and
Nanik Wenten
For several centuries, a variety of ethnic arts and cultures from all over the world have traveled to America: of note were
groups representing India, the Middle East, Africa, China, Japan, Indonesia, etc. These cross-cultural dialogues slowly
gained traction and prestige in the world music scene in the US. Many Americans were first introduced to the sound of
gamelan in 1893, when the Dutch Colonial Administration brought a Gamelan and Dance Troup from a small town in
West Java (Sumedang) to perform for the World Colombian Exposition—also known as the Chicago Worlds Fair. That
great event was just the beginning of an amazing journey that gamelan music has brought to the American musical
landscape, a unique sound that still at the present time resonates in the American soundscape. Therefore, to follow the
journey of gamelan music that flourished in the United States and to provide a detailed account is an important subject to
explore.
• enrollment open to the Institute
Week 1: F 2PM–4PM, A114
Credit Hours: 5


[Mu] Field Recording Workshop—Clay Chaplin and Michael Pisaro
Given the increase of field recordings as compositional material, this workshop will discuss the aesthetics of field
recording and compare the results of practical work (in the field). The initial meeting will be about the various
possibilities (and something of a history of the genre), while the second will be a listening and discussion session, based
on the work done by the students. Students will need to have some method of making recordings.
• enrollment limited to 12
Week 1: T/TH 11AM–1PM, B304
Week 2: TH 11AM–1PM, B304
Credit Hours: 10


[Th-16] Four Bodies – Mira Kinglsey
This is a dance/theater improvisation workshop. We will dance and we will speak. Or some might say we will make
movements and sounds. Sometimes we will do both at the same time and once or twice we will make whole pieces to be
viewed and discussed. We will always be working together even though sometimes it might appear we are working in
solo form. This workshop emerges from a deep consideration of the four bodies of the Buddha. In ancient Tibetan
Buddhist philosophy the body of the Buddha manifests itself in four miraculous ways all at once. Working with both inner
and outer methods, we challenge and then expand the borders of our imaginations. As we take on entering these four
extraordinary forms we transform our being into ever wider, curious, and extravagant beings, landscapes, and universes.
Special attention will be placed on the personal process of forging meaning movement to movement in the present
moment and the clear development of that meaning while the future rushes past. The goal is always to discover
CLARITY, RESONANCE, FREEDOM and JOY in the artistic process. This workshop is open to art makers of all
disciplines with preference given to the MFA II acting students.
• enrollment limited to 16—open to all, but preference given to MFA 2 Actors
Week 2: T/W/TH/F 1PM–4PM, F100
Credit Hours: 10


[Th-17] Giving Words to Things: Writing for Puppets – Susan Simpson
The goal of this lab is to give students hands-on experience in writing for puppets. We will start with a number of in class
writing exercises and work towards a short completed piece for performance. We will investigate the structure and
content of recent puppet plays, looking at the interplay between stage direction and dialogue and visual and textual
aesthetics. We will experiment with and discuss distinct strategies for writing for puppets.
• enrollment limited to 10, open to the Institute
Week 1: M/T/TH/F 10AM–12PM, Café B
Credit Hours: 15


[Mu] History of Metal – Ulrich Krieger
This lecture traces the development of Metal from its roots in Psychedelic and Hard Rock to the contemporary forms of
Doom Metal, Tech Metal and Avant-Metal. We will talk about the music, philosophy, politics, (anti-) religious opposition
and the many controversies about Metal. No preparation.
• enrollment open to the Institute
Week 2: W 2PM–5PM, B318
Credit Hours: 5


[Mu] History of the San Francisco Tape Music Center—Morton Subotnick
The history of the SF tape center will be discussed, and especially the relationship between technological media and
music. In particular, we will look at how technology has been used in making music—then and now—and what the
aesthetic issues are. Certain works will be examined in detail. Mr. Subotnick will be drawing on personal experience in
this class.
• enrollment limited to 25 participants
• open to the Institute
Week 1: T/TH/F 10AM–12PM, B305
Credit Hours: 10


[Th-19] Hollywood Boxing Movies – Lewis Klahr
These films cover a large stylistic, chronologic and thematic range that is visually powerful. They deal in complex ways
with issues of integrity related especially to money, class and upward mobility, make rage, lust and love, the power
dynamics between men and women and families and surprisingly—creativity. In three of the four films to be screened,
artists or art figure prominently as a subtext. Each day will include a double feature and discussion.
• enrollment limited to 12-20—open to all MFAs (open to the Institute)
Week 1: M/W 12:30PM–6:30PM, E106
Credit Hours: 15


[Mu] HyperOpera: Lyrical Psychogeography—Anne LeBaron and Douglas Kearney
Two intensive workshop sessions for the initial development stages of the 2009 HyperOpera production.
• enrollment encouraged for those who are currently enrolled in this course
Week 1: F 3PM–5PM, C105
Week 2: F 3PM–5PM, C105
Credit Hours: 5


[Mu] “I am Sitting in the Integratron . . .” – Art Jarvinen
Art will organize and supervise an overnight field trip to The Integratron, near Joshua Tree National Park, for the purpose
of introducing students to the unique acoustic properties of, and history behind, this extraordinary cultural/scientific
landmark. The focal point of the trip will be a performance/recording of Alvin Lucier’s “I Am Sitting In A Room”, as a
way of immediately experiencing The Integratron’s peculiar acoustic/resonant characteristics. Participants also will have
the opportunity to experiment with and explore some of the sonic possibilities presented by a perfect dome as a
performance and recording environment, and how such an environment may contribute to the development of their own
creative work.

The Integratron is the creation of George Van Tassel, and is based on the design of Moses’ Tabernacle, the writings of
Nikola Tesla and supposed telepathic directions from extraterrestrials. This one-of-a-kind building is a 38-foot high, 55-
foot diameter, non-metallic structure originally designed by Van Tassel as a rejuvenation and time machine. Today, it is
the only all-wood, acoustically perfect sound chamber in the U.S.

The space will be rented and will give our group exclusive access to the Integratron and on-site amenities for the rental
period, without interference from outside groups or individuals. Participants will be responsible for their own
transportation and food, and may choose to either camp out or sleep in the building. The Integratron experience also
includes a “Sound Bath,”* that will be particularly relevant to those with an interest in the healing potential of sound and
music. The current owners of the Integratron are medical professionals who purchased the building specifically for
research in this area.
* The “sound bath” is a 30 minute immersion in the sound of crystal bowls inside the Integratron, meant to resonate and
tune the seven chakras of the human body/mind/spirit.
• enrollment limited; prioritized enrollment given to graduate students, undergrads who are soon to graduate, and
students with specifically outlined projects they would like to try at the Integratron, such as performances,
recordings, guided improvisations etc.
• Course fee: $40 per person (goes toward rental of the facility; the School of Music is paying the remainder of the
rental feel)
• Students are responsible for their own transportation, sleeping facilities (sleeping bags, tents, etc., and food). It is
possible that a CalArts van might be able to be utilitzed for this.
Week 1: Sat. 17 January, times TBA (please note that this will take place over a 24 hours period; students may wish to
spend some time afterwards hiking or exploring Joshua Tree National Park as this is a 3 day weekend.
Credit Hours: 30

[Mu] “I Hear America Singing”: The Songs of Charles Ives – Mark Robson
"I Hear America Singing": The Songs of Charles Ives—This course is an overview of the solo vocal repertoire by the
great American pioneer, Charles Ives. The composer's life and compositional style will be discussed and individual songs
will be analyzed during class. Participants must obtain a copy of Ives' "114 Songs" (Theodore Presser) and those wishing
to receive credit will also be required to perform in one or both of the marathon concerts given at the end of the Interim
session (voice faculty will be performing as well!). Students should contact Mark Robson by the end of the semester for
song assignments. n.b.: 'Rollos' need not apply . . .
• enrollment open to the Institute and highly encouraged for singers and pianists
Week 1: T/TH 4PM–6PM, B321
Week 2: TH 4PM–6PM, B321 and F 4PM–6PM, B321; Concerts: Sat 2PM–4PM and 8PM–10PM
Credit Hours: 15


[Mu] The Intersection of Early and Contemporary Music – Guinevere Saenger, et al.
A practicum, based on music for harpsichord, trumpet and soprano, bridging the gap for audiences between older and new
music. This is a student run project and composers are more than welcome to write for the group
• enrollment open to the Institute and encouraged for composers and other performers interested in this topic –
please email Guinevere at guineveresaenger@yahoo.com
Week 1: TBA, one hour each day
Week 2: TBA, one hour each day, followed by a concert
Credit Hours: 10


[Mu] Introducing the Work of Trimpin – Ajay Kapur
Trimpin, a sound sculptor, composer, inventor, is one of the most stimulating one-man forces in music today. A
specialist in interfacing computers with traditional acoustic instruments, he has developed a myriad of methods for
playing, trombones, cymbals, pianos, and so forth with Macintosh computers. In describing his work, Trimpin sums
it up as "extending the traditional boundaries of instruments and the sounds they're capable of producing by
mechanically operating them.
This class will take place in two parts: Part I will involve Trimpin giving a talk about his work; in Part II he will
work with Music Tech students to build mechanical instruments
• Part I open to the Institute
• Part II limited to music technology students
Week 2: Part I – T 10AM–12PM, B302 (ROD)
Week 2: Part II – 1-4 pm Tuesday, Wednesday, Thursday, Friday (Jan 20-23) - B303 Closed
Credit Hours: Part I: 5; Part II: TBA
[Mu] Introduction to American Folk Music and some Folk Music Singers (Woody Guthrie, Pete Seeger, Joni
Mitchell, Greg Brown, Ani DiFranco, etc.) – Bob Clendenen
This course will cover a brief history of Folk Music and talk about the various subjects Folk Music Artists have
traditionally sung about. I will also talk about recent developments in Folk Music that crossover into Alt. Country,
Americana and Psychedelic folk. Furthermore, simple song structures, effective text painting and lyrical content will be
explored.
• enrollment open to the Institute
• enrollment limited to 15
Week 1: W/F 4PM–6PM, B302 (ROD)
Credit Hours: 5


[Th-20] IPA Workout – Dwight Bacquie
A 2-session sequential workshop where the focus is on transcription skills, first by transcribing written text into IPA, then
transcribing a live person speaking. Differences in the transcription experiences are discussed.
• prerequisite—at least one semester in a Skinner or Skinner-compatible IPA
• enrollment open to the Institute with the above prerequisite
• enrollment limited to 10
Week 1: TH 1PM–3PM, E106
Week 2: TH 1PM–3PM, E106
Credit Hours: 5


[Th-21] Knit – Knit – Knit! – Dan Rae Wilson
A comprehensive knitting workshop extravaganza. Each participant is to come with a project and supplies. Skills offered
range from basic knitting lessons to color work, cables, and everything in between. Dan Rae will facilitate and teach any
skills needed.
• enrollment limited to 8—open to the Institute
Week 2: T/TH/F 1PM–3PM, E314
Credit Hours: 10


[Mu] The Late Live-Electronic Pieces of Luigi Nono—Ulrich Krieger
This lecture/demonstartion is an addition to Wolfgang's Nono course and Mark's Nono concerts. It concentrates on the
later, smaller chamber music pieces with electronics, namely: A Pierre, Post-Pre-Ludium per Donau, Ommagio a György
Kurtag, Guai a gelidi mostri. We will analyze the pieces and talk about the special sound world Nono created. I will
show how many of the sounds are being produced and have a look at the use of amplification and live-electronics. No
preparation.
• enrollment open to the Institute
Week 1: T 6PM–9PM, B302 (ROD)
Credit Hours: 5


[Mu] Learning Music by Listening—Alfred Ladzekpo
Three areas will be emphasized in this class: learning music by listening, the advantages of ear training, and the
disadvantages of learning music by muscle memory. Learning music by listening will enhance students' listening skills.
They will be able to hear the sound accompanying every note that they read or play. If they get the sound in their ears or
body, they will have internalized the rhythm, and they will reduce their practice time.
• enrollment open to the Institute
Week 1: TH/F 9:00–10:00 B200
Week 2: TH/F 9:00–10:00 B200
Credit Hours: 5


[Th-22] Long Form Improv—Sarah Merkel
A long-form improvisation workshop.
• enrollment limited to 12—open to the Institute
Week 2: T/TH/F 1PM–4PM in the Irene
Credit Hours: 10
[Th-23] Looking for Light – Lap Chi Chu
The class will involve field trips to places to search for the phenomenon of light, both natural and man-made. Shall meet
for 3 classes over 3 days. The first will be a classroom meeting. The second two will be field trip days.
• Enrollment limited to 15, open to BFA 2 & above (except lighting designers)
Class fee: estimated at $25 for admission fees and transportation.
Week 2: T 10AM–12PM, E314 and TH & F 10AM–6PM (offsite)
Credit Hours: 20

[Mu] Making Compositional Decisions—Morton Subotnick
In this course, the evolution of musical thinking will be discussed, with a special focus on the ways in which we tend to
categorize our thoughts about musical organization. Following this, we will look at a variety of music as to how it both
fits this model and also how it can and does break with this model. The instructor will draw on his own musical
experience as part of the discussion.
• enrollment limited to 25 participants
• participants from other disciplines welcomed, especially performers
Week 1: M/T/TH/F 2PM–4PM, B305
Credit Hours: 10

[Mu] The Music of Bill Evans—Joe LaBarbera
A study of the music of Bill Evans from both historical and musical perspectives.
• enrollment open to the Institute
Week 1: W/TH 10:00AM–12:00PM, B320
Week 2: W/TH 10:00AM–12:00PM, B320
Credit Hours: 10


[Mu] Music and Dance of the Dagomba People – Private / Small Group Lessons —Andrew Grueschow, Beatrice
Lawluvi
Andrew will be available for drumming lessons on Monday from 3 to 6, on Tuesday from 4 to 7, and on Wednesday from
2 to 7. Beatrice will be available on Tuesdays from 2 to 4 for private dance instruction, which Andrew will accompany.
Once we see how many students are registered, and what their experience is, we will divide them into small groups, or
select private lesson times.
• enrollment open to the Institute
Week 1: M 3PM–6PM, B200; T 2PM–4PM (Dance); T 4PM–7 PM; W 2PM–7PM, B200
Week 2: T 2PM–4PM (Dance); T 4PM–7 PM; W 2PM–7PM, B200
Credit Hours: 15


[Mu] Music and the Scene: The Mediated Community and What We Notice – Anna Huff
This is an examination of music networks and communities. We will focus on historically prolific Art and Music
subcultures and investigate the undercurrents and webs that sustained them. What informs a scene? How does this relate
to economy, accessible space, and community networking? Finally how have these relationships been changed by the
internet and digital communities? This class will be both a study and practicum. We will discuss networking, hierarchy,
geography and the spread of communication as well as how the economy of music has changed over the last 20 years. We
will then come up with strategies to make up our own “scene.” (IM students may take this class in conjunction with
Performance and the Scene: offered through IM and the Art School)
• enrollment open to the Institute
Week 1: M/W 4PM–6PM, B311
Credit Hours: 5


[Th-24] New Play Workshop – Under Her Wing – Diane Rodriguez, Raphael Lopez-Barrantes
A workshop of a new play, working with guest Los Angeles actress and writer and director Diane Rodriguez.
• enrollment limited to 8 (cast by Marissa)
Week 1: W/TH/F/SAT/SUN 12:30PM–5PM, E106 & E197
Week 2: T/W 12:30PM–5PM, E106
Credit Hours: 30
[Mu] NewTrumpet – Ed Carroll and Tristram Williams, guest artist
Brilliant trumpeter and contemporary music specialist Tristram Williams, from Australia, is coming to CalArts. He'll give
a recital in ROD on January 12th. Ed Carroll will teach a class called NewTrumpet, covering recent works for solo
trumpet.
• enrollment open to the Institute and especially suggested for composers and performers
Week 1: M/T 2PM–4PM, B302 (ROD), Tristram Wiliams Recital M 8PM, B302 (ROD)
Credit Hours: 5


[Th-25] Non-Stop Movement—Ecstatic Dance – Heather Ehlers
We will explore physical expression by moving our bodies through the 5rhythms: flowing, staccato, chaos, lyrical, and
stillness. Music will be our guide. Our intention is to access our deepest intuition, touch base with our core/authentic self,
and move with complete freedom. (This is a practice that anyone- regardless of size, shape, age, or level of fitness- can
engage in. No previous dance experience required.) Be prepared to sweat.
• enrollment limited to 20, open to the Institute
Week 1: M/TH 9AM–10:30AM
Credit Hours: 5


[Mu] Non-Violent Communication Workshop—Given by NVC trainer Rodger Sorrow (Julie Feves)_
Compassionate Communication is another name for Nonviolent Communication (NVC) or the Language of the Heart.
This process allows us to connect with the human spirit in each of us. It provides a way for connecting to others where
everyone's needs are valued. Our classes and trainings are based on the work of Marshall Rosenberg as contained in his
book Nonviolent Communication, A Language of Life. Nonviolent Communication helps us: speak in ways that are more
likely to be heard by others (nonjudgmental); negotiate difficult situations with more ease and confidence; learn how to
hear and say no without criticism or blame; understand where anger comes from; learn how to ask for what we want using
clear positive action language
• enrollment open to the Institute
Week 2: F 1PM–5PM, B318
Credit Hours: 5


[Mu] North Indian Instrumental Class—Aashish Khan
A workshop on North Indian music
• enrollment open to the Institute
Week 1: W 2:00–4:00 B243
Week 2: W 2:00–4:00 B243
Credit Hours: 5


[Mu] North Indian Vocal Class—Aashish Khan
A workshop on North Indian music
• enrollment open to the Institute
Week 1: T 2:00–4:00 B243
Week 2: T 2:00–4:00 B243
Credit Hours: 5


[Th-26] Nuestros Cuentos – Marissa Chibas and David Roitstein
A lab to explore how these stories and music come together.
• enrollment open to the Institute
Week 1: M 2PM–5PM, T 1PM–4PM in E400
Credit Hours: 10


[Mu] Oil Crash—Ulrich Krieger
Screening of the film (1 hour 30 minutes) of the same title. Discussion afterwards regarding Peak Oil and how this will
affect our lives. Preparation: Read the newspaper.
• enrollment open to the Institute
Week 1: F 4PM–6PM, B318
Credit Hours: 5


[Mu] Overview of Early Notation—Scott Graff
This class will culminate in a 30-minute performance of the chant for the offices appropriate to the hour in which it would
take place (Lauds, Prime, Tierce, Sext, Nones, Vespers or Compline depending on if we were performing morning, noon,
or night). The final performance will take place on the upper balcony of the Main Gallery, out of sight of the people
passing through the Main Gallery. This is a musicological event, not a theological event, even though it is centered around
a music developed for a specific religion's liturgical practices (namely Christianity). If anyone is freaked out by that, it's
probably not the Interim adventure for them.
The educational purposes behind offering this course are three-fold:

• To introduce participants to the history of music notation, and to explore (ever so briefly) how the process of
notation alters our perception of how the music is to be performed, and of what the music IS.

• To introduce participants to accepted performance practice of liturgical chant, and to how modern ensemble
singing can be traced to the chant.

• To perform chant in an ensemble setting in an acoustic that mimics a church or cathedral acoustic, with all of the
attendant benefits to musicianship.
• open to the Institute—participants must be willing to sing in public.
Week 1: T/TH 12PM–2PM, B302 (ROD)
Week 2: T 12PM–2PM, B311 and TH 12PM–2PM, Main Gallery Balcony (performance)
Credit Hours: 10


[Th-27] The Overwhelming: An Arts in the One World 2009 Reading of the Play and Research Presentation into
the Rwandan Genocide – Andre Thompson
• enrollment limited to 10 CLOSED
Week 1: Reh—M-F 3PM–6PM (M/T in Irene, W in F100, TH in B309, F in C105)
Reading—SAT 1PM–3PM in the Irene
Credit Hours: 25


[Th-28] Painting Techniques of Venetian Masters – Mary Heilman
This class will include studio work as well as research-based field trips. Techniques to be studied include: sfumato,
chiaroscuro, and self-portraits specializing in highlight and shadow with the use of black mirrors.
• enrollment limited to 12, open only to graduate scene painters or by permission of instructor
Class Fee: for materials and entrance fees to museums.
Week 1: M/W/TH/F/SAT 10AM–6PM, BB1
Week 2: W/TH 10AM–6PM, BB1
Credit Hours: 45


[Mu] Pedagogy: The Dark Side – facilitated by Susan Allen
An exploration into multiple perspectives of teaching and learning. Course taught by students Anthony Starble,
Sydne Sullivan, Lacy Rostyak, Chris Porter, Drake Peterson, and Susan Allen.
• enrollment open to the Institute (geared towards faculty)
Week 1: T/TH 11AM–1PM, B312
Week 2: T/TH 11AM–1PM, B312
Credit Hours: 10


[Mu] Percussion Workshop – David Johnson
We will study the art of sight-reading by sight reading mallet music and percussion ensembles. We will also take field
trips to the Remo Drum Company and other smaller businesses that serve percussionists professional needs.
• enrollment limited to percussion students only – See DJ
Week 1: TBA
Week 2: TBA
Credit Hours: TBD
[Mu] Permaculture – A Primer – Ulrich Krieger and William Faith, guest artist
An introduction by, and discussion with, William Faith about sustainably growing food—possibly in your backyard—
especially in this sustainable economy and society.
• enrollment open to the Institute
Week 1: W 6PM-8PM, B318
Credit Hours: 5


[Th-29] Performance Pedagogy – Beret Malmgren
Teaching the arts in public schools. How to begin and address issues such as discipline, lesson planning, surviving and
staying an artist.
• enrollment limited to 20—preference given to BFA 4 and MFA 3 students who are interested in teaching
Week 1: T, TH 4PM-6PM, C105
Week 2: T, TH 4PM-6PM, C105
Credit Hours: 10


[Mu] Perpetual Band—Miroslav Tadic
I'll pick a number of pieces with highly flexible instrumentation, (for example: East European Folk Music, Frank Zappa's
music for a rock band, Chicago-style electric Blues etc; a mixture of a number of diverse pieces and approaches). We will
start with a core group and rehearse for a while, and as the rehearsal goes on, we'll add another player or two from a group
of students observing the rehearsal. Then we'll start replacing the members of the core group by those observing, and keep
rotating around like that, so that everyone involved will spend time rehearsing with the band, and observing the rehearsal
when they're not playing. We will look at a number of tunes and try different ideas and approaches over a period of about
8 hours. The idea is that by the end of the day, everyone involved will have gone through several stretches of playing in
the band and several stretches of observing the rehearsal.
• enrollment by permission of the instructor only (see at class sign-up or mtadic@calarts.edu) At least moderate
ability to sight-read is mandatory. Each student will spend at least 4 hours in rehearsal.
Week 2: F 10AM–6PM, B302 (ROD)
Credit Hours: 10


[Th-30] PhotoShop Workshops – John Sherwood
A workshop, offered at two separate times in using Adobe PhotoShop, to scan, assemble, edit and print images.
• enrollment open to the Institute, but preference will be given to costume and scenic designers
• Two sessions, limited to 8 each session (enrollment allowed in 1 session only)
Week 2: Session 1 TH 9:30AM–12:30PM, F109a
Session 2 TH 1PM–4PM, F109a
Credit Hours: 5


[Th-31] Poets & Boxers: The Life and Art of Arthur Cravan, Mina Loy and Yves Klein – Lily Whitsitt
This workshop aims to explore the lives and art of three rebellious artists: Dadaist poet-boxer Arthur Cravan (1887-
1918?), Futurist-muse-poet Mina Loy (1882-1966), and French Conceptualist Yves Klein (1928-1962). All three of these
artists pushed physical, artistic, moral, and intellectual boundaries: Cravan once sold tickets to the performance of his
own suicide, only to rebuke the audience for paying to witness such a spectacle; Loy had an affair with Futurist founder
Marinetti, before realizing she was against his Fascist ways; and Klein once served cocktails at a gallery opening that
made the imbibers urinate blue for a week. Through active collaboration, musicians, designers, and performers will
excavate the lives and artwork of these rebellious thinkers by looking at their writing, letters, paintings, and photographs,
as well as the rumors they left behind. After research and discussion sessions, participants will propose, rehearse, and
present their own creative group interpretations and translations of these artists’ works.
• enrollment limited to 7-10 Theater School and 3-5 Music School—by invitation only
Week 1: TH/F 1PM–4PM, BB2
Week 2: TH/F 1PM–4PM, BB2
Credit Hours: 15


[Mu] The Practice of Microtonal Just Intonation – Erika Duke-Kirkpatrick, Helge Slaatto, Frank Reinecke,
Wolfgang von Schweinitz
The Norwegian violinist Helge Slaatto was concertmaster of the Odense Symphony Orchestra in Denmark, and he is a
professor at the conservatory in Münster, Germany since 1993. The German double bassist Frank Reinecke is a member
of the Symphony Orchestra of the Bavarian Radio since he was 23, and he was a professor at the Mozarteum in Salzburg,
Austria in 1995-2001. – Erika, Helge, and Frank will talk together with Wolfgang about their practical experience with
microtonal just intonation and demonstrate the specific microtonal playing techniques they have developed in their
rehearsals for Wolfgang’s “Plainsound Litany” for cello solo and for his 75-minute duo for violin and double bass
“Plainsound Glissando Modulation”. This open rehearsal workshop will also be an introduction for their performance of
these pieces in the REDCAT concert on Saturday, January 24.
• enrollment open to the Institute
Week 2: T/W/TH 2PM–6PM, A300; SAT 8:30 Concert at REDCAT
Credit Hours: 15


[Th-32] Production
Theater students involved in rehearsal for Dr. Faustus Lights the Lights and Angel of History, and in design & technical
development for those two shows as well as Borkman and Forgotten World can receive up to 45 hours of credit toward
Interim, with Mentor approval. All students enrolled in this Interim class are encouraged to find another short offering as
well.
• enrollment limited to those assigned to above productions
Credit Hours: up to 45


[Mu] Professional Music Notation Guidelines – Rob Wannamaker
Composition competitions, granting bodies, academic admissions committees and professional performers expect
submitted scores to meet publication-quality music notation standards. This is true whether the scores are typeset or hand-
written. Poor notation consigns many good pieces to the trash bin. This course will help to prevent your work from
meeting such a cruel fate by delving into the nitty-gritty of music notation. The emphasis will be on engraving rules (e.g.,
"a stem should be one octave in length", "the end of a tie points at the middle of the notehead", etc.) rather than on the use
of any specific notation software.
• enrollment open to the Institute
Week 1: M/T/TH 4PM–6PM, B324
Week 2: T/TH 4PM–6PM, B324
Credit Hours: 10


[Mu] Pumping Live Tools – Martijn Zwartjes
Building a set of live tools in reaktor that sync to each other. Drum Machines, Loop Scramblers, Sequenced Synths and
FX.
• enrollment limited to 15
Week 1: M/F 10AM–2PM, B304
Credit Hours: 10


[Th-33] Puppetry in Film – Katie Shook, Aleigh Lewis
Aleigh Lewis (MFA 3 Film/Video) and I would like to conduct a workshop exploring puppetry on film with a group. This
project will be an extension of the line of inquiry I am following this semester in the theater project, One Eye Gone.
Several actors in this piece have indicated an interest in working with us to create a video piece from the show. The
workshop can include actors and puppeteers from One Eye Gone, as well as other students who are interested in
participating in an ensemble experiment for performance on film. We would like the class to be process oriented (work
shopping ways of moving/acting with puppets on film) toward an end piece (a ten minute video piece). We will use 3-4
eight hour days in the video studio to collaboratively explore and shoot the piece.
• enrollment open to the Institute
Week 2: TH/F 12PM–6PM in MOD Lobby; SAT/SUN 12PM–6PM in Video Studio
Credit Hours: 10

[Mu] Reiki for Musicians —Rachel Rudich
Reiki (pronounced Ray-Key) is a “hands on” Japanese technique for stress reduction and relaxation. It has also been found
to promote healing and reduce pain. In this introduction we'll learn the history and tradition of Reiki, how we can create
health and calmness in a chaotic world, how we can use this technique in performance to bring calmness and energy to
our playing, and how we might bring it to everyday practice to promote focus and relaxation.
• enrollment open to the Institute
Week 1: M 11AM–1PM, B320
Credit Hours: 5


[Mu] Rhythm Section Workshop —Larry Koonse, Darek Oles
The focus of this workshop is interaction in the rhythm section. It is open to all instruments included in the rhythm section
(drums, bass, piano, percussion, and guitar) and the class will be primarily performance based. Other instruments are
welcome to observe the class. Emphasis will be on communication in the context of working with grooves.
• enrollment open to the Institute
Week 1: W/TH 2PM–4PM, B320
Week 2: W/TH 2PM–4PM, B320
Credit Hours: 10


[Mu] Robotics for Music and Media —Ajay Kapur, Michael Darling
• Course limited to students enrolled in Interface and Robotics Music Technology in the spring.
• permission of the instructor required
Week 2: W/TH/F 1PM-4PM, B303
Credit Hours: 10


[Mu] Rubato Outline in Classical and Romantic Music —Bill Powell
In this class, instrumentalists and vocalists will learn how to create a map for phrasing in the works by Classical and
Romantic composers. The first 2 hour class will be an introduction to the principles of the rubato outline and all students
must attend this first class. Students will then choose one of the other two classes to show how they have applied the
principles of the first class to a movement, short piece or song by a Classical or Romantic composer which they will
perform in the class.
• enrollment open to the Institute
Week 1: M 11AM–1PM, B321
Week 2: T 4PM–6PM, B321 and F 11AM–1PM, B321
Credit Hours: 5


[Mu] Salsa Band—David Roitstein
• participation limited to Salsa Band members only
Week 1: TBA B320
Week 2: TBA B320
Credit Hours: 5


[Th-34] Self Directed Independent Study in Illustration – Martha Ferrara
Participants will explore illustration techniques for a subject matter of their choice, which might include anything from
environmental perspective to fashion graphics. Individual hour tutorials each week in instructor’s office will be followed
with individualized assignments.
• enrollment limited to 4-6 (sign up for specific hour tutorial with Martha)
Week 1: M/T/W/TH 1PM–5PM, E103b
Week 2: T/W/TH 1PM–5PM, E103b
Credit Hours: 15



[Mu] “A Sudden Myth of Memory” by Steven Hoey— Susan Allen, Julie Feves
Open rehearsal of a work in progress. Course is especially geared for composers who are interested in writing for harp or
bassoon.
• enrollment limited to 8
Week 1: T/TH 1:30PM–3PM, B316
Week 2: T 1PM–3PM, B316, F TBA, B316
Credit Hours: 10


[Mu] Sexuality and Gender Identity in Music (with a focus on Benjamin Britten’s operas)— Marc Lowenstein
Three Britten operas will be viewed: Peter Grimes, Turn of the Screw, and Death in Venice. Although these works will
form the nucleus of the discussion of sexuality and gender identity, other relevant topics will be explored, including jazz
improvisation in the mid-to-late 20th century, cross dressing in operas, and the fashionableness of post-modern analysis.
There will be some required readings.
• enrollment limited to 20
• enrollment open to the Institute
Week 1: T/TH 6PM–10PM, B305
Week 2: T 6PM–10PM, B305
Credit Hours: 15


[Th-35] Something Shakespeare – Mary Lou Rosato
In this class we will read (and work on) 2 late plays of Shakespeare—CORIOLANUS and CYMBELINE, so whoever joins
me must be willing to bring an actor's sensibility to the experience.
• enrollment limited to 10 actors—BFA 3 and above (preference given to MFA actors)
Week 1: M/T/TH/F 1PM–4PM in ML
Week 2: T/W/TH/F 1PM–4PM 1–4p in CH
Credit Hours: 30


[Th-36] Speech in Film – Dwight Bacquie
A workshop offered twice focusing on watching film clips that have stories set in different periods. The class will assess
and discuss speech choices and execution.
• enrollment limited to 10
• prerequisite—at least one semester in a Skinner or Skinner-compatible IPA
Week 2: T/TH 10AM–12PM, D309 (sign up for either T or TH)
Credit Hours: 5


[Mu] Supercollider—Mark Trayle
Supercollider Boot Camp. Supercollider is a rich, full-featured programming language for sound synthesis and
composition. It's an open source project, and it runs on Macintosh, Linux, and Windows. This series of classes will
introduce Supercollider and explore its features, including syntax, messaging, ugens (synthesis units), patterns and
streams. Open to anyone with a laptop and a desire to work with sound creatively.
• some background in electronic music helpful
• enrollment limited to 12
• enrollment open to the Institute
Week 1: T/TH 4PM–6PM B304
Week 2: T/TH 4PM–6PM B304
Credit Hours: 10


[Mu] Syllabi Workshop—Jacqui Bobak
Syllabi writing workshop given for faculty only.
Week 1: M 12PM–1PM B318
Week 2: T 5PM–6PM B312

Mu] Symbolism, Ausdruck, Form and Performance Practices in the B-minor Mass of J. S. Bach – Paul Vorwerk
This will be a listening and discussion project of the monument known as the Messe in h-moll by the late Baroque master
in which each of the 27 movements are examined with regard to their historical precedents as well as the musical means
the composer employed in heightening the expression of the text. Where certain movements are known to be contrafacta,
based upon earlier models, those models will be examined. Comparison of several recordings will be made leading to
discussions of performance practices. Outside preparation expected will be approximately thirty minutes in preparation
for each of three of the four sessions.
• enrollment open to the Institute
Week 1: M/T 4PM–6PM, B318
Week 2: T/TH 4PM–6PM, B318
Credit Hours: 10

[Th-37] Theater as the Expanded Field II – Nancy Lupo, Ben White
THEATER AS THE EXPANDED FIELD II will be organized around field trips, studio workshops, readings and
discussion. Approximately half of the classes will be held at designated, offsite locations (museums, monuments, etc.).
The on campus classes will meet in the Scene Shop where the students will be able to choose from a list of projects that
they will work on and complete during the five hour class time. Students will also maintain a three ring binder that will
serve as an "idea bank", and will include photographic documentation of workshop projects, relevant readings and a daily
journal. Field Trips will include: Los Angeles County Museum of Art, Museum of Contemporary Art, Watts Towers,
Museum of Jurassic Technology, etc.
• course fee for entry to museums and carpooling—estimated at $25.
• enrollment limited to 15
• enrollment open to the Institute
Week 1: M 1PM–6PM, T 9AM–2PM, TH 9AM–2PM, F 1PM–6PM in Scene Shop and offsite
Week 2: T 9AM–2PM, TH 9AM—2PM, F 1PM–6PM in Scene Shop and offsite
Credit Hours: 40


[Th-38] Tobogganing into Camera – Aycil Yeltan
Through this course, actors will explore how to engage with the camera through intense scene work. During the first
week each student will rehearse a scene with a partner in close connection with the camera, view and discuss their work,
and discover their strengths and weaknesses. During the second week, each rehearsed scene will be individually shot and
professionally edited. By the end of the workshop, a DVD copy of the scene work will be provided to each student to use
as material for their reel.
• enrollment limited to 10 (preference to BFA 4 & MFA 3 actors)
Week 1: M/T/TH/F 9:30AM–12:30PM, E400
Week 2: T/TH/F 9AM–1PM, E400
Credit Hours: 25


[Th-39] True Crime Bunraku – Rafael Lopez-Barrantes, Janie Geiser
A workshop merging contemporary or 20th Century true crime stories with the formal elements of Bunraku – heightened
narration (jojuri), puppet performance, and music. While drawing on the tradition of the Bunraku, participants will create
contemporary collaborative work that expands or explodes this tradition, while investigating similar source material
(police reports, crime stories, news accounts) in unexpected ways. Students can participate as actors, designers, writers,
puppeteers, directors, musicians, among other roles. We will work with existing or found figures, or very simply
constructed figures, to focus our attention on the elements of new work development and performance.
• enrollment limited to 12
• enrollment open to the Institute
Week 1: M/T 10AM–4PM in CH
Credit Hours: 15


[Mu] 20 Quarter Inch Jacks Project – Stuart Fox
Rehearsal and performance at REDCAT of Tim Brady's piece for 20 electric guitars under the direction of the composer.
8 3 hour rehearsals, plus dress rehearsal and concert, additional sectionals and coaching as necessary; at least 1 hour
practice per day in advance of and during Interim.
• enrollment by permission only—contact Stuart Fox (sfox@calarts.edu)
• participants must prepare parts in advance and attend all rehearsals
• electric guitar, amp, distortion pedal required
Week 1: SAT 5PM–8PM, B319 / SUN 1PM–4PM, B319 / T 7PM–10PM, Main Gallery
TH 8PM–11PM, B319
Week 2: SAT (1/17) 1PM–4PM, B302 (ROD) / SUN (1/18) 1PM–4PM, B302 (ROD) / M (1/19) 7PM–
10PM, B302 (ROD)
W 8PM–11PM, B319 / F 8:30PM REDCAT Performance (dress rehearsal in late afternoon)
Credit Hours: 45


[Th-40] Video Puppetry – Chase Woolner
This class will cover the basics of performing and working with puppets on camera, a style developed and made famous
by Jim Henson and the Muppets. The class will teach puppet lip-sync, eye focus, basic puppet performance and
characterization and simple hand-puppet construction. Students will design and build their own simple hand puppet and
we will work towards creating a video short displaying what was learned.
• Course Fee: $3
• enrollment limited to 9 (no puppetry experience necessary)
• enrollment open to the Institute
Week 2: T/W/TH/F/SAT 9AM–12PM in CH
Credit Hours: 15


[Mu] Vocal Improvisation – Susan Allen w/Fahad Siadat
A workshop in various forms of vocal improvisation in a variety of idioms. The main focus of the class will explore
different ways to organize group improvization sessions using both standard western singing and extended vocal
techniques. This workshop is primarily a preparation for the large work to be performed in the spring by the
contemporary vocal ensemble.
• enrollment open to the Institute
Week 1: M/F 2PM–4PM B318
Week 2: T/TH 2PM–4PM B319
Credit Hours: 10


[Th-41] Voice, Movement and Speech Classes – Fran Bennett, Heather Ehlers, Denise Woods
BFA1 and MFA1 voice and movement classes, as well as MFA 1 speech classes continue during interim. (see separate
schedule posted on Theater School callboards).
• enrollment limited to BFA 1 and MFA 1 actors only
Week 1: M/T/TH/F 9AM–12PM in C105 and F100
Week 2: M/T/TH/F 9AM–12PM in C105 and F100
See separate posting for specific classes/hours.
Credit Hours: BFA 1s = 10 hours / MFA 1s – 15 hours


[Th-42] Voice & Speech for Non-Actors—Denise Woods
Basic voice and speech techniques for the non-major to enhance and improve your voice & speech patterns.
• enrollment limited to 10
• enrollment open to the Institute
Week 1: F 11AM–1PM in ML
Week 2: F 11AM–1PM in C105
Credit Hours: 5


[Th-43] Want to be a Not-So Starving Artist? – Maria Nicolacakis
A workshop designed to help performing artists maximize all their talents, including the art of making money.
• enrollment limited to 25
• enrollment open to the Institute
Week 2: F 1PM–4PM in Café B
Credit Hours: 5
[Mu] Website Design for Dummies – Rachel Rudich
For CalArts Music Faculty who never thought they could learn to make their own website. Come hear how I did it with
iweb, an easy way to enter into this world of website design for the non-techy creative person! Best for Mac users with
their own laptops, but if not, please join anyway for general information
• enrollment limited to CalArts Music Faculty
Week 1: M 2PM–4PM, B312
Week 2: T 11AM–1PM, B318
Credit Hours: 5


[Mu] Why Should Artists Care? – Music and Politics – Ulrich Krieger
From New Music and Jazz to Funk, Punk, HipHop, Techno, Electronica and Metal. How does society influence our
artistic work and how far is our artistic output a reflection of our times and circumstance, if intended or not.
Preparation: Read the newspaper.
• enrollment open to the Institute
Week 1: TH 6PM–9PM, B318
Credit Hours: 5


[Mu] Workshop in Minimalist Music Performance Practice – Danny Holt
"Minimalist" is a label that is applied to a broad spectrum of music, from conceptual works by composers such as
LaMonte Young and James Tenney to the aggressive and angular music of Louis Andriessen and Michael Gordon to the
often tonal and even mainstream sounds of Steve Reich and Philip Glass. Because minimalist music generally involves a
minimum of musical material, it is what is done with that material that makes the music compelling, beautiful, or
challenging. In some instances the composer notates exactly what is to be done; in others much is left up to the discretion
of the performer; and in many cases the interpretive process of the performer lies somewhere in-between. This workshop
will explore the performance of minimalist music from many angles, bringing theoretical, technical, and philosophical
perspectives to the process of performance. We will analyze, discuss, and perform works by Terry Riley, Steve Reich,
Philip Glass, Louis Andriessen, and others. While we will not be involved in rehearsals leading up to a public
performance of these works, our goal will be to get to know several important minimalist works on a very deep level
through the immediate experience of performing them ourselves. Through performance and discussion, we will
explore the numerous physical, mental, and musical challenges presented by minimalist music, and hopefully experience
various forms of musical transcendence along the way!
• enrollment limited to 12
Week 2: T/TH/F 6PM–9PM, B321
Credit Hours: 10


[Th-44] The World of NAMM – Jon Gottlieb
Travel to Anaheim and spend the day on the show floor of the National Music Products Association convention. Students
will provide their own transportation and admission cost.
Carpools will leave from CalArts at 9am. Return times are TBD.
• course fee: $25 plus transportation costs
• enrollment open to the Institute
Week 1: F 9AM–9PM offsite
Week 2: T/TH 12:30–6:30 in Costume Shop & F100a
Credit Hours: 10


[Mu] Yoga Nidra – Bill Powell
The key to inner peace. Yoga Nidra is often referred to as the yogic “sleep.” This ancient practice of deep relaxation is
done in full awareness and can be a jumping off place for visualization, self-inquiry, deep meditation, or just power
napping. The benefits of the practice of Yoga Nidra are the abilities to relax at will, to focus attention, and to be more
globally aware. All one needs for this class is a large towel or blanket or yoga mat.
• enrollment open to the Institute
Week 1: M/T/W/TH/F 9AM–10AM, B302 (ROD)
Week 2: T/W/TH/F 9AM–10AM, B302 (ROD)
Credit Hours: 10

[Th-45] You Are the Establishment (and it’s totally okay) – Ellen McCartney, Jonathan Berger (guest artist)
Your job in this class is to build an "institution" for your work where you take full control of and consider every area of
your creative production. This institution should be considered both literal and conceptual. Think of this institution as a
place that encompasses all of the aspects of what you do.
• enrollment limited to 16
• enrollment open to the Institute
Week 1: M/T/TH/F 12:30PM–6:30PM / SAT 10AM–4PM in Costume Shop & F100a
Week 2: T/TH 12:30PM–6:30PM in Costume Shop & F100a
Credit Hours: 45

[MU] "What's going on down there? Your voice---how it works and how to take care of it."—Maria Fortuna Dean
Anatomy of the vocal mechanism, developing healthy vocal habits, and what to do when you're sick.
• enrollment open to the Institute
Week 1: F 11AM–1PM B318
Week 2: F 11AM–1PM B318


Student Affairs

Business of Art Workshop – Student Affairs through the Center for Cultural Innovation
This workshop will be a shorter, more focuses version of the Center for Cultural Innovation’s seven week program,
including Discovering your Personal Goals, Values and Mission; Marketing and PR for Individual Artists; Grant Writing
for Artists; and Business of Art Summary/Next Steps.
• permission of school office
• enrollment limited to 16
Week 1: F & SAT 9AM–5PM—Place TBA
Credit Hours: 20


[Mu] Lessons/Coachings/Independent Study available with:
Must have faculty approval – see faculty at class sign-up
Credit Hours: 5 per session (maximum of three sessions allowed)

Susan Allen – (improvisation studies)

Paul Berkolds – (lessons) – private lessons, see Paul to arrange.

Jacqueline Bobak –(lessons); Contact Jacqui to arrange (jbobak@calart.edu)

Edward Carroll – (independent study)

Erika Duke-Kirkpatrick – (lessons)

Julie Feves – (independent study)

Randy Gloss – (lessons/independent study) – Contact at rgloss@calarts.edu It will be on a first come first serve basis.

Vinny Golia – (lessons/independent study) – Contact at ninewinds@aol.com It will be on a first come first-served basis.

Larry Koonse – (harmonic and melodic improvisation; M/T 11AM–5PM and W/TH 11AM–1PM each week)

Jim Miller – (lessons) - time-TBA; advanced studies of later non-tonal solo and partnered trombone works, B255

Paul Novros – (lessons) - Arranging, Composition, Keyboard, Saxophone. Please call 818 784 6054 to schedule

Bill Powell – (lessons / coaching chamber music groups) - one chamber music group that he would like to get a start on is
Bartok’s Contrasts for violin, clarinet and piano.

Mark Robson – (lessons, coachings, or independent studies) - Limited to voice majors preparing vocal recitals for the
spring. Hours TBA in consultation with teacher.

Wolfgang von Schweinitz – (Lessons, Coachings, Independent Studies) - During the first week of Interim he will be
available for up to 8 hours.

Aaron Serfaty – (lessons) to those who did not get approved or other if time allows (Wednesdays 10-6). Call him to
schedule at 818-209-3973

Wadada Leo Smith – (lessons, coachings, or independent studies) during the first week of Interim available for up to 8
hours.

Morton Subotnick – private meetings; Week 2: T 10–4; W 9–12 (see office for details on how to contact)

Allan Vogel – (individual coachings) on Monday and Friday of the first week, late in the afternoon.