Available courses

Principal Instrument - Steelpan
Charlton Alfonso

Principal Instrument - Steelpan

Students are required to undertake intense study in voice or an instrument on which he / she has demonstrated reasonable performing skills. The course will be tailored to the individual student’s level and needs and will cover a broad repertoire relevant to the particular area of study. A juried examination is held each semester in which students are expected to display satisfactory progress from one semester to the next; the grade given at the examination will go towards a percentage of the student’s overall semester grade for the course.

Music Theory I
Charlton AlfonsoAriesky Garcia

Music Theory I

Principles of notation, scales (major and minor), keys, intervals, and triads; identification of triads and seventh chords in inversion; part-writing using rot position and first inversion triads are taught mainly through music of the common practice period (1600-1900).

Music Theory III
Charlton AlfonsoAriesky Garcia

Music Theory III

Chromatic harmony, the use of secondary dominants, secondary leading tone chords, modulations, mode mixture and the Neapolitan chord are the emphases.

Curriculum: Methods and Media
Verona BarnesSana Rose

Curriculum: Methods and Media

This course examines the contemporary theories, methods,media and practices that underpin the learner-centred art classroom. Such a classroom is grounded in the understanding that learners are not passive receptors of knowledge but that they actively construct knowledge in their attempt to understand the world. In such a learning environment teacher and student become co-constructors of knowledge.

TEACHING PRACTICE (PRACTICUM)
Ornisea Williams-Hird

TEACHING PRACTICE (PRACTICUM)

This course is regarded as the major component of the education core course for the Education Specialist, therefore, it is specifically designed to further equip teachers with the knowledge, attitude and skills required to plan and teach the visual and performing arts as a subject in

their own right, drawing from their own body of knowledge which is obtained from the art forms.


Performance Lab III Semester 1

Performance Lab III Semester 1

Weekly preparation for the 3rd-year concert - includes modules on preparing performance riders, stage plots and input lists as well as their programmes, fliers and charts as there are also weekly performance critiques.

Performance Lab I Semester 1

Performance Lab I Semester 1

Weekly preparation for 4th-year concert - includes modules on preparing performance riders, stage plots and input lists as well as their programmes, fliers, charts as well as arrangements and press kits - there are also weekly performance critiques.

Vocal Skills (FMLP)
Trevelle Clarke-Whyne

Vocal Skills (FMLP)

This is a group class where students develop secondary vocal skills that will enable them to function in the classroom or group settings primarily as beginning soloists or ensemble performers. 


Keyboard Skills III
Kyran O

Keyboard Skills III

Students develop secondary keyboard skills that will enable them to function in the classroom and group settings primarily as accompanists and ensemble performers. This course is designed for non-keyboard majors only. 

Keyboard Skills III

Keyboard Skills III

Students develop secondary keyboard skills that will enable them to function in the classroom and group settings primarily as accompanists and ensemble performers. This course is designed for non-keyboard majors only. 

Guitar Skills I
Shanelle Richards

Guitar Skills I

Students develop secondary guitar skills that will enable them to function in the classroom and group settings primarily as accompanists and ensemble performers.

Vocal Skills
Trevelle Clarke-Whyne

Vocal Skills

This is a group class where students develop secondary vocal skills that will enable them to function in the classroom and group settings primarily as beginning soloists or ensemble performers.   

Keyboard Skills 1
Kyran O

Keyboard Skills 1

Students develop secondary keyboard skills that will enable them to function in the classroom and group settings primarily as accompanists and ensemble performers.
 
 Students develop secondary keyboard skills that will enable them to function in the classroom and group settings primarily as accompanists and ensemble performers. 

Contemporary Aural and Singing III

Contemporary Aural and Singing III

This course will reinforce the concepts explored in MU113A and MU113B while continuing to further expand the aural perception and understanding of the student. Much emphasis will be placed on the practical application to the written aspect of music
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theory. This includes identifying, analyzing and reproducing rhythmic, melodic and harmonic structures via activities such as sight singing, rhythmic reading and various types of dictations.
 
 

Contemporary Aural and Singing I
Trevelle Clarke-Whyne

Contemporary Aural and Singing I

This course develops the students’ aural perception and analysis and the emphasis will be placed on the practical application to the written aspect of music theory. 

Aural and Sight Singing I
Allison Wallace

Aural and Sight Singing I

This course develops the students’ aural perception and analysis and the emphasis will be placed on the practical application to the written aspect of music theory. 

Contemporary Music Theory IV - G.Beyens
Gerd Beyens

Contemporary Music Theory IV - G.Beyens

 This course focuses on the nomenclature, and aural recognition, of scales, chords, chord progressions and compositional devices commonly utilized in jazz and popular music. The experience expands to facilitate the notation and performance of rhythms, syncopated patterns, chord extensions and substitutions through an in-depth analysis of classic jazz standards

Contemporary Music Theory II - G.Beyens
Gerd Beyens

Contemporary Music Theory II - G.Beyens

Writing, and aural recognition, of scales, triads, seventh chords, meter, rhythms and harmonic devices commonly utilized in jazz and popular music as well as notation of music related to the rhythm section, and analysis of jazz performances.
 

Aurals and Sight Singing II (Contemporary) - T Clarke-Whyne
Trevelle Clarke-Whyne

Aurals and Sight Singing II (Contemporary) - T Clarke-Whyne

 This course develops the students’ aural perception and analysis and the emphasis will be placed on the practical application to the written aspect of music theory. 

Principal Instrument -Debra-Ann Davidson
Debra-Ann Davidson

Principal Instrument -Debra-Ann Davidson

This is the space where all students in Ms. Debra-Ann Davidson's studio will be able to access course syllabi, and supporting materials. It is also a place where students will be notified of important imformation.

Form and Analysis I
Debra-Ann Davidson

Form and Analysis I

This is an advanced Music Theory class in which we will analyze music from the Common Practice Era, ca 1600-1910. This is a fully online course; however, there will be periodic synchronous instruction via zoom. You will be told in advance the dates of these class meetings. They will take place on the scheduled class time Mondays from 3pm-5pm, so please leave that time reserved for these meetings.

Principal Instrument - Piano
Kieran Murray

Principal Instrument - Piano

(Music Education Major)

Students are required to undertake intense study in voice or an instrument on which he / she has demonstrated reasonable performing skills. The course will be tailored to the individual student’s level and needs and will cover a broad repertoire relevant to the particular area of study. A juried examination is held each semester in which students are expected to display satisfactory progress from one semester to the next; the grade given at the examination will go towards a percentage of the student’s overall semester grade for the course. A student Is required to pass both the course work and the examination in order to pass the course. One hour lessons. 

Available Options:

Piano, Voice, Guitar, Clarinet, Flute, Trumpet, Trombone, euphonium, tuba, strings (violin, double bass), Steelpan in Classical and Contemporary Music Studies.

Modern Guitar, Electric Bass and Drum Kit & Percussion, Hand drums and percussion in Contemporary Music Studies concentration only.

Music Theory III
Allison Wallace

Music Theory III

Chromatic harmony, the use of secondary dominants, secondary leading tone chords, modulations, mode mixture and the Neapolitan chord are the emphases.

Music Theory IV
Allison Wallace

Music Theory IV

The study of, augmented sixth chords, chromatic alterations, Bach chorale harmonizations, and compositions using the simple forms of the 18th and 19th centuries, is the focus at this level.

 Aural and Sight Singing II
Allison Wallace

Aural and Sight Singing II

This course further develops the students’ aural perception and analysis and the emphasis will be placed on the practical application to the written aspect of music theory. The students will explore the minor scale, dominant chord, compound time and dotted rhythms.

Harmony and Arranging I
Gerd BeyensOrville Hammond

Harmony and Arranging I

Study of the musical elements and devices commonly utilized in Jazz / Pop forms and the acquisition of skills leading to the development of a personal style in arranging for various combinations of instruments / voices.

Harmony and Arranging II - G.Beyens
Gerd Beyens

Harmony and Arranging II - G.Beyens

Study of the musical elements and devices commonly utilized in Jazz and Popular music forms and the acquisition of skills leading to the development of a personal style in arranging for various combinations of instruments and voices. This is a continuation of the principles studied in “Harmony and Arranging I”.

 Aural and Sight Singing III
Allison Wallace

Aural and Sight Singing III

This course further develops the students’ aural perception and analysis and the emphasis will be placed on the practical application to the written aspect of music theory. 

 Aural & Sight Singing IV
Allison Wallace

Aural & Sight Singing IV

Prerequisite: MU 210A.
Modulations, two part dictation and chromaticism are introduced at this level.

 Music Theory I
Paula-Kay Beswick

Music Theory I

Principles of notation, scales (major and minor), keys, intervals, and triads; identification of triads and seventh chords in inversion; part-writing using rot position and first inversion triads are taught mainly through music of the common practice period (1600-1900).

Western Music: An Overview         Debra-Ann Davidson
Debra-Ann Davidson

Western Music: An Overview Debra-Ann Davidson

This is a blended course that introduces students to the classic repertoire of   Western musical culture, and the socio/political events that informs this music.  It explores the 
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significant landmarks in music history from the Medieval period through the early decades of the 20th century.  The course will use both online and face-to-face modalities.

 Song Writing
Kieran Murray

Song Writing

Prerequisite: MT 211B or MT212B
This course teaches the principles of song writing by guiding the student through the creative process of song writing. Topics to be covered include creativity and inspiration, choosing and manipulating a subject matter, song construction (structure), writing the music, creating demos,
publishing the score and marketing.

Choir
Ruth Browne

Choir

COURSE DESCRIPTION  Students are exposed to choral repertoire ranging from the classical traditions of Europe, the Caribbean repertoire and music from around the world. Additionally,   The experience provides the
opportunity for students to develop sound musicianship skills and knowledge associated with choral singing.

Traditional Jamaican Drumming
Reuben Betty

Traditional Jamaican Drumming

Foundation conga drumming techniques taught through the use of Jamaican rhythms and those from our African heritage. Ensembles of Principal Instruments 1 Credit per semester Students are required to take a prescribed number of credits in the ensemble related to their principal study and area of specialization. The experience provides the opportunity for the development of musicianship skills and knowledge associated with the particular ensemble. Ensembles may be

repeated for credit. Main ensembles offered are:

MU 120 Choir

MP Orchestra

MP 122 Steel Pan Ensemble

MP 123 Drumming Ensemble

MP 133 Percussion Ensemble

MP 140 Concert Band

MP 141 Vocal Jazz Ensemble

MP 222 Mixed Instrumental Ensemble

 Arranging and Composition for Classroom I
Kyran O

Arranging and Composition for Classroom I

Prerequisite: MT 211B or MT212BP

This course focuses on the study and use of fundamental arranging and composing devices and techniques for various instrumental and vocal combinations.  Students are required to score assignments using traditional and non-traditional methods. All pieces are performed. 


Methods and Materials in Music I
Andre

Methods and Materials in Music I

This methods course reflects the historical, social and cultural milieu in which music takes place in the schools of our nation. The course focuses not only on giving our students the necessary musical tools needed for a career in music education but also prepares them for the pedagogical skills needed to effectively design, and manage learning and instruction at the secondary level in a Jamaican school. Emphasis is given to planning, teaching and evaluating music lessons and to utilizing techniques and materials from a variety of approaches. The cultural framework in which music education takes place is focused on so that students will not only be exposed to musical ideas from outside the geographical region in which they live but an emphasis will be placed on materials and musical ideas from Jamaica and the Caribbean region. The course will operate as a learning laboratory where students will function as both student and teacher. The course is a two part one: the first part focuses primarily on giving students the methods and materials that they will need in their career as music educators; the second part will broaden the offerings to include more intense work on pedagogy and educational organization aimed at preparing students for teaching practice and the ultimate goal of being effective educators in secondary school music.

Measurement and Evaluation in the Music Classroom
Garnet Mowatt

Measurement and Evaluation in the Music Classroom

This course will offer a broad foundation of all aspects of assessment and measurement as well as evaluation  including, but not limited to, other forms of data collection applied in music education. Topics in this course will include psychometrics; measurement of musical aptitude, achievement, performance, and affect; measurement tools, including assessment instrument development; administration and scoring of assessments; and reporting systems.

 Form and Analysis I
Debra-Ann Davidson

Form and Analysis I

This course deconstructs works from the Western Classical canon during the Common Practice Era (1600-1900), and analyzes these works within their historical context in an effort to interpret them. 

Keyboard Harmony I
Orville HammondAllison Wallace

Keyboard Harmony I

This course will develop keyboard skills which will enable piano students to transpose music. They will be also harmonizing melodies which involves the use of chord progressions and cadences. The students will also gain an understanding of the circle of 5ths which demonstrates how keys are related. The course is delivered in a keyboard lab setting.


Jazz and Popular Music Ensemble III
Gerd BeyensJon Williams

Jazz and Popular Music Ensemble III

These courses focus on the fundamentals of jazz improvisation and performance practice of jazz and pop music repertoire,performed on students’ principal instruments collectively and in an ensemble setting. This is an eight semester sequence ending with advanced level improvisation and complex arrangements.

Because of Covid19 we won't be able to actually play together. We will use backings tracks instead. Each student records his/her improvisation and sends it as an mp3. This will happen weekly.

Enjoy!

Gerd Beyens

Music Technology I
Derek Been

Music Technology I

This course is a basic introduction to the properties of sound, audio  systems and the use of computers in audio and music. The course will also introduce filters and spectrum processors like equalizers and the uses of delay; also transducers- microphones and their polar patterns; MIDI, sequencing, recording considerations and synchronization; Synthesizers and signal flow. There is an introduction to notation software.


 Foundation of Music Education
Ornisea Williams-Hird

Foundation of Music Education

The course is an introduction to the music education profession in general and as it has been practiced in Jamaica. Students will explore historical, social, and philosophical considerations and foundations that relate directly to the Caribbean music educator, and include a critical evaluation of some contemporary trends in the field. Students will explore the history of Jamaican music education, and curricular achievements in school music programmes. Other topics include a broad look at different music educator philosophers and theorists, understanding the self, the roles of the music teacher, and tools of teaching. The course will place emphasis on practical approaches to teaching both in the classroom and rehearsal setting.

 Methods and Materials in Music II
Andre

Methods and Materials in Music II

This methods course reflects the historical, social and cultural milieu in which music takes place in the schools of our nation. The course focuses not only on giving our students the necessary musical tools needed for a career in music education but also prepares them for the pedagogical
skills needed to effectively design, and manage learning and instruction at the secondary level in a Jamaican school. Emphasis is given to planning, teaching and evaluating music lessons and to utilizing techniques and materials from a variety of approaches. The cultural framework in which
music education takes place is focused on so that students will not only be exposed to musical ideas from outside the geographical region in which they live but an emphasis will be placed on materials and musical ideas from Jamaica and the Caribbean region. The course will operate as a learning laboratory where students will function as both student and teacher. Students will be asked to teach mini-lessons and be involved in pedagogical practice modules in schools. The
course is a two part one: the first part focuses primarily on giving students the methods and materials that they will need in their career as music educators; the second part will broaden the offerings to include more intense work on pedagogy and educational organization aimed at preparing students for teaching practice and the ultimate goal of being  effective educators in secondary school music.

 Choral Techniques
Trevelle Clarke-Whyne

Choral Techniques

This course is designed to provide students with the theoretical knowledge and practical skills required to teach choral ensembles in secondary schools.   Among topics to be addressed in this phase of the course are vocal production, an introduction to effective rehearsal techniques, the changing voice, musicianship skills, choral conducting, and evaluation and assessment. 


 Instrumental Techniques
Ian Hird

Instrumental Techniques

This course is designed to established techniques (methods) and materials necessary for running a successful Instrumental Music Program at the secondary school level. It exposes students to the brass/woodwind family of instruments as well as hands-on experience playing selected instruments from these families. 

 Steel Band Techniques
Kyran O

Steel Band Techniques

This course is designed to provide students not only with basic steel pan playing techniques but also the theoretical knowledge, historical background, and practical skills required to teach steel bands in secondary schools. Students will be introduced to the instruments in the steel band family and must be actively involved in the class' steel band for the duration of the semester.

 Music Technology II
Derek Been

Music Technology II

This course takes a more in-depth look at synthesis systems, sequencing, sampling, the Digital Audio Workstation (DAW), audio editing and Digital Signal Processing (DSP) concepts.

 Music Technology III
Michael HarrisKieran Murray

Music Technology III


A more in depth look at music composition and production with the aid of a Digital Audio Workstation. 

 Music Technology IV
Kieran Murray

Music Technology IV

This course takes a more in-depth look at the studio process and practical applications of concepts learned in the Music Technology III. A final thesis/project is required. Prerequisite: MU 409

Performance Lab Semester 2 - Year 4
Michael Harris

Performance Lab Semester 2 - Year 4

Weekly preparation for 4th-year concert - includes modules on preparing performance riders, stage plots and input lists as well as their programmes, fliers, charts as well as arrangements and press kits - there are also weekly performance critiques.

Performance Lab Semester 2 - Year 3

Performance Lab Semester 2 - Year 3

Weekly preparation for the 3rd-year concert - includes modules on preparing performance riders, stage plots and input lists as well as their programmes, fliers and charts as there are also weekly performance critiques.

Assessment in the Art Classroom

Assessment in the Art Classroom

This course introduces student-teachers to the field of assessment and the shifts and tension points existing within the field. Specifically it provides them with opportunities to explore the idea of learner-centred assessment and to examine their roles within it. Student-teachers will question their assumptions about how students learn, the best way to teach and how to know if teaching has been successful. Throughout the course students will investigate and apply diverse approaches to varying assessment situations that may arise within the classroom. The course is centred in the philosophy of constructivism and the vision is for student teachers to become conversant with the principles and the key concepts of learner-centred assessment and become empowered to apply these to classroom contexts.

Art Curriculum Development
Sana Rose

Art Curriculum Development

This course allows students to delineate and examine important theories, concepts, and events that influence contemporary art education curriculum development. Students will examine the events and the historical and socio-political currents that drive art education curriculum development in Jamaica and internationally. This will make them more cognizant of the relationship between local and international trends in curriculum development. Using the local curriculum standards and guides students will develop teaching units that foster learners’ cognitive, social, physical emotional and perceptual growth. Throughout the course students will discuss the role of the art specialist; the function of subject matter; the role methods and materials play in facilitating learning and; the connection of art education curriculum to other disciplines and governmental policies.

Modern Jamaican Art
Petrina Dacres

Modern Jamaican Art

This course introduces students to Jamaican Art and Design and provides a forum for students to engage with the artistic history of the country. It examines the ways in which the past has provided a source of inquiry and iconographical explorations for Jamaican artists in the twentieth century and the multiple themes and artistic languages they engaged. Broad themes explored include the representation of the body, the influence of Rastafari, art in public spaces, and the relationship between art, identity and politics. Importantly, it demonstrates the contribution of Jamaican art to World Art and more specifically modern and contemporary art and design.


Exploring Philosophies of Art Sem 1 2021/2022
Petrina Dacres

Exploring Philosophies of Art Sem 1 2021/2022

This course provides students with an introduction to multiple ideas of art and artists. It uses the texts of philosophers, scholars, art critics and artists to reflect on the changing perceptions of the nature and purposes of art. The class also examines case studies of artistic controversies to tease out some of the issues under discussion.

Time Based Media l
Yakub Grant

Time Based Media l

Time Based Media exposes students to an introductory level of motion graphics, video and basic animation and utilizing several software platforms. Students will be introduced to basic storyboarding, developing narratives and working through sequencing. This course will provide students with the fundamental requisite knowledge to asses future directions in their interest in animation and new media pursuits.

Aesthetics: Exploring Philosophies of Art
Veerle Poupeye

Aesthetics: Exploring Philosophies of Art

This course explores the aesthetic concepts central to the understanding and enjoyment of works of art. The meaning of concepts used in discussing and the understanding of iconography and other elements and their expression particularly in Jamaican Art are discussed. Stylistic trends in Jamaican art, relationships between the visual arts and other artistic expressions in Jamaica and art as a subjective experience of artist and viewer.

 Art Education

Art Education

Art Education means different things to different people. I believe that art education is an opportunity to nurture children to find truth through imagination, effort, collaboration, and cultural literacy.

Issues in Drawing & Painting 1A
Sana Rose

Issues in Drawing & Painting 1A

This course will examine the context and practice of the visual arts in the disciplines of drawing and painting and their relationship to visual representation.  Students will be encouraged to see drawing and painting as related disciplines, with drawing as both the initial, immediate tool for expression of ideas as well as an end in itself, and painting as an expressive medium which is linked to drawing. Students will investigate the human figure and its potential for expressing ideas, as well observational drawing and painting as a vehicle for developing personal visual language. Emphasis will be placed on introducing students to a range of technical and conceptual approaches to drawing and painting through which they can develop their understanding of visual representation.

Art Education 2

Art Education 2

Art Education means different things to different people. I believe that art education is an opportunity to nurture children to find truth through imagination, effort, collaboration, and cultural literacy.

Research Methods 1B (Semester 2, 2021)
Lesley-Gail Atkinson Swaby

Research Methods 1B (Semester 2, 2021)

This course offers exposure to Research Methods and procedures for conducting original research projects. Research types and formats, language and terminology, measurements and instruments are studied. Also explored are the problems of validity and reliability and the procedures and methods available for establishing these. Planning, conducting and presentation of an original research or thesis are studied through student seminars based on preliminary research in selected topics. A practical and uniform method to be followed in the writing and presentation of the research paper is introduced.

 Integrated 2D/3D II - Knight/Rose
Chungknight n/aSana Rose

Integrated 2D/3D II - Knight/Rose

The Integrated 2D/3D II course seeks to foster the exploration of the inter-relatedness of these art-making principles, while simultaneously developing the language and understanding of the formal aspects of art making. Throughout semester II students will continue to engage with varying materials and integrated explorations of the formal fundamental concepts that underpin studio practice. Students will further explore the subtle differences between 2D and 3D, and acquire an understanding of how they inform each other. This will be enhanced by specific readings related to contemporary studio practice.

Drawing I | CTRK2 Thomas
Phillip Thomas

Drawing I | CTRK2 Thomas

Lecturer: Phillip Thomas
I
n Drawing 1, the model is used as a reference to approach the study of shape, form and space in terms of line, tone and volume in relation to the figure.  The element of balance and proportion as well as individual and expressive approach to the figure by combining media in unusual ways is encouraged. Students will be exposed to using practical techniques such as measuring for proportion, perspective and formatting of the pictorial plane.

Integrated 2D/3D CTRK2 DTRK2
Jheanell Forbes-BrahamChungknight n/aSana Rose

Integrated 2D/3D CTRK2 DTRK2

FD102A :  Integrated 2D/3D CTRK2 and DTRK2: Lecturers: Forbes-Braham and Chung Knight
The course lends itself to the investigation of problem solving through conceptual and actual means utilizing the fundamental elements of visual language. This will enable students to recognize the inter-relatedness and integrative processes that emphasize the synergy of 2D and 3D elements. Students will explore the subtle differences between 2D and 3D, and acquire an understanding of how they inform each other. Students also engage with varying materials and integrated explorations of the formal fundamental concepts of studio practice.

FD102A Integrated 2D 3D Chedda | Bailey
Greg BaileyCamille CheddaYves Yearwood

FD102A Integrated 2D 3D Chedda | Bailey

FD102A :  Integrated 2D/3D ATRK1 BTRK1: Lecturers: Camille Chedda & Yves Yearwood
The course lends itself to the investigation of problem solving through conceptual and actual means utilizing the fundamental elements of visual language. This will enable students to recognize the inter-relatedness and integrative processes that emphasize the synergy of 2D and 3D elements. Students will explore the subtle differences between 2D and 3D, and acquire an understanding of how they inform each other. Students also engage with varying materials and integrated explorations of the formal fundamental concepts of studio practice.

Drawing I | ATRK 1 Chedda
Camille CheddaYves Yearwood

Drawing I | ATRK 1 Chedda

In Drawing 1, the model is used as a reference to approach the study of shape, form and space in terms of line, tone and volume in relation to the figure.  The element of balance and proportion as well as individual and expressive approach to the figure by combining media in unusual ways is encouraged. Students will be exposed to using practical techniques such as measuring for proportion, perspective and formatting of the pictorial plane.
Lecturer: Camille Chedda


Drawing I | BTRK1 Yearwood
Yves Yearwood

Drawing I | BTRK1 Yearwood

Lecturer: Yves Yearwood
In Drawing 1, the model is used as a reference to approach the study of shape, form and space in terms of line, tone and volume in relation to the figure.  The element of balance and proportion as well as individual and expressive approach to the figure by combining media in unusual ways is encouraged. Students will be exposed to using practical techniques such as measuring for proportion, perspective and formatting of the pictorial plane.

Time Based Media
Ina Sotirova

Time Based Media

Time Based Media exposes students to an introductory level of motion graphics, video and basic animation and utilizing several software platforms. Students will be introduced to basic storyboarding, developing narratives and working trough sequencing. This course will provide students with the fundamental requisite knowledge to asses future directions in their interest in animation and new media pursuits.

Design Procedures Workshop
Shauna Gaye Murray-Coke

Design Procedures Workshop

This course introduces students to the stages and process necessary to prepare conceptual artwork for commercial use. Projects involve using industry-standard computer applications to create and edit pixel and vector images, create page layouts, and prepare files for printing. Emphasized are colour management, printing technology, file preparation for multiple colour printing, Acrobat PDF workflow, raster image processing, cross-application data exchange and file troubleshooting. Discover how to better communicate with the printer, think about print as they are designing, and choose the correct paper, inks, colours, and fonts for the project.

 Integrated 2D/3D II - Yearwod/Chedda
Camille CheddaJheanell Forbes-BrahamYves Yearwood

Integrated 2D/3D II - Yearwod/Chedda

The Integrated 2D/3D II course seeks to foster the exploration of the inter-relatedness of these art-making principles, while simultaneously developing the language and understanding of the formal aspects of art making. Throughout semester II students will continue to engage with varying materials and integrated explorations of the formal fundamental concepts that underpin studio practice. Students will further explore the subtle differences between 2D and 3D, and acquire an understanding of how they inform each other. This will be enhanced by specific readings related to contemporary studio practice.

STUDIO PRACTICE PAINTING
Camille Chedda

STUDIO PRACTICE PAINTING

Students will undertake specific projects as they explore and develop an understanding sophisticated understanding of how the elements and principles of design is employed through exposure to the discipline of Studio Practice. Throughout the semester students will engage with various materials and integrated explorations while referencing their Integrated 2D/3D Studio. This will further inform them of the formal fundamental concepts that under-pins contemporary art-making which will be enhanced by specific readings and critical thinking and discussions.

Art in Context
Phillip Thomas

Art in Context

This course investigates the connections that exist between the making of art and environment in which art is made. This includes the student’s personal/psychological response to social, historical and political issues. The discussion and analysis of information through the presentation of slides, video and guest lecturers will heighten students’ awareness of concerns in contemporary art practices as well as develop a more analytical approach to their own studio practice. The utilization of text, drawing, photography or other relevant means of documentation in an art book/journal to be presented at the end of the semester.

Assemblage/Collage
Camille Chedda

Assemblage/Collage

This course provides students with the opportunity to develop an interdisciplinary approach to Painting and/or Sculpture through an exploration of the medium of assemblage, collage and installation.

Mural Design I
Greg Bailey

Mural Design I

This course explores historical and contemporary approaches to mural painting and design with an emphasis on concepts and philosophies developed in the 20th century. Students will be encouraged to regard the city of Kingston as an open classroom. Community involvement and collaboration with public and private sectors will be encouraged and designs created as coursework will be placed in the public domain. Emphasis will be placed on media research. Students will be encouraged to think outside the traditional notion of mural painting (pigment on surfaces) in an effort to forge new possibilities in murals.

Caribbean Identity: The New Black Culture I
Omari Ra

Caribbean Identity: The New Black Culture I

This course seeks to align students with concepts ideas and aesthetics related to the Caribbean including its historic context. It stresses the importance of research and study of Caribbean literature, politics and socio-cultural geography as a necessary pre-requisite in order to have a concrete understanding of image-making and other concerns.

New Media and Process I
Oneika Russell

New Media and Process I

This course encourages students to develop ideas through the process of performance and time-based projects using media such as photography, digital imaging and video. The student is introduced to the possibilities of using basic recording methods to document transitory or ephemeral activity along with more traditional means such as drawing and text. Prerequisite – Media and Process

Media and Process
Phillip Thomas

Media and Process

This course focuses on the process of exploring materials. Students will explore a broad range of media and techniques, from the conventional to the unconventional, whilst dealing with the formal aspects of painting such as composition and investigation of pictorial space. Individual and group

discussion of contemporary concerns in painting will be used to stimulate the students’ analytical ability.

Issues in Representation II
Phillip Thomas

Issues in Representation II

This course will further focus on the traditional notions of representation including the narrative, through the convulsions of the various modern movements of the early years: the twentieth century to the extreme formalism of the 1950s and beyond. This course seeks to examine what representation looks like today and what it might become as it continues to evolve. In doing so, fundamental skills and practices held to be at the very core of representation will be re-evaluated and questioned.

Issues in Representation I
Phillip Thomas

Issues in Representation I

In this course the student will work from life models,landscape on location, and still life in order to explore traditional and contemporary methods of representation in Painting. Students will be encouraged to experiment with materials, composition and scale. The works of the super

realist and other contemporary artists will be researched and discussed and compared with the works of the old masters. Prerequisite – Foundation Studies

STUDIO PRACTICE INTERDISCIPLINARY STUDIES

STUDIO PRACTICE INTERDISCIPLINARY STUDIES

Students will undertake specific projects as they explore and develop an understanding sophisticated understanding of how the elements and principles of design is employed through exposure to the discipline of Studio Practice. Throughout the semester students will engage with various materials and integrated explorations while referencing their Integrated 2D/3D Studio. This will further inform them of the formal fundamental concepts that under-pins contemporary art-making which will be enhanced by specific readings and critical thinking and discussions.

Interdisciplinary Research Process (Seminar)
Petrona Morrison

Interdisciplinary Research Process (Seminar)

This course focuses on developing an individual studio project which is informed by intense studio research and synthesis of knowledge gained in interdisciplinary practice. Through a process of experimentation and research students will expand their project proposal, exploring ideas and thematic concerns with an emphasis on developing their own visual language and approach to integration. Through guided discussion with lecturers and invited guests they will critically analyse their studio projects and contextualize their work in relation to contemporary theoretical frameworks and practice. 



STUDIO PRACTICE SCULPTURE
Raymond Watson

STUDIO PRACTICE SCULPTURE

Students will undertake specific projects as they explore and develop an understanding sophisticated understanding of how the elements and principles of design is employed through exposure to the discipline of Studio Practice. Throughout the semester students will engage with various materials and integrated explorations while referencing their Integrated 2D/3D Studio. This will further inform them of the formal fundamental concepts that under-pins contemporary art-making which will be enhanced by specific readings and critical thinking and discussions.

 Issues in Contemporary Sculpture
Paula Daley

Issues in Contemporary Sculpture

This course will employ and analyze the utilization of diverse materials, and mediums. As well as individualised approaches, to conceptual development within the context of a contemporary sculptural practice. Themes to be examined are:

The revisiting of modernism by contemporary sculptors.

 Found objects and authenticity. 

 Minimalism and the reductive object. 

 Redefining figurative strategies and land art.

 Sculpture in the Age of social media.


The Body and Process II

The Body and Process II

This course focuses on the psychological notion of the body. Issues such as culture, sexuality, disease, technology, gender, evolution and religion will be explored. Students will be required to complete reading assignments and make research presentations to the class.

ROTATION PRINTMAKING  STUDIO PRACTICE
Cleve Bowen

ROTATION PRINTMAKING STUDIO PRACTICE

 students will be  introduce to  printmaking’s practices, history and techniques as a gateway for exploring materials and ideas to create form, and explore basic two dimensional elements; line, form, surface, space and structure.


FD103A STUDIO PRACTICE JEWELLERY
Duane Bennett

FD103A STUDIO PRACTICE JEWELLERY

Students will undertake specific projects as they explore and develop an understanding sophisticated understanding of how the elements and principles of design is employed through exposure to the discipline of Studio Practice. Throughout the semester students will engage with various materials and integrated explorations while referencing their Integrated 2D/3D Studio. This will further inform them of the formal fundamental concepts that under-pins contemporary art-making which will be enhanced by specific readings and critical thinking and discussions.

 Independent Study IA
Luqman AlaoLaura Lee Jones

Independent Study IA

This course offers to final year students the opportunity to develop a personalized approach to studio practice. This is a project or body of work based on a theme chosen by the student that allows them to develop content, realize ideas and initiate the individual thinking required of professional artists. Tutorials are scheduled with the Department Head/ Coordinator to ensure the satisfactory development of the project. The independent project forms part of the final
examination, and each student must be prepared to discuss the project in depth with the examiners and be able to put into concise language, the concepts and ideas involved. Students are expected to use the Research Methods II course to conduct research to develop their ideas for their Independent Study projects. The research paper for Research Methods II should be related to the Independent Study.

 Production Techniques I (Mandatory Workshop)
Laura Lee JonesPaul Smith

Production Techniques I (Mandatory Workshop)

This course focuses on pre-production work for lost wax casting, an intermediary process used when a design cannot be transferred directly to metal. Students learn the different stages from the making of clay or plaster model through to the final stage of centrifugal casting.

 Mechanics and Fittings (Mandatory Workshop)

Mechanics and Fittings (Mandatory Workshop)

In this course students are introduced to the technical aspects of precision necessary for making Jewellery. Students will be taught the fundamentals of mechanical and plan drawing as it applies to materials, mechanisms, concepts and designs used in Jewellery.

 New Directions in Jewellery
Duane BennettLaura Lee Jones

New Directions in Jewellery

This course seeks to enrich the vocabulary of the Jewellery student by looking at and discussing the work of avantgarde designers and their techniques in art Jewellery making. This course looks at Jewellery fashion, principles and cycles while studying trends.

Principles of Design I
Duane BennettLaura Lee Jones

Principles of Design I

In this course students are encouraged to develop a portfolio of design ideas using as reference material from plant life, fossil, crystalline and mineral forms. They also study the impact of
customer personality and gender on design. Emphasis is on developing creative ability and visual sensitivity. Suitable rendering techniques, painting and perspective requirements are covered.

 Introduction to Jewellery
Luqman AlaoLaura Lee Jones

Introduction to Jewellery

This course introduces students to technical aspects of jewellery making. Basic processes used in the design and creation of jewellery making techniques is studied. Students fabricate their own design in studio.

Ceramic Sculpture IB
Michael Layne

Ceramic Sculpture IB

This course will focus on mixed media approaches to express individual ideas. Students will have the opportunity to explore the potential of the materials being used for large or small 3D structures. Model-making and studies to illustrate the relationship between ideas and processes will also be

covered.


Multimedia Ceramics IB
E. Margaret McGhie

Multimedia Ceramics IB

This course is designed to broaden the scope of production,creativity and experimentation. The limitation of executing a single piece is expanded by means of mass production of identical pieces in a short time. The course also provides possibility of producing ‘new’ individualistic pieces.

FD103A STUDIO PRACTICE CERAMICS
Anna-K Cuffe

FD103A STUDIO PRACTICE CERAMICS

Students will undertake specific projects as they explore and develop an understanding sophisticated understanding of how the elements and principles of design is employed through exposure to the discipline of Studio Practice. Throughout the semester students will engage with various materials and integrated explorations while referencing their Integrated 2D/3D Studio. This will further inform them of the formal fundamental concepts that under-pins contemporary art-making which will be enhanced by specific readings and critical thinking and discussions.

Independent Study II Ceramics
Laura Lee JonesE. Margaret McGhie

Independent Study II Ceramics

This course offers to final year students the opportunity to further articulate and expand their personalized approach to studio practice. This is a project or body of work based on a theme chosen by the student that allows them to develop content, realize ideas and initiate the individual thinking required of professional artists. Tutorials are scheduled with the Department Head/Coordinator to ensure the satisfactory development of the project. The independent project forms part of the final examination, and each student must be prepared to discuss the project in depth with the examiners and be able to put into concise language, the concepts and ideas involved. Students are expected to use the Research Methods II course to conduct research to develop their ideas for their Independent Study projects. The research paper for Research Methods II should be related to the Independent Study.

Ceramics Independent Study IA
E. Margaret McGhie

Ceramics Independent Study IA

This course offers to final year students the opportunity to develop a personalized approach to studio practice. This is a project or body of work based on a theme chosen by the student that allows them to develop content, realize ideas and initiate the individual thinking required of professional artists. Tutorials are scheduled with the Department Head/Coordinator to ensure the satisfactory development of the project. The independent project forms part of the final examination, and each student must be prepared to discuss the project in depth with the examiners and be able to put into concise language, the concepts and ideas involved. Students are expected to use the Research Methods II course to conduct research to develop their ideas for their Independent Study projects. The research paper for Research Methods II should be related to the Independent Study.

Surface Design IIB
E. Margaret McGhie

Surface Design IIB

This course follows on from Surface Design 1, and teaches additional techniques of surface decoration. The student designs and executes work choosing an appropriate technique, size and form for his or her individual preference.

Ceramic Sculpture I
Laura Lee JonesE. Margaret McGhie

Ceramic Sculpture I

This course will focus on mixed media approaches to express individual ideas. Students will have the opportunity to explore the potential of the materials being used for large or small 3D structures. Model-making and studies to illustrate the relationship between ideas and processes will also be

covered.

Studio Ceramic Processes I (Workshop)
Anna-K CuffeLaura Lee Jones

Studio Ceramic Processes I (Workshop)

This workshop will provide a series of the necessary technical underpinnings as the foundation to providing the springboard for the ceramic experience of the student artist and designer. Students will engage in an intensive immersion in the various practices. This workshop is open to design

majors as well as studio specific student artist. 0 Credit.

Multimedia Ceramics IA
Anna-K CuffeLaura Lee Jones

Multimedia Ceramics IA

This course is designed to broaden the scope of production,creativity and experimentation. The limitation of executing a single piece is expanded by means of mass production of identical pieces in a short time. The course also provides possibility of producing ‘new’ individualistic pieces.

Fashion Independent Study IA
Gianna Fakhourie

Fashion Independent Study IA

This course offers to final year students the opportunity to develop a personalized approach to studio practice. This is a project or body of work based on a theme chosen by the student that allows them to develop content, realize ideas and initiate the individual thinking required of professional artists. Tutorials are scheduled with the Department Head/ Coordinator to ensure the satisfactory development of the project. The independent project forms part of the final examination, and each student must be prepared to discuss the project in depth with the examiners and be able to put into concise language, the concepts and ideas involved. Students are expected to use the Research Methods II course to conduct research to develop their ideas for their Independent Study projects. The research paper for Research Methods II should be related to the Independent Study.

Pattern Making & Construction I

Pattern Making & Construction I

It is critical that students understand techniques for measuring and calculating body dimensions and how those 3D measurements translate to lines, shapes and cuts  on 2D material. The student’s introduction to the concept of working in the duo dimensional world of the fashion designer will centre on the basic 2-Dimensional skirt pattern or “skirt block”, which is used to construct a wide range of skirts.


Portfolio Collection Development II
Jill BeckerGrace Kelly

Portfolio Collection Development II

This course focuses on:   

a. Styling

b. Fashion Show production

 Clothing is only one component of the Fashion Industry and cannot be seen in isolation. Students will explore the use of complementary and juxtaposing hair, makeup and accessories for styling their own creations. Students will be shown how to style their creations in a way that reflects the overall image that they are trying to project both for runway and photo shoot scenarios. This is expected to generate additional materials that will be added to the student’s fashion portfolio.

 Since, ultimately, their creations are intended to be worn, the fashion show serves as the fashion designer’s exhibition. The coordination and teamwork that is necessary for Fashion Show production and an appreciation of the role of fashion shows in showcasing and marketing their own work will be emphasized in this module.

 

On completion of this course these students will be responsible for organizing and managing all aspects of the official Department Fashion Show.

Woven Imagery I
Laura Lee Jones

Woven Imagery I

This course explores weaving as a drawing medium utilizing supplemental warp/weft, and double cloth. Along with direct encounter with material and weaving system at the loom, each student will make a hard bound note/journal which will include drawings, drafting, writings, bibliography, vocabulary and personal evaluation and all relevant individual explorations and research throughout the course.


Pattern Making & Construction III
Grace Kelly

Pattern Making & Construction III

This course focuses on:   

a. The Dress Block

b. The Trouser Block

Combining the bodice block with the skirt block provides the basis for the dress block. This basic dress block is further modified to create secondary dress blocks that are the foundation for a wide range of dress patterns and styles.

The fact that today a single garment; jeans, can be the foundation of an entirely separate international fashion industry underscores the importance of understanding and mastering the trouser block. The addition of the dress and trouser blocks to the skirt, bodice, and sleeve blocks rounds off the principle blocks used in most pattern making and garment construction assignments. An ability to manipulate these principle blocks will provide the foundation for a student that is competent enough to tackle most pattern making assignments.


Introduction to Weaving I

Introduction to Weaving I

This workshop focuses on fundamental tapestry techniques, as well as constructing and dressing a frame loom.  Experimentation with methods of colouring and dyeing for use in woven fabrics is included.  Individuals will be encouraged to focus on developing personal imagery in tapestry.

AIMS:

·    To develop an appreciation of tapestry weaving techniques.

·    To demonstrate ability to apply aesthetic considerations when using the techniques.

·    To master the methods of weaving in order to create tapestries using the techniques learnt.

To expose students to the work of contemporary fibre artists and cultural traditions utilizing tapestry techniques.

STUDIO PRACTICE TEXTILES, FASHION AND FIBRE ARTS
Laura Lee Jones

STUDIO PRACTICE TEXTILES, FASHION AND FIBRE ARTS

Students will undertake specific projects as they explore and develop an understanding sophisticated understanding of how the elements and principles of design is employed through exposure to the discipline of Studio Practice. Throughout the semester students will engage with various materials and integrated explorations while referencing their Integrated 2D/3D Studio. This will further inform them of the formal fundamental concepts that under-pins contemporary art-making which will be enhanced by specific readings and critical thinking and discussions.

 Textile Design Independent Study IA
Laura Lee Jones

Textile Design Independent Study IA

This course offers to final year students the opportunity to develop a personalized approach to studio practice. This is a project or body of work based on a theme chosen by the student that allows them to develop content, realize ideas and initiate the individual thinking required of professional artists. Tutorials are scheduled with the Department Head/ Coordinator to ensure the satisfactory development of the project. The independent project forms part of the final examination, and each student must be prepared to discuss the project in depth with the examiners and be able to put into concise language, the concepts and ideas involved. Students are expected to use the Research Methods II course to conduct research to develop their ideas for their Independent Study projects. The research paper for Research Methods II should be related to the Independent Study.

Weaving Independent Study IA
Laura Lee Jones

Weaving Independent Study IA

This course offers to final year students the opportunity to develop a personalized approach to studio practice. This is a project or body of work based on a theme chosen by the student that allows them to develop content, realize ideas and initiate the individual thinking required of professional artists. Tutorials are scheduled with the Department Head/ Coordinator to ensure the satisfactory development of the project. The independent project forms part of the final examination, and each student must be prepared to discuss the project in depth with the examiners and be able to put into concise language, the concepts and ideas involved. Students are expected to use the Research Methods II course to conduct research to develop their ideas for their Independent Study projects. The research paper for Research Methods II should be related to the Independent Study.

 Layered Textiles (Mandatory Workshop)
Katrina Coombs

Layered Textiles (Mandatory Workshop)

This course will broaden students’ knowledge of traditional layering methods. Examples will be drawn from various parts of the world known for this type of work. These methods will be explored along with other surface design techniques such as hand and machine embroidery, quilting and patchwork. Students are encouraged to use these techniques to develop ideas for sculptural/relief approach to fabric, moving away from the flat planar textile. 0 Credits.


 Contemporary Studio Practices and Design Procedures
Jill BeckerKatrina Coombs

Contemporary Studio Practices and Design Procedures

This course prepares students to design for small studio production by introducing them to the practices of contemporary design studios and their procedures and how it differs from the printing industry. The experience of exploring contemporary fabric creation will also inform the fine art studio experience. Site visits to studios are made and students’ report on their observation forms part of the course requirement. Current trends in textile designs are examined, as well as site differences between the small studio printer and industrial printing practices.  This course also stresses basic professional techniques in the construction of a designer’s first sample.  Students gain insight into the relationship between creative design and quality of finished sample.


 Non-Loom Weaving (Mandatory Workshop)
Katrina Coombs

Non-Loom Weaving (Mandatory Workshop)

Focus is on using basketry, and finger weaving techniques as a means of expressing ideas. These techniques will expose students to a variety of methods for exploring fibre sculpture. Students will be encouraged to focus on developing personal imagery using these techniques.