Bachelor of Applied Arts Music Theatre Performance

Transcription

April 2, 2009
Sheridan College Institute of Technology and Advanced Learning
1430 Trafalgar Road
Oakville ON L6H 2L1
(905) 845-9430
Submission:
Bachelor of Applied Arts
Music Theatre Performance
Applying for Ministerial Consent
Under the Post-secondary
Education Choice and
Excellence Act, 2000
The Secretariat
Postsecondary Education Quality Assessment
Board
Suite 1511
2 Carlton Street
Toronto, Ontario M5B 1J3
Tel.: 416-325-1686
Fax: 416-325-1711
E-mail: [email protected]
1. Title Page
1.1 Submission Title Page
Full Legal Name of Organization: Sheridan College Institute of Technology and Advanced
Learning
Operating Name of Organization: N/A
Common Acronym of Organization: Sheridan College
URL for Organization Homepage: http://www1.sheridaninstitute.ca/
Proposed Degree Nomenclature: Bachelor of Applied Arts (Music Theatre Performance), BAA
(MTP)
Location (specific address) where program to be delivered (each location requires a locationspecific consent from the Minister): 1430 Trafalgar Road, Oakville, Ontario L6H 2L1
Contact Information:
Person Responsible for this Submission:*
Name/Title: Dr. Mary Preece, Vice President Academic
Full Mailing Address: 1430 Trafalgar Road, Oakville, Ontario, L6H 2L1
Telephone: (905) 845-9430 x4061
Fax: (905) 815-4002
Site Visit Coordinator (if different from above):**
Name/Title: Nancy Riddell, Coordinator Administrative Services
Full Mailing Address: 1430 Trafalgar Road, Oakville, Ontario, L6H 2L1
Telephone: (905) 845-9430 x2666
Fax: (905) 815-4168
Anticipated Start Date: September, 2010
Anticipated Enrolment for the first 4 years of the program: 166
Chair, Board of Governors
Name/Title: Susanna D’Arcy
Mailing Address: c/o Board of Governors Office, 1430 Trafalgar Road, Oakville, ON L6H 2L1
Telephone: (905) 844-5198
* The person who is the primary contact for the submission on matters pertaining to proposal
content and communications from the Postsecondary Education Quality Assessment Board.
** This person will be the organization’s liaison for coordinating the site visit.
BAA (Music Theatre Performance)
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1.2 Table of Contents
1.
Title Page
Appendix 1.1 Submission Title Page............................................................................................... 1
Appendix 1.2 Table of Contents ...................................................................................................... 2
2.
Executive Summary
Appendix 2.1 Executive Summary .................................................................................................. 4
3.
Program Abstract
Appendix 3.1 Program Abstract....................................................................................................... 9
4.
Program Degree-Level Standard
Appendix 4.1 Degree Level Summary........................................................................................... 13
Appendix 4.2 Samples of Student Work........................................................................................ 21
5.
Admissions, Promotion, Graduation Standard
Appendix 5.1.1 Admissions Requirements Direct Entry............................................................... 22
Appendix 5.1.2 Admissions Policies and Procedures for Mature Students................................... 23
Appendix 5.2.1 Credit Transfer/Recognition Policies and Procedures ......................................... 24
Appendix 5.2.2 Advanced Placement Policies .............................................................................. 29
Appendix 5.2.3 Degree Completion Arrangements....................................................................... 32
Appendix 5.2.4 Gap Analysis ........................................................................................................ 33
Appendix 5.2.5 Bridging Courses.................................................................................................. 50
Appendix 5.3 Promotion and Graduation Requirements ............................................................... 59
6.
Program Content Standard
Appendix 6.1.1 Program Advisory Committee Membership ........................................................ 60
Appendix 6.1.2 Program Advisory Committee Minutes ............................................................... 61
Appendix 6.2.1 Professional/Accreditation or Other Requirements.............................................. 65
Appendix 6.2.2 Letters of Support: Professional/Accreditation or Other Requirements .............. 66
Appendix 6.3.1 Program Level Learning Outcomes ..................................................................... 69
Appendix 6.3.2 Course Descriptions ............................................................................................. 73
Appendix 6.3.3.1 Program Hour/Credit Conversion Justification............................................... 100
Appendix 6.3.3.2 Academic Course Schedule............................................................................. 107
Appendix 6.3.3.3 Identification of Previously Assessed Subjects............................................... 110
Appendix 6.4 Course Outlines ..................................................................................................... 113
Appendix 6.5.1 Program Structure Requirement......................................................................... 138
Appendix 6.5.2 Support for Work Experience ............................................................................ 139
Appendix 6.5.3 Work Experience Outcomes and Evaluation ..................................................... 140
7.
Program Delivery Standard
Appendix 7.1.1 Quality Assurance Policies................................................................................. 144
Appendix 7.1.2 Policy on Student Feedback ............................................................................... 157
Appendix 7.1.3 Student Feedback Instruments ........................................................................... 158
Appendix 7.2.1 On-Line Learning Policies and Procedures........................................................ 160
Appendix 7.2.2 Academic Community Policies.......................................................................... 161
8.
Capacity to Deliver Standard
Appendix 8.1 Demonstrated Strength.......................................................................................... 162
Appendix 8.2.1 Library Resources .............................................................................................. 164
Appendix 8.2.2 Computer Access................................................................................................ 194
Appendix 8.2.3 Classroom Space ................................................................................................ 195
Appendix 8.2.4 Laboratories/Equipment ..................................................................................... 196
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Appendix 8.3 Resource Renewal and Upgrading ........................................................................ 201
Appendix 8.4 Support Services.................................................................................................... 202
Appendix 8.5 Policies on Faculty ................................................................................................ 204
Appendix 8.6.1 CV Release......................................................................................................... 209
Appendix 8.6.2 A Curriculum Vitae Exceptions ......................................................................... 210
Appendix 8.6.2 B Curriculum Vitae Teaching and Curriculum of DW courses ......................... 212
Appendix 8.6.2 C Curriculum Vitae Teaching and Curriculum of DO and DL courses............. 250
Appendix 8.6.2 D Curriculum Vitae for Program Development Consultants ............................. 254
Appendix 8.6.2 E Curriculum Vitae for On-line Learning Professional Staff ............................ 256
Appendix 8.7 Enrolment Projections and Staffing Implications ................................................. 271
9.
Credential Recognition Standard
Appendix 9.1 Program Design and Credential Recognition........................................................ 272
10.
Regulation and Accreditation Standard
Appendix 10.1 Current Regulatory or Licensing Requirements.................................................. 275
Appendix 10.2 Letters of Support From Regulatory/Licensing Bodies ...................................... 276
11.
Program Evaluation Standard
Appendix 11.1 Periodic Review Policy and Schedule................................................................. 277
12.
Academic Freedom and Integrity Standard
Appendix 12.1.1 Academic Freedom Policy ............................................................................... 293
Appendix 12.1.2 Academic Honesty Policy ................................................................................ 294
Appendix 12.1.3 Academic Honesty Procedure .......................................................................... 295
Appendix 12.2 Policy on Intellectual Products............................................................................ 296
Appendix 12.3 Policy on Ethical Research Practices .................................................................. 297
13.
Student Protection Standard
Appendix 13.1 Academic Calendar Information ......................................................................... 298
Appendix 13.2.1 Dispute Resolution ........................................................................................... 299
Appendix 13.2.2 Fees and Charges.............................................................................................. 300
Appendix 13.2.3 Student Dismissal............................................................................................. 301
Appendix 13.2.4 Withdrawals and Refunds ................................................................................ 302
Appendix 13.3 Student Protection Information ........................................................................... 303
14.
Economic Need
Appendix 14.1 Evidence of Economic Need ............................................................................... 305
15.
Non-Duplication of Programs
Appendix 15.1 Similar/Related College Programs ...................................................................... 344
Appendix 15.2 Similar/Related University Programs.................................................................. 348
16.
Optional Material
Appendix 16.1.1 Program Map.................................................................................................... 354
Appendix 16.1.2 Trends in the Music Theatre Industry .............................................................. 355
Appendix 16.1.3 ASK Analysis & Graduate Profile ................................................................... 359
Appendix 16.1.4 Music Theatre Curriculum Framework: Principles of Curriculum.................. 368
Appendix 16.1.5 Ministry/PEQAB Framework Comparison...................................................... 370
Appendix 16.1.6 Content Analysis by Discipline: Comparative Data for Gap Analysis ............ 373
Appendix 16.1.7 New Breadth Electives ..................................................................................... 398
Appendix 16.1.8 Inventory of Awards......................................................................................... 404
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2. Executive Summary
Appendix 2.1 Executive Summary
Introduction
In this age of great change, the performing arts industry finds itself in transition. The scope and
complexity of a performing arts career has evolved over the last twenty or thirty years, so that talent
alone—even exceptional talent—is no longer sufficient for successful performance careers. Canadian
graduates compete on the international stage for work and the international performance landscape is
changing. Increasingly, the baccalaureate degree is considered an entry-level requirement for a
performance career, where the nature of these careers is broadening in scope and complexity.
In Canada, there are currently no baccalaureate degree programs in Music Theatre Performance.
Sheridan’s proposed baccalaureate program in Music Theatre Performance is a response to this gap. It is
worth noting as well that although many such programs do exist in the United States as BA or BFA
programs in Music Theatre Performance, across North America there are barely a handful of graduate
programs in this field.
Furthermore, Canada’s cultural sector—currently valued at $84.6 billion, or 7.4% of the country’s gross
domestic product—is taking centre stage in discussions about the new creative economy. Art and culture,
of which the performing arts industry is a significant component, are the cornerstones of this creative
economy. The success of our current and future economy in a national and global sense requires
creativity, adaptability, innovation, imagination and artistic ability, in addition to the traditional business
and entrepreneurial strengths.
There is heightened interest in graduates from creative and performing arts degree programs that focus on
such attributes and abilities. Governments and organizations which influence public policy recognize the
need to strengthen existing creative industries specifically, and harness creative talent in order to
strengthen all industries.
Sheridan’s proposed Music Theatre Performance baccalaureate degree program is, therefore, extremely
timely and critical to both the health of the industry and to the future of our economy. Creative and
performing artists have the potential to play a key role, participating in the generation, presentation and
wide distribution of new ideas and new ways of engaging with audiences and society at large. As such,
the comprehensive and holistic design of the program reflects an educational experience that will allow
performing artists to engage more effectively and competitively with a constantly changing global
landscape.
Sheridan’s proposed program would build on the strengths of Sheridan’s current related arts programs
through the design of degree level curriculum for the disciplines of acting, singing, dancing and music, all
of which will be informed by professional, entrepreneurial and breadth studies. Through research, critical
analysis and scholarly writing, complemented by intensive studio studies, students prepare for
performance careers in theatre and media and become well positioned to provide industry leadership,
develop production companies, and pursue teaching careers.
College Strength
As one of Canada’s premier polytechnic institutes, the Sheridan Institute of Technology and Advanced
Learning educates 15,000 full-time and 35,000 part-time students annually at its campuses in Oakville
and Brampton, Ontario. It is a leader in providing learning-centred, performance-based curricula as
praxis—a unique integration of theoretical and skills-based education—in visual and performing arts,
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community service, as well as in various technical fields. Given this, the proposed Bachelor of Applied
Arts in Music Theatre Performance is aligned extremely well with the strategic goals of Sheridan.
School Strength
In particular, the School of Animation, Arts, and Design (SAAD) is the largest of its kind in Canada. It
offers programs with credentials ranging from one-year certificates to two- and three-year diplomas,
graduate certificates, and select baccalaureate programs. Of these latter programs, those in Animation and
Illustration are among the most successful in Ontario. In addition, a number of collaborative degree
programs are offered through partnership with the University of Toronto at Mississauga (Art and Art
History, Theatre and Drama Studies and Communication, Culture and Information Technology) and with
York University (Bachelor of Design). As well, articulation agreements have been developed with a
number of other colleges and universities, including Griffith University in Australia, Fleming College,
and the Ontario College of Art and Design (OCAD). Programs in development or recently submitted to
PEQAB include Interior Design, Photography, Game Design, and Interaction Design.
Specifically, the proposed Bachelor of Applied Arts in Music Theatre Performance is an excellent fit
within the School of Animation, Arts and Design, in terms of the school’s proven strength in professional
education and preparation for careers in art, media, the performing arts, and design. Key thrusts in the
development of new curricula in the SAAD include:
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the creation of educational pathways to higher levels of academic achievement and credentialing
for Sheridan students, alumni and faculty
strategies of developing educational programs that incorporate the most recent literature in the
field of teaching and learning in higher education
a strong commitment to the current and future needs of individuals, industries, and society
through the design of curriculum
a strong commitment to the scholarship of teaching and learning (S of TL) and the scholarship of
curriculum planning (S of CP)
the development of programs whose curricula are designed using a variety of models and
processes in order to encourage collaboration and integration across disciplines
The scope and rigour of the proposed program design, and the design of bridging opportunities (Appendix
5.2.3 – 5.2.5) ensure a wide range of educational pathways. Graduates from this proposed program will
have the opportunity to pursue graduate degree programs. Whether or not they opt for further graduate
studies, the curriculum of this proposed degree program ensures that they will be prepared to engage in
research within the performing arts industry, or engage in different aspects of the industry such as arts
advocacy, public policy, or administration. These skills are also transferable across a broad spectrum of
industries.
Program Rationale
There is a compelling case for a Bachelor of Applied Arts in Music Theatre Performance program to be
offered by Sheridan College. Currently, Sheridan offers an Advanced Diploma in Music TheatrePerformance, a long-standing, mature program that is well-known and widely respected. But, as current
literature indicates, this older system of training and mentoring is no longer sufficient in today’s
performing arts industry.
A degree-level credential in the performing arts is now as critically important as in other professional
fields. Music Theatre performers compete on an international stage with degree-credentialed counterparts.
Further advancement into artistic management positions also requires basic entrepreneurial, business and
administrative skills.
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The cyclical nature of the performing arts industry has the potential to shorten a career lifespan. A degree
credential, particularly one that prepares graduates for a broader spectrum of employment opportunities,
will help to promote a longer career in the industry. As well, graduates will be able to use their creative
skills across a broader range of industries within this and other sectors.
Internationally, the creative and performing arts industries are recognizing the importance of business
skills to strengthen the sector as a whole. Initiatives are currently being developed in response to evidence
of a burgeoning skills gap within the creative industries. Conversely, business and industry have
identified the significance of creative thinking and problem solving as necessary skills in business
programs–skills which are an integral focus of the performing arts.
Since the performing arts sector is comprised of small businesses, their ability to sustain themselves is
vital to assuring a stronger creative sector. An indication of this need is the inclusion of business and
entrepreneurship components in the theatre and performing arts curriculum of current degree programs in
the United Kingdom and the United States.
Program Design
The proposed baccalaureate program has been designed in accordance with the degree framework
prescribed by the Ministry of Training, Colleges and Universities (MTCU) and the Postsecondary
Education Quality Assessment Board (PEQAB) and best practices within all fine arts performance
baccalaureates.
The proposed Bachelor of Applied Arts in Music Theatre Performance would be the first baccalaureate
program of its kind in Canada. Its structure and rigour are consistent with other baccalaureate programs in
the fine arts in Ontario and Canada, and parallel comparable degree programs in the United States. As
with all such applied degrees, this proposed program provides a comprehensive and thoughtful curriculum
based on theoretical exploration and analysis, building research skills, scholarly writing and the practical
studio skills needed to prepare graduates for their chosen profession. The program employs a learningcentred performance-based philosophical approach aligned with the required high standards of the
PEQAB as reflected in the program critical performance and program learning outcomes. The structure of
the courses within the program also reflects this construct and rigour.
The program design allows for three years in which students develop, refine and master solid foundational
knowledge and skills while assimilating the affective characteristics and qualities necessary for success in
the field. Through meta-cognitive processes and growth in the disciplines, students continue to develop
their personal artistic vision through the duration of the program. In Year 3, they are required to declare a
major area of study for their final year. With appropriate grades and permission from the school, students
can opt to declare more than one major for their fourth year.
The foundational studies in Years 1 through 3 are complemented by professional, business, technology
and entrepreneurial studies, and small-scale research projects that simulate industry conditions. In Year 4,
students extend their professional studies in one or more of the three disciplines, and engage in the design
and implementation of a Capstone Project that they first identified in Semester 6. This project
encompasses all the learning they have achieved to that point in a culminating performance. The project is
comprehensive in scope, and includes legal, financial, logistical, and networked aspects as well as the
actual performance, informed and enriched by the significant theoretical base upon which it is built. The
project also gives them an opportunity to build on the experience of the 14-week Work Term as well as
increasing their networking opportunities with employers and artists in the industry. It is a problem-based
project, using a methodology that has been documented as successful at the University of Guelph and
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McMaster University. With increasing independence through refinement and mastery of foundational
knowledge and skills, students take increasing responsibility for their own learning.
Theory and conceptual development based on principles of the disciplines augment the practical studio
studies. Students are required to assimilate the theoretical material and integrate it into practical
applications to enhance specific technique and overall performance. Guest practitioners in the field
reinforce this synthesis of theory and practice through presentations, interactive lectures and
demonstrations. Additional focus on professional practices, protocols and etiquette as well as attention to
business and entrepreneurial concepts and skills are also part of the curriculum construct.
The proposed baccalaureate offers students a comprehensive learning experience focused on the three
disciplinary pillars of acting, voice, and dance. The documented success of this “triple threat” has been
applied to the proposed degree program with intensive studio studies that support a rigorous academic
program. Within the context of these disciplines and in the other areas of the program, significant degree
level academic requirements have been designed to address the theoretical, historical and analytical
elements of this level of education program.
Studio studies have been created with program and course learning outcomes reflecting the significant
level of research, critical thinking and the resulting performance required of students. In so doing, the
proposed program also addresses the changing nature of the Music Theatre industry, the growing
importance of the creative economy, and the need for Sheridan graduates to maintain a competitive edge
in an industry with an ever-expanding and demanding market.
In addition to the three disciplines of acting, voice, and dance, the program includes the additional
following components: music studies, professional practice, business and technology, entrepreneurial
studies, and industry involvement.
Threaded through the entire program is a solid focus, in every core course, on the following areas of
learning: communication, collaboration, research, scholarly writing, self-reflection and meta-cognition,
artistry and artistic vision, critical and creative problem-solving, and decision-making and leadership.
Finally, the breadth studies provide students with a different lens in which to view themselves, the nature
of their chosen career, and society in general. The availability of four (4) breadth electives allows students
an opportunity to explore a range of diverse studies or focus on one or two areas of particular interest
outside their discipline.
Curriculum Approach and Design
In order to achieve the learning identified in the program design, a curriculum model was developed that
was extensive in scope and eclectic in nature. The program was designed using the principles related to
the Scholarship of Teaching and Learning (S of TL) and the Scholarship of Curriculum Development (S
of CD). This approach results in curriculum as praxis, where knowledge and skills are integrated, and the
studio studies are not considered a simple application of theory but rather a process in which theory and
practice are integrated into a holistic design for learning.
In addition, the curriculum reflects Sheridan’s commitment to learning-centred, performance-based
student achievement, with the inherent quality control processes and tools to address development,
implementation, validation, assessment and design. Specifically, the curriculum approach is reflective of
the emergent research in learning as it relates to the design and development of curricula in our postmodern era. This includes the specific design of learning opportunities and experiences that address such
elements as creativity, collaboration, innovation, sustainability, adaptability, social justice, and strategic
thinking.
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As a result of the eclectic design of the program and the curriculum, 15 program learning outcomes were
developed along with a program critical performance that states:
By the end of the program, graduates will have demonstrated the ability to generate creative, artistic, and
innovative acting, vocal, and dance performances that are informed by cultural literacy, and reflect a
commitment to personal and professional growth.
This statement, with the accompanying program learning outcomes in Appendix 6.3.1, reflects the
integrated and academically rigorous nature of the proposed program.
Institutional Capacity to Deliver
Sheridan College currently offers four different programs in theatre studies: Advanced Diploma in Music
Theatre-Performance, Performing Arts Preparation, Theatre and Drama Studies (a joint program with
University of Toronto at Mississauga) and Theatre Arts-Technical Production.
Sheridan is extremely well positioned to offer a baccalaureate degree in Music Theatre Performance.
Most full-time faculty assigned to these programs possess a graduate degree credential, with terminal
degrees in their disciplines. In addition, Sheridan offers state-of-the-art production studios, rehearsal
spaces, and tutorial rooms. There are two theatre spaces—a main stage theatre and a black-box studio
theatre—that serve as venues for the six annual productions that the Music Theatre-Performance
Advanced Diploma program currently mounts.
In addition, the black-box studio theatre serves as a venue to present work under development. This
program, known as the “Bold Strokes” series, promotes work of faculty, students and alumni. It is
initiatives such as these that a baccalaureate program could nurture and further develop, thereby
contributing to the development of our own theatre community, as well as to the broader national cultural
life.
Research and library resources, student assistance, study and technical infrastructure and all postsecondary support systems for a positive, enriched and successful student experience are well founded
and currently supporting the over 15,000 full-time and 35,000 part-time students as well as the currently
running baccalaureate programs in fine arts, business, computer systems and health sciences.
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3. Program Abstract
3.1 Program Abstract
The Music Theatre Performance baccalaureate gives students theoretical and practical training in three
core disciplines of acting, singing, and dance through a comprehensive and holistic approach that includes
societal, cultural, community and international considerations. Through concentrated studies, students
prepare for performance careers in theatre and media. Research and scholarly writing supports further
graduate study in the discipline or the pursuit of a teaching career. A special focus on business and
entrepreneurial skills prepares graduates to assume leadership roles in the entertainment industry or to
generate their own production companies.
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4. Program Degree-Level Standard
General Program Design and Outcome Emphasis
Baccalaureate degree programs in this category are normally designed to require a level of conceptual
sophistication, specialized knowledge, and intellectual autonomy similar to that in an honours or
specialist degree program (see below for these program descriptions) but with the disciplinary content
oriented to an occupational field of practice.
Students in applied programs learn by doing, with a focus on preparing for entry into an occupational
field of practice. Such programs incorporate a blend of theory and practice, and normally include a
terminal project or other practice-based exercises intended to develop and demonstrate the student’s
readiness for employment in the occupational field of practice.
The Program Critical Performance statement states: By the end of the program, graduates will have
demonstrated the ability to generate creative, artistic, and innovative acting, vocal, and dance
performances that are informed by cultural literacy, and reflect a commitment to personal and
professional growth.
This culminating Critical Performance and the Program Learning Outcomes that make the achievement of
this learning possible provide the framework around which the specific curriculum for this program is
developed. The emphasis is on a learning-centred, performance-based approach that is aligned with the
high standards of learning required of baccalaureate programs in general in combination with the
performance standards required of graduates by the Music Theatre industry.
The structure of the courses in this program accommodates both the theoretical and the practical
requirements of an applied degree program. Practical learning is refined in the studio environment; theory
and concepts augment practical studies through interactive lectures. In addition, guest practitioners in the
field are invited to demonstrate the connection between theory and practice.
In the last year of the program, students are challenged to generate original, creative work that reflects
their personal artistic voice and individual style. In creating these professional portfolios, students
synthesize the knowledge and skills they have mastered through the program, particularly as it applies to
research, critical thinking and problem solving, in the context of industry requirements.
Throughout the development of the program and its subsequent delivery, a number of formal and
informal quality assurance processes ensure the degree-level standard of the program. These include
continuous program, course and lesson-level development within a collaborative environment. Faculty
teams meet regularly to develop new courses and to review and revise existing courses as required during
the implementation phase. This significant commitment on the part of the faculty ensures the creation and
ongoing development of a balanced and integrated curriculum. In addition, the collaboration between
faculty and external industry experts has ensured approval of every discipline-related course outline
through the college’s internal approval process. A record of this approval process is provided as part of
this submission requirement.
From an academic perspective, the course work within the program has been developed to degree-level
standards. To ensure that student performance and progress are at the appropriate level, the curriculum
design reflects a rigorous approach to evaluation. Student learning is evaluated with a variety of products
and performances that demonstrate the ability to integrate and incorporate theoretical constructs to solve
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visual, communication, performance and production problems. Student work must also reflect an
understanding and application of technical and mechanical elements critical to the field.
The work reflects the needs of the industry and accommodates trends in the field. The evolutionary nature
of curriculum design and development processes associated with the program ensures that future changes
within the industry will continue to be addressed and reflected in updated course and program material.
Industry input is also garnered through employer feedback related to the student work experience. A
checklist is generated based on the program and course outcomes met to that point (i.e., the end of
Semester 6) and employers use this to provide feedback on student performance. In addition, employers
are encouraged to comment on the nature of the checklist items, to ensure that the outcomes
accommodate industry requirements.
Current faculty engage in significant professional development processes tied to their work in program
and course development. Degree-level indicators and the theories and tools that address them are the
framework within which all work is generated. New faculty (full- and part-time) engage in formal
professional development processes designed to hone their skills in development and delivery of quality
programs.
The confirmation of relevance and validity from both industry and academic perspectives is addressed in
the annual program self-assessment process, and will be part of a formal review when the program has
completed its first full cycle of implementation.
Preparation for Employment and Further Study
In addition to personal and intellectual growth, the programs are primarily designed to prepare students
for employment in the field of practice, second-entry professional degree programs, or, depending on the
content of the program and the field, entry into either graduate study or bridging studies for an
appropriate graduate program.
The 14-week Work Term between Semesters 6 and 7 places students in the actual industry work
environment. Attached to this internship is an assessment of student performance, based on course and
program learning outcomes achieved to the end of Semester 6.
In addition, in Year 4, there are two Showcase Performances that simulate industry productions. Students
work in a production setting, engage in weekly meetings with the director/faculty, and engage in regular
rehearsals that conform to production processes found in industry. As well, in this final year, students
manage a project from concept to completion within their specialization discipline that integrates
entrepreneurial knowledge and skills needed for success in the field with quality performance levels
required by the industry.
Faculty members bring considerable industry experience to the process. Students are required to complete
group and individual tasks comparable to the work in the field, and use tracking tools and processes to
ensure unique and original performances in quality productions by the end of Year 4. The level of
knowledge and skill acquired by students in this program allows them the option of moving into related
graduate programs of study.
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Length of the Program
Classroom instruction is typically eight semesters in duration (normally 120 credits or the equivalent)
and may be supplemented by required workplace experience (e.g. two to four supervised co-operative
work terms).
The current program map reflects eight semesters of classroom learning and development. The program
consists of 120 credits/206 hours with a single major; 127 credits/210 hours with a double major (The
latter is the choice of the student in excess of program requirements/hours over the eight semesters.)
Students declare their intent to major in Year 3, with a proposal attached to their refined Artist’s
Statement as part of their evaluation requirements.
Students take 24 credits of breadth courses (20% of 120 credits). Electives and mandated breadths are
placed strategically to balance student workload in each semester and to ensure that students have
sufficient credits in a semester to qualify as full-time students in each semester. Students may consider a
double specialization in two of the disciplines in Year 4 at their request and with the approval of the
school. In addition, there is a 14-week Work Term experience for students between Semesters 6 and 7.
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4.1 Degree Level Summary
Criteria PEQAB
Proposed Baccalaureate Program in Music Theatre
Framework
Performance
Depth and Breadth of Knowledge
Identification of concepts, principles and theories related to the field is a
a. A developed knowledge
significant element in the curriculum design process. It relates to the field
and critical understanding of of Music Theatre specifically and tangentially to Narrative and
the key concepts,
Storytelling; History of the Theatre; Physiology; Research, Inquiry and
methodologies, current
Scholarly Writing as well as Entrepreneurship and Personal and
advances, theoretical
Professional Development.
approaches and assumptions In addition, students are required to demonstrate an understanding of
in a discipline overall; as
specific concepts, principles and theories related to acting, singing, dance
well as in a specialized area and music through visual, written and oral assignments and in practical
of a discipline;
applications through performance. Their finished products must reflect a
c. A developed ability to: i)
gather, review, evaluate, and
interpret information; and ii)
compare the merits of
alternative hypotheses or
creative options, relevant to
one or more of the major
fields in a discipline;
d. A developed, detailed
knowledge of, and
experience in research in an
area of the discipline;
successful application of these principles, as well as an attention to
current advances in the field.
Within each of the related fields in the discipline, students are required to
gather information from primary and secondary sources, and in many
cases, from original sources as well.
This analysis and interpretation of data is an intended part of the
curriculum design in the courses throughout the program. In addition,
students participate in regular and ongoing collective critique processes
related to performance, to research material, to storytelling, and to design
elements related, but not limited to, acting, singing, dance and music.
The research begins in the first year when students are asked to reflect on
the Artist’s Statement from their application portfolio. Through the length
of the program, they re-examine this initial statement, and refine it as their
research informs their learning and adds depth and breadth. At the end of
the program, students refine and formalize their personal Artist’s
Statement as part of their final portfolio requirement, ensuring that it
reflects the process of inquiry undertaken during the program.
e. developed critical thinking
and analytical skills inside
and outside the discipline;
In addition, the specific disciplines (acting, singing, dance, and music)
within the general Music Theatre discipline incorporate extensive
research that focuses on historical context and concepts, principles and
theories related to the various discipline, through the courses in each
semester.
f. The ability to apply
learning from one or more
areas outside the discipline.
The breadth course Composition and Rhetoric exposes students to the
concept of argumentation, and the development of methodical reasoning.
The skills associated with these concepts are then developed and further
refined through subsequent breadth and core discipline courses.
Each discipline within the Music Theatre Performance field provides a
context for students to assess current practices and to critique peer
performances. In this way, students master analytical skills and provide
feedback and assessment in a constructive manner.
Throughout the length of the program, textual analysis is a large
component of theatrical education and training. Deep and reflective
13
Criteria PEQAB
Framework
Performance
readings of plays are integral to script analysis, and help to clarify
complex literary components, as well as facilitate the development of
dramaturgical skills. These include critical investigation, communication
and creative problem solving.
Critical thinking skills are developed in the process of conducting
research into the world of plays, proposing findings to the production
teams, and from this, begins the process of collaboration. The more time
that students have to pursue dramaturgical inquiry and collaboration, the
more their interpretive process is stimulated, which is crucial for any
professional artist.
Throughout the performance production processes in the last year of the
program, students are required to use critical thinking and analysis skills
in order to solve significant challenges unique to Music Theatre
production.
Faculty have collaborated to create seamless integration among all
courses. Content, skills and attitudes developed in one stream are
transferred to courses in other streams. In addition, evaluation strategies
in many of the courses have been designed to reflect the nature of this
integration.
Breadth courses have been developed with a focus on critical and creative
thinking, analytical processes, and the development of thoughtful
evaluative skills. While study in the breadth courses is in areas outside the
discipline, students integrate the learning unique to these courses to
inform their work in their major field of study. Elements of film, art,
literature, mythology, music, cultural studies, kinesiology, physics and
history are made relevant to the field of Music Theatre and inform
students’ work.
Knowledge of Methodologies
An understanding of methods
of enquiry or creative
activity, or both, in their
primary area of study that
enables students to:
a. evaluate the
appropriateness of different
approaches to solving
problems using well
established ideas and
techniques;
b. devise and sustain
arguments or solve problems
using these methods;
c. describe and comment
upon particular aspects of
current research or
In many forums, including critiques; auditions, rehearsals, production
meetings and productions; and in formal debate settings, students
incorporate the methodologies originally identified in Composition and
Rhetoric to devise and sustain oral and written arguments.
Research is a critical component of the program of study. Students
conduct extensive research related to the history, origins and nature of
acting, singing, dance, and music in the respective related courses. In
addition, they investigate the most current developments in the industry
and in related areas of professional practice as well as the increasing
impact of technology on the field.
Students also examine the ongoing research and literature in the field
which informs their individual paths of inquiry related to their individual
projects.
In addition, as part of their research requirements, they investigate
government agencies and sponsorships, as well as venues for volunteer
and paid employment opportunities.
14
Criteria PEQAB
Framework
equivalent advanced
scholarship
Application of Knowledge
a. The ability to review,
present and critically
evaluate qualitative and
quantitative information to:
i. develop lines of argument;
ii. make sound judgements in
accordance with major
theories, concepts and
methods of the subject(s) of
study; iii. apply underlying
concepts, principles and
techniques of analysis, both
within and outside the
discipline;
iv. where appropriate use
this knowledge in the
creative process; and
b. The ability to use a range
of established techniques to:
i. initiate and undertake
critical evaluation of
arguments, assumptions,
abstract concepts and
information; ii. propose
solutions; iii. form
appropriate questions for the
purpose of solving a problem
iv. solve a problem or create
a new work; and
Performance
Students develop the strategies needed to do this in the first semester
Composition and Rhetoric course, and transfer that learning to lines of
argument they develop for course work within the discipline as well as in
the various breadth offerings. There are a number of opportunities to
identify a point of view, define an argument, refine the strategy to put
forward in that argument, receive feedback from others, and revise and
finalize one’s argument. Students do this in both formal and informal
contexts.
Significant attention is paid to the major theories, concepts and methods
of the subject of study. Students are exposed to these and the basic
principles associated with the theories throughout the four years of the
program. Their ability to make sound judgements is developed
incrementally through the four years, and through connections that are
designed across the different disciplines within the program.
The successful application of these underlying concepts, principles and
techniques is critical to the ability to deliver a quality performance that
integrates acting, singing, dance, and music expertise. These have been
identified in the design of the curriculum and are validated in the quality
of the work through the use of related evaluation templates and rubrics.
Within the program, these applications are addressed in all the core
disciplines; outside the disciplines, they are reflected in the wording of the
course learning outcomes and in the nature of the evaluation strategies.
Significant discussion conducted concerned the creative process and
strategies for creative teaching and learning. From the initial applicant
portfolio process to the final program outcomes and graduate repertoire
and portfolio, engagement in the creative process is addressed.
In addition to the usual critical thinking and problem-solving, special
attention is given to creative thinking. Through the design of the
curriculum, the creative process is evaluated in incremental steps as well
as holistically.
Abstract concepts and related information have been identified in the
development and design of the curriculum design. Within the core
disciplines of acting, singing, dance, and music, the content and
evaluation of these concepts builds over the duration of the program. In
addition, connections are made across these disciplines in an integrated
learning process.
A variety of limited opportunities to propose solutions exist in Years 1
and 2 of the program; the significant learning and exercise of problem
solving strategies occurs in Years 3 and 4.
15
Criteria PEQAB
Framework
Performance
The design of the curriculum allows students to participate in these
problem-solving processes collectively and collaboratively as well as
independently. Specific emphasis is placed on the nature and value of
cohort learning in the program. It is a particularly important aspect of the
spiraled curriculum.
The use of guiding questions is a pedagogical practice that has been
included in the design of the curriculum, and in the delivery of the
program. Through a repetitive exposure to these types of questions that
appears in the design and development of required projects, students
assimilate this pattern of questioning and learn to form similar,
appropriate questions for their own investigations.
From the students’ initial application process to their culminating
achievement of the program critical performance, there is an emphasis on
originality and creativity. Creativity is part of the problem-solving
process, particularly as it relates to mastering and integrating techniques
across the disciplines of acting, singing and dancing.
In terms of performance, specific examples of challenges include: relating
storytelling for an intended audience, taking direction, characterization,
placing the story and character in the appropriate historical context,
interpreting the story effectively in singing and dance to accurately reflect
the intent of the author/composer/choreographer.
In upper level collaborative projects, students also create their own
productions. In this context, they are required to be creative with respect
to production decisions, as they relate to costuming, lighting, props,
music, negotiations, contracts, marketing and the like.
All of these considerations require an extremely sophisticated level of
problem-solving, creativity and originality, if one is to be successful in
the program, and subsequently, in the industry.
c. The ability to make use of
scholarly reviews and
primary sources.
There are many strategies and sources for students to access material
related to critical inquiries of their disciplines, and to Music Theatre
Performance in general.
•
•
•
Students use physical and virtual archives to access original material,
such as plays, videos, images, relating to productions. Many theatrical
institutions, such as the Stratford Festival Theatre, or the Shaw
Festival Theatre, have such archives. Universities and commercial
institutions would also make their archives available, in many cases.
Many excellent online resources allow access to original material, as
well as references–for example, North American Drama Online.
American Theatre Magazine is an excellent resource for original
material, since it publishes new scripts in their pages every other
month.
The following are examples of highly respected journals from which
students can access scholarly reviews and primary sources related to
inquiries in performance and drama studies:
16
Criteria PEQAB
Framework
Performance
o Performing Arts Journal
o Educational Theatre Journal (both from Johns Hopkins University
Press)
o Performance Research: A Journal of the Performing Arts
published by Routledge Press
o Studies in Musical Theatre published by University of Portsmouth
o Journal of American Drama and Theatre published by Martin E.
Segal Theatre Center
Communication Skills
The ability to communicate
information, arguments, and
analysis accurately and
reliably, orally and in
writing to a range of
audiences.
Communication is identified as a significant program outcome. At the
course level, it is a recurring outcome through each of the disciplines in
the program. Students are provided with a variety of venues and
opportunities to refine formal and informal communication skills, in terms
of their understanding of the concepts, principles and theories related to
their program.
Through a complex synthesis of theory and best practice, students learn to
communicate points of view, arguments, and analysis in a coherent,
reliable and professional manner that may be oral, written, visual and/or
specifically kinesthetic in nature.
In addition to the traditional communications requirements for a
baccalaureate program, students have the additional learning associated
with communicating through their performances, through their craft and
their artistry. Their ability to create these performances is crucial to their
ability to engage the audience and elicit strong responses from their
viewers.
Through historical and contemporary theatre studies, students investigate
the importance of audience, the nature of different audiences, and the
components of storytelling that must be addressed in order to engage the
audience. Theories informed by psychology and physiology allow
students to incorporate the related concepts and principles into believable
characterizations. They also recognize the fine line that exists between
characterization and the challenge of overpowering the general
performance through a caricature of the character, and when this is and is
not appropriate.
Awareness of the Limits of Knowledge
The specific inclusion of designated breadths within the program will
An understanding of the
reinforce for students that learning does not take place in a vacuum. It is
limits of their own
all about making connections. As these connections are forged and made
knowledge and ability, and
explicit, students learn how to learn. Through meta-cognitive processes,
an appreciation of the
they recognize the limitless possibilities of learning.
uncertainty, ambiguity and
Upon entry, student learning experiences evolve from a specific focus to
limits to knowledge and how an investigation of possibilities and alternative paths available to them.
this might influence analyses For example, those that recognize that their own knowledge and ability
and interpretations.
may be limited in one area – perhaps acting – find that they are ready to
embrace the performing arts through musicality.
17
Criteria PEQAB
Framework
Performance
Significant attention to self-examination and self-reflection in terms of
one’s own learning, and meta-cognition in general, is threaded through
the curriculum.
Professional Capacity/Autonomy
The Program Critical Performance statement states: By the end of the
a. Qualities and transferable program, graduates will have demonstrated the ability to generate
skills necessary for further
creative, artistic, and innovative acting, vocal, and dance performances
study, employment,
that are informed by cultural literacy, and reflect a commitment to
community involvement and
personal and professional growth.
other activities requiring:
Within the construct of this statement, the qualities and related skills
i. the exercise of initiative,
critical to further study, success in the industry, and active community
personal responsibility and
involvement include: confidence, collaboration, creativity, independence,
accountability in both
passion for the work, adaptability, refined communications skills,
personal and group contexts; commitment to personal artistic growth and cultural literacy and
ii. working effectively with
commitment to quality product.
others; iii. decision-making
Learning outcomes at the program and course levels are designed to
in complex contexts;
ensure that graduates exit the program having developed and refined these
qualities and their related skills. These are also mapped to specific lesson
level outcomes in the different courses. Because the curriculum is
performance-based, it is necessary for students to demonstrate the
achievement of these characteristics and skills and an understanding of
the related content, at different levels (introductory, refined, and
mastered) through the progression of the program.
The program curriculum and its delivery are designed to enable students
to consistently and systematically increase personal responsibility for
their own learning. The first two years of the program provide the
foundation in terms of the learning in all three domains – cognitive,
psychomotor and affective. Learning is directed by faculty with some
opportunities for personal creativity and self expression by the students.
Within this context, students are exposed to a wealth of information that
they must then synthesize as they begin to create and/or refine their own
personal style.
In Years 3 and 4, students have considerable freedom in which to exercise
decision-making and problem-solving techniques. This ongoing
independent development is supported by structured classes, where
faculty continue to deliver concepts and specific content. Master classes
and capstone courses in the final year continue to provide a venue for new
learning and confirmation contact with faculty. They are characterized by
significant self-study, independent investigations and intensive individual
project development by students.
In addition, students must collectively design and adhere to a production
schedule in order to complete their collaborative performances on
schedule. They must exercise independent judgement in order for their
individual and collective projects to succeed.
18
Criteria PEQAB
Framework
Performance
The individual and group critique is an important methodology in the
personal and cognitive development of students in an arts program.
Through these critiques, students refine and master the ability to
constructively receive and provide feedback. This process assists them in
making personal and professional choices around their own work, and
also helps them build an awareness of the community of learners of which
they are a part.
Students are evaluated formatively, summatively and cumulatively on
their collaborative processes. Interactive lectures, student handbooks, and
other materials also address the group process and the steps involved in
effective team-building for production purposes.
Students engage in a variety of strategies designed to facilitate the
effectiveness and efficiency of their group. They select and experiment
with these strategies, including reflective journals and diaries through
which they learn to manage the work and the group process effectively.
Within this construct, students are also evaluated on their ability to work
both as effective group members and also as leaders of the group when
required.
The complexity of any major Music Theatre performance is a result of the
many different facets of the production itself but also of the nature of the
decision-making and problem-solving that is inherent in every level of
development. There are decisions around types of characterization,
strategies to effectively relate the story, technical requirements, originality
of the story, scoring of the music, dialogue, selection of appropriate
settings, the level of complexity of the story needed to engage the
audience, the timing and sequencing of scenes, the style and nature of
music, dance, and acting best suited to drive the story, the special effects
needed to enhance the story element. All these elements create a complex
context in which to make production and performance decisions at every
level.
Because the process is informed and directed by so many different
disciplines – history, literature, mythology, art, film, anatomy,
technology, music – a complex process of decision making is involved.
The curriculum includes a variety of different decision-making models.
Guiding questions are a critical component of this methodology, and
students are encouraged to employ Socratic questioning to their thought
processes and decision-making.
b. The ability to manage
their own changing
circumstances, both within
and outside the discipline
and to select an appropriate
program of further study;
Throughout the program, students accept increasing responsibility for
their own learning, and learn to adapt to changing circumstances in their
own lives, in the program work, and in the industry.
Required breadth courses provide them with information and examples
through history of the challenges faced by others in a variety of
disciplines, and what these individuals did to meet these challenges.
The Productions and Capstone Projects scheduled in Year 4 identify the
types of challenges faced in an actual production. Students are required to
respond to the ongoing demands that occur as a result of different
19
Criteria PEQAB
Framework
Performance
decisions made along the way.
Finally, students participate in all interdisciplinary streams throughout the
program and engage in all facets of the production process. This
combination of work is critical to helping them to determine if they wish
to become actors, dancers, singers – or a triple threat combining all three
– directors, producers, coaches, teachers, public policy officials, lobbyists
for the industry, or agents. As the students evolve and grow through the
program, so does their vision of the field and of their place within the
field.
c. Behaviour consistent
within academic integrity
and social responsibility
Academic integrity is a stated institutional expectation of all students and
is included in each course outline. In addition, issues specifically related
to copyright, artistic and creative license and intellectual property are
addressed throughout the program. From the initial applicant portfolio to
the final independent production, students are apprised of the requirement
for original work.
In terms of social behaviour, the curriculum incorporates significant
examples of Music Theatre productions that are themselves social
commentary. Guided questioning and specific assignments are designed
to encourage students to think critically about social issues and make
responsible decisions around such issues. Performance is viewed as a
vehicle for social commentary and a potential agent of social change.
Significant studies are conducted in both the historical and contemporary
contexts of music theatre.
Finally, a scholarship/award has been designated for a student or group of
students in Year 4, who develop a performance addressing a significant
social issue or an area of civic responsibility, encouraging them to
consider the effectiveness of their medium and their personal work in the
larger context of important social/civic agendas.
20
4.2 Samples of Student Work
This is an application for a new program.
21
5. Admissions, Promotion, Graduation Standard
5.1 Direct Entry Admission
5.1.1 Admission Requirements Direct Entry
Program Admission Requirements
Academic
Related work/volunteer experience
•
•
Experience in a theatre production recommended
•
Other (e.g. portfolio, specialized
testing, interview, G.R.E., etc.)
Grade 12 U English
Five other M or U level credits (the highest scored),
with an overall average of 65%
•
•
A comprehensive audition, which includes a music
theory examination at the preliminary rudiments level
of the Royal Conservatory of Music.
An Artist’s Statement
An 8 x 10 photograph
22
5.1.2 Admission Policies and Procedures for Mature Students
Approved by Sheridan’s Board of Governors March 26, 2003
Approved by Ministry with the BAHSc. (Exercise Science & Health Promotion) December 31, 2007
23
5.2 Advanced Standing
5.2.1 Credit Transfer/Recognition Policies and Procedures
SHERIDAN COLLEGE INSTITUTE OF TECHNOLOGY
AND ADVANCED LEARNING
SHERIDAN
COLLEGE BOARD POLICY
NO OF PAGES:
POLICY NO.
TITLE:
ADVANCED STANDING
APPROVED BY:
Academic Council: April 26, 2007
Board of Governors: May 23, 2007
REPLACES POLICY:
ADVANCED STANDING
APPROVAL DATE:
May 23, 2007
REVIEW DATE:
May 22, 2010
POLICY STATEMENT:
Sheridan recognizes that some students who enter a program at the College will have earned postsecondary credits at other recognized post-secondary institutions and may wish to apply these credits
towards the Sheridan credential. Advanced standing refers to the transferring of credit earned at another
recognized post-secondary institution towards a Sheridan credential.
Students may apply to receive advanced standing for specific Sheridan course(s) based on the successful
completion of similar courses at other recognized post secondary institutions subject to meeting
applicable Sheridan policies.
Candidates must have achieved a minimum course grade of 65% or the minimum pass for promotion
within the program, whichever is higher, for a request for advanced standing to be considered.
Courses considered for advanced standing must have been completed within five years prior to the
request.
Note: Use of Advanced Standing credits is subject to the requirements of Sheridan’s Graduation and
Second Credential Policies.
PRINCIPLES:
Sheridan’s acceptance of transfer credits from other recognized post-secondary institutions is based on the
recognition that, while learning experiences may differ in a variety of ways, their substance may be
essentially equivalent in terms of their content and rigour. Insofar as possible, acceptance of transfer
credit should allow for maximum recognition of previous learning experiences at the post-secondary
level. Advanced standing is intended to recognize transfer of credit(s) earned at another recognized post
secondary institution and to apply those transfer credit(s) toward a Sheridan credential.
Course transfer credit is based on the equivalency of educational achievement and learning outcomes. To
receive advanced standing for a course, the learning outcomes of the course from another institution must
match 80% of the learning outcomes for the corresponding Sheridan course.
24
Advanced Standing is not recorded on a student’s transcript as achievement but as transfer. The course is
reflected on the transcript as “AS” and is not used in the calculation of Grade Point Average.
The granting of advanced standing will be done in a fair, reasonable and consistent manner across all
programs.
Students who do not believe that the decision they received regarding the granting of Advanced Standing
is fair, have the right to appeal this decision through the Academic Appeals and Consideration Policy.
SCOPE:
The Advanced Standing Policy applies to all full- and part- time Sheridan post secondary students.
INFORMATION AND COMPLIANCE PLANS:
Students and faculty members are informed about College policies in a number of ways. By the time a
policy is developed, it has been reviewed by a number of internal operational committees and councils,
many of which include student and faculty member representation. Relevant policies are discussed at
Orientation Sessions, and at the beginning of courses. Policies are referenced in the Student Handbook,
noted on course outlines and appear on the Sheridan web site. Faculty members receive an internal
communications bulletin, Information Sheridan, which highlights new policies.
SANCTIONS:
Responsible Executive:
Contact:
Department:
Telephone:
Vice President Academic
Office of the Vice President Academic
905-845-9430, ext. 4061
Related Policies:
•
•
•
•
•
Prior Learning Assessment and Recognition
Second Credential
Academic Appeals and Consideration
Graduation
Residency
Related Procedures:
1. Advanced Standing
2. Academic Appeals and Consideration
Definitions / Explanations / Examples:
Advance standing is a process by which Sheridan evaluates courses/credits students have earned at
another recognized post secondary institution and where there is a strong degree of similarity between the
two courses, grants credit for the course towards a Sheridan credential.
Course is a unit of study identified by a particular name and number and leading to identified learning
outcomes.
Course Credit is a quantitative measurement indicating the relative weight assigned to a particular
course.
25
Course Outline: a contract between the college and the students that specifies learning outcomes to be
achieved and how the learning outcomes will be evaluated.
Learning Outcomes describe what the learner should know and be able to do in order to be granted
credit for a course. Some learning outcomes may be deemed essential; others may be optional or
desirable. Content or contexts in which learning has been achieved is less important than the
demonstration of its achievement (COR – 1994).
Recognized Post-Secondary Institution: Institutions that have been given the authority to grant
academic credentials by their provincial or territorial governments through charters or legislation that
ensures or enables mechanisms for institutional and program quality. http://www.cicic.ca/en/postsec.aspx?sortcode=2.20.26
Appendices: (note the number of the Appendix and title of the page)
Procedures: Academic Standing
Supporting Documents: Advanced Standing Request Form
26
NO OF PAGES:
PROCEDURE NO.
EFFECTIVE DATE:
REVIEW DATE:
SHERIDAN
COLLEGE ACADEMIC PROCEDURE
TITLE:
ADVANCED STANDING
May 24, 2007
May 22, 2010
PROCEDURES:
Applications for advanced standing should be submitted at least two weeks before the beginning of a
semester in order to ensure a timely review of requests. This timeframe will also allow students to register
for another course in lieu of the course for which they have received transfer credit. To ensure that
incoming students have an opportunity to consider requests for advanced standing, reference to this
timeframe will be included in their initial offer package.
Applications for advanced standing will be considered by the School responsible for the program in the
case of discipline courses, and by the School of Community and Liberal Studies in the case of General
Education, Humanities and Social Sciences Electives.
Receiving Advanced Standing credit may affect a student’s course load which in turn may impact fees
and eligibility for OSAP, scholarships, bursaries and other sponsorships. It is the student responsibility to
check their status when applying for Advanced Standing.
Advanced standing is granted or denied by the Associate Dean or designate. Positive results are available
to students through self service “View my transfer credits” and negative results are to be e-mailed to the
student by the decision maker. Courses for which Advanced Standing have been granted show on the
transcript with a grade of AS and are not included in the calculation of the grade point average.
If a student transfers programs, any advanced standings will be reviewed by the Associate Dean or
designate at the time the transfer is requested. Any changes in advanced standings granted previously will
be communicated to the student, by the decision maker, with reasons, at the time of the change.
For Students Seeking Advanced Standing
1. It is in your best interest to apply for advanced standing at least two weeks before the semester
begins. This timeline may allow you to register for another course if you choose and will also
open space in the course for which you are seeking transfer and may open a space in the current
course to another. If you apply later in the semester and your request for advanced standing
cannot be processed before the last day to drop a course without academic penalty, and you
remain in the course, your grade in that course will be recorded on your transcript. You may
apply for advanced standing at any time during the semester being aware of the consequences.
2. Match your previous course learning outcomes with course learning outcomes for the Sheridan
course for which you are seeking advanced standing. If you feel that the course you took at
another recognized post secondary institution matches 80% of the learning outcomes of the
Sheridan course, and if your grade in the course meets the program requirements, you may apply
for Advanced Standing.
27
3. You will be required to provide a course outline or equivalent documentation (translated to
English if necessary at your expense) to demonstrate the learning outcomes and standards of the
course completed. You also need an official copy of your transcript from your previous
institution.
4. Advanced Standing Process
a. You can obtain an application online at _____, or on-campus at any of the following
locations: Office of the Registrar, your Academic School Office or Student Advisement
Centre;
b. Complete the application form and attach a copy of the course outline and a copy of your
transcript;
c. Submit the application form and related documentation to your Academic School Office
in the case of core courses, or to the School of Community and Liberal Studies for
General Education, Humanities and Social Sciences Electives. If you are unsure as to
where to take the completed forms, assistance will be provided by the Student
Advisement Centre.
d. Make sure that you keep a copy of the completed documentation that you have submitted;
e. Every attempt will be made to process Advanced Standing requests within 10 business
days of your submission. Positive results are available to you through self service “View
my transfer credits” and negative results are to be e-mailed to your Sheridan account by
the Office of the Registrar. If transfer credit is given, it will be noted on your transcript as
“AS”, Advanced standing requests which are denied are not noted on your transcript.
Important:
Please note that requests for Advanced Standing will not be considered unless
accompanied by all required documentation;
If your application is for a course you are currently taking, you should continue to attend
class until your request is officially approved.http://www.sheridanc.on.ca/pla/nf_faqs.htm
– top
5. The Associate Dean or designate will evaluate the Advanced Standing application within 10
business days of receipt of the application in the School Office. Once the decision has been made
the Associate Dean or designate will note the decision on the Advanced Standing application
form and forward it to the Office of the Registrar. Registrarial staff will check to ensure that the
Advanced Standing is legitimate (i.e. has not been used before, etc.) and enter the credit on the
students record available through self service “View my transfer credits”. If the decision is
negative, the Registrarial staff will e-mail the student at their Sheridan e-mail address.
6. All of the student’s documentation will be left in the School Office for the student to pick up.
7. Transcription
Advanced Standing is recognition of credit transfer. Applicants who have been granted Advanced
Standing for a course will have it noted on their student record as AS and it will not contribute to
the calculation of the grade point average.
Advanced Standing requests that are denied will not be noted on the student’s record.
28
5.2.2 Advanced Placement Policies
SHERIDAN
COLLEGE BOARD POLICY
NO OF PAGES:
POLICY NO.
TITLE:
PRIOR LEARNING ASSESSMENT AND
RECOGNITION
APPROVED BY:
Academic Council: April 26, 2007
Board of Governors: May 23, 2007
REPLACES POLICY:
PRIOR LEARNING ASSESSMENT AND
RECOGNITION
EFFECTIVE DATE:
REVIEW DATE:
May 23, 2007
May 22, 2010
POLICY STATEMENT:
Sheridan recognizes that the learning outcomes of an individual course may be achieved by a number of
different means including relevant work/life experience, self-study, and training on-the-job. Prior
Learning Assessment and Recognition (PLAR) provides students and potential students with an
opportunity to have their previous learning recognized by the College for credit.
A student or potential student may apply for PLAR when mastery of the learning outcomes of a Sheridan
course can be clearly demonstrated through the institution’s established PLAR challenge processes such
as a portfolio assessment, competency test or challenge exam.
PLAR is distinguished from the Advanced Standing process which focuses on the determination of
equivalency of formal educational courses rather than the equivalency of experiential learning.
In some instances, where formal educational documentation is not available, a student or potential student
may choose to apply for PLAR as a way of gaining recognition for formal learning.
Students who have been withdrawn from or been unsuccessful in completing a Sheridan course may
apply for PLAR for that course only after one year has elapsed and providing that reasonable evidence of
additional relevant learning can be demonstrated.
Note: Use of PLAR credits is subject to the requirements of Sheridan’s Graduation and Second
Credential Policies.
PRINCIPLES:
PLAR offers flexible assessment practices for all candidates providing them with an opportunity for an
assessment of learning no matter when, where or how it was acquired. Relevant learning will be credited
towards the awarding of a Sheridan credential whenever applicable and measurable.
PLAR is intended to recognize learning acquired prior to enrolling in a course and is not intended to
provide an avenue to avoid academic penalties or sanctions that result from participation in a Sheridan
course.
29
Course credit received through PLAR will be noted on the transcript in alpha grade format unless
otherwise specified on the course outline. This credit will be used in calculating the grade point average.
Many college courses have prerequisites, courses that must be successfully completed before a student
registers in a subsequent course. Students with advanced skills or knowledge in their field should
challenge introductory level courses before proceeding to challenge more advanced level courses.
Students or potential students who do not believe that the decision they received regarding the granting of
PLAR is fair, have the right to appeal this decision through the Academic Appeals and Consideration
Policy.
SCOPE:
Prior Learning Assessment and Recognition is available to all persons who have an Ontario Secondary
School Diploma (OSSD) or equivalent or are 19 years of age or older. To qualify for PLAR credit a
person must meet the entrance requirements for the program in which they are seeking credit, including
demonstration of proficiency in English.
PLA is available for most credit courses; to see if PLA is available for a course, please check the course
outline.
INFORMATION AND COMPLIANCE PLANS:
(a) Students and faculty members are informed about College policies in a number of ways. By the time
a policy is developed, it has been reviewed by a number of internal operational committees and councils,
Contact:
Department:
Telephone:
905-845-9430, ext. 4061
RELATED PROCEDURES, BACKGROUND DOCUMENTS AND FORMS:
1.
Prior Learning and Assessment Procedure
2.
Prior Learning and Assessment Request Form
RELATED POLICIES:
1.
Advanced Standing
2.
Second Credential
3.
Academic Appeals and Consideration
4.
Graduation
Challenge Process is a method of assessment other than portfolio, developed by a subject-expert faculty
to measure an individual’s learning achievements against documented course learning outcomes. It
measures demonstrated learning through a variety of written and non written evaluation methods, for the
purpose of awarding a credit without requiring enrolment in a course (Council of Regents – 1994).
• Written test
30
•
•
•
•
•
•
Standardized exam
Demonstration of competence
Criteria-based interview
Product assessment
Simulation
Other
Course Outline is a detailed description of a course that specifies learning outcomes to be achieved and
how the learning outcomes will be evaluated.
Learning Outcomes describe what the learner should know and be able to do in order to be granted
credit for a course. Some learning outcomes may be deemed essential; others may be optional or
desirable. Content or contexts in which learning has been achieved is less important than the
demonstration of its achievement (Council of Regents – 1994).
Portfolio is a presentation of samples of work demonstrating knowledge and skill in the area in which the
student or potential student is seeking PLAR. Details on what is included in a portfolio vary depending
on the field.
Prior Learning Assessment (PLA) is a the process which uses a variety of tools to help learners reflect
on, identify, articulate and demonstrate past learning which has been acquired through work experience,
unrecognized training, independent study, volunteer activities, and hobbies and which is not recognized
through formal transfer of credit mechanisms. PLA allows the evaluation of past learning against
established academic standards so that credit can be awarded by a credentialing body. (Council of
Regents – 1996)
PLAR Applicant is a student or potential student who decides to undertake the PLAR process in order to
gain recognition or credit for learning acquired through work or life experience.
PLAR Assessor is a faculty member who has expertise in the subject matter and the learning
requirements, assessment methods and tools of a particular course. In some cases, the PLAR Assessor
may be a team of faculty members.
Procedures: PLAR Procedures
Supporting Documents: PLAR Application Form
31
5.2.3 Degree Completion Arrangements
Degree completion arrangements have been formulated for bridging between Sheridan’s Advanced
Diploma programs in Music Theatre – Performance, and the proposed baccalaureate program in Music
Theatre Performance. The Advanced Diploma program has a graduated affinity to the Music Theatre
Performance degree program, in terms of general structure and design, and the emphasis on artistry in
acting, singing and dance, the three disciplines that constitute the “triple threat” in the industry. In
creating the degree completion arrangements, consideration was given to the studio nature of the
Advanced Diploma program and the increased scope (depth and breadth) of the comparable performance
aspect of the proposed baccalaureate program as well as the significant research and scholarly writing
components of the latter program.
The most likely candidates applying for advanced standing and requiring possible bridging will be from
Ontario Community College three-year Advanced Diploma programs in Music Theatre - Performance
programs. Applicants for advanced standing from other colleges and universities will also be considered
on a case-by-case basis.
In the case of Sheridan, Advanced Diploma graduates will be provided advanced standing in most courses
in Semesters one (1) through six (6) BAA Music Theatre Performance, provided that the graduates have
achieved a GPA of 3.0 in their Advanced Diploma program, and provided that they complete the
appropriate gap bridging courses.
In addition, the Music Industry: Professional Practice course in Semester 5 is one for which students
cannot be granted advanced standing. Also, students will be required to take a minimum of one Master
Class and one Capstone course in Semesters 7 and 8 respectively.
As well, analysis of the courses in the Advanced Diploma program aligned with three mandatory breadth
courses (History of Western Theatre, History of Early Music Theatre, and History of Contemporary
Music Theatre ) in the proposed baccalaureate program indicates gaps in required learning. These gaps
have been accommodated in learning outcomes and material provided in the Music, Commercial Vocal
Performance, and Music Theatre Vocal Performance: History and Analysis and Music Theatre:
Entrepreneurial Practice and Professional Portfolio bridging courses. This data is available both in the
detailed Content Analysis in Appendix 16.1.6 and in the Gap Analysis in Appendix 5.2.4.
Degree Completion arrangements also include the completion of the breath course Composition and
Rhetoric and four (4) breadth electives. In addition, students will be required to complete a 14-week Work
Term following successful completion of the four (4) bridging courses for which the course outline
information is provided (Appendix 5.2.5). The nature of the theoretical, research and writing foci of these
courses ensures acquisition of identified gaps in learning in the major disciplines and professional
courses, while the independent study design requires the assumption of responsibility by students for their
own learning, particularly in the final semesters of a baccalaureate program.
Finally, the degree completion arrangements have been formulated (totaling 35.85%) in accordance with
the residency requirement identified by PEQAB.
32
5.2.4 Gap Analysis
The degree-level learning outcomes at both the program and course levels, are written to create and
develop the artistry and technical skills required in the Music Theatre industry, and that are informed by a
number of other disciplines to reflect a rich and multi-dimensional mosaic of historical and cultural
contexts. While a comparison of program learning outcomes reflects the attempt to demonstrate where it
is perceived that the Ministry Standard for a Music Theatre – Performance Advanced Diploma program
reflects some general similarities in content to the proposed degree counterpart, it is only through the
course-by-course content analysis of concepts and principles and the identified evaluation of the
application complexity of the subject matter that the remediation of the gap is apparent and results in a
bridging plan. This is particularly obvious in the concept development and evaluation plans of the four
bridging courses required for degree completion.
Rationale and Methodology
Because the program design involves so much integration, and the performance nature of it is intended to
lead to industry entry-level mastery in one or more discipline, the degree completion arrangements were
determined by reviewing the entire Music Theatre – Performance Advanced Diploma program and the
proposed baccalaureate program, to generate a gap analysis.
This was done by first comparing the program critical performance for this proposed program with the
Ministry’s (MTCU) standard for Music Theatre - Performance Advanced Diploma Program.
The next step involved aligning the course offerings in the proposed program with those of the Advanced
Diploma program, by semester. Once this was done, the program critical performance and program
learning outcomes were mapped to these aligned courses in each of the two programs by discipline or
category for organizational purposes, and greater clarity in identifying the gaps, and to more easily
identify the spiraled curriculum design through the semesters in each area. The final step was to
thoroughly analyze the material (cognitive, psychomotor, and affective) in each of the courses in the
Advanced Diploma program aligned with the comparable material in their corresponding baccalaureate
courses resulting in a Content Analysis (see Appendix 16.1.6). The final result of this process is the Gap
Analysis that formed the foundation for the Degree Completion Arrangements and the Bridging Plan.
Table 5.2.4.1: Comparison of Program Learning Outcomes
Bachelor of Applied Arts in Music Theatre
Performance
Program Critical Performance: By the end of the
program, graduates will have demonstrated the ability to
generate creative, artistic and innovative acting, vocal
and dance performances that are informed by cultural
literacy, and reflect a commitment to personal and
professional growth.
Program Outcomes
1. Research the history of music theatre in order to
develop a personal acting, vocal, and dance repertoire
that is informed by, and responds to, trends in the
evolution of the art and its industry.
2. Create a professional repertoire that reflects a
comprehensive and detailed understanding of the nature
and requirements of the North American music theatre
industry.
Music Theatre – Performance Advanced Diploma
Program Ministry Standards (MTCU Code 61912)
Program Purpose: This program is designed to provide
practical and relevant training to acquire skills in voice,
acting, scene study, improvisation, singing, dance
choreography (tap, jazz, ballet), act pacing and audio
and T.V. competencies, as well as audition techniques,
to enable the graduates to perform in the music theatre
entertainment industry.
Program Goals
1. To sing with the appropriate techniques and style to
satisfy the Canadian musical theatre and commercial
music industry needs and demands, as well as to use the
performer related equipment.
2. To demonstrate the competencies of sight singing,
elementary arranging, transposition and commercial
theatrical analysis.
33
Bachelor of Applied Arts in Music Theatre
Performance
3. Perform a wide variety of styles of material required
by todayʼs theatrical and music industries at the entrylevel professional standard expected by the industry.
4. Generate creative individual and collective music
performances informed by inquiry, research and
scholarly writing, using appropriate methodology.
5. Generate acting, vocal and dance performances that
engage the audience, reflecting strong narrative,
characterization, and believable relationships among
characters.
6. Create believable characters with fully developed
physicality and voice, informed by psychology and based
on thoughtful research and critical analysis.
7. Refine musical literacy in order to interpret, through
performance, the intent and methodology of the
composer.
8. Integrate meta-cognitive practices and systems of
knowledge in order to enhance oneʼs personal vision and
oneʼs relationship with the audience during
performances.
9. Develop aural acuity that reflects the multidimensional nature of musicianship by integrating
constructs of music knowledge with listening skills.
10. Develop original and unique performances by
engaging in critical and creative problem-solving and
decision making.
11. Foster personal development and collegial working
relationships that conform to established industry
hierarchy, professional etiquette, and protocols, through
self-reflection, effective communications and
collaboration strategies.
12. Generate a personal physical regimen to maintain
effective acting, vocal and dance technique, for success
in music theatre and commercial performance.
13. Generate a personal methodology and approach to
work required of the field of study and the music theatre
industry.
14. Design comprehensive, cogent, and creative
entrepreneurial strategies related to self-promotion and
marketing that incorporate effective presentation,
communication, and technological skills, where
appropriate.
15. Incorporate, where appropriate, current and evolving
technologies into individual performances and
collaborative projects.
Music Theatre – Performance Advanced Diploma
Program Ministry Standards (MTCU Code 61912)
3. To act with appropriate techniques and styles in effect
in the Canadian musical theatre and commercial music
industry.
4. To demonstrate the appropriate techniques and styles
in the area of ballet, tap and jazz in effect in the
Canadian musical theatre and commercial music
industry.
5. To demonstrate a basic acquaintance with the history
and literature of the field.
6. To demonstrate elementary competencies needed to
perform in video and audio studios.
7. To demonstrate efficient audition techniques.
8. To understand the process of contracts and
agreements commonly used in Canada by agents,
managers, and producers for entertainment purposes.
9. To prepare the appropriate support documents such
as photographs and resume.
10. To demonstrate the performance skills necessary to
enter the field at a professional level with the integration
of appropriate performer-related equipment.
11. To demonstrate the appropriate professional
behaviour and life skills necessary to successfully
compete in the Canadian entertainment industry.
34
Table 5.2.4.2: Alignment of BAA (Music Theatre Performance) Courses and Advanced Diploma Music Theatre-Performance Courses
(by semester)
Total Cr/Hrs
BAA Music Theatre Performance
Credits
Hours
SEMESTER 1
Fundamentals of Acting
3 cr
5 h (60h)
Fundamentals of Vocal Tech. & Theory
3 cr
5 h (60h)
Fundamentals of Dance Technique
3 cr
6 h (84h)
Aural Concepts and Music Theory
3 cr
6 h (84h)
Composition and Rhetoric
SEMESTER 2
Principles of Contemporary Acting
3 cr
3 h (42h)
3 cr
5 h (60h)
Vocal Technique: Physiology & Anatomy
3 cr
5 h (60h)
Dance Technique: Physiology & Anatomy
3 cr
6 h (84h)
Fundamental Musicianship
3 cr
6 h(84h)
History of Western Theatre
3 cr
3 h (42h)
SEMESTER 3
Principles of Classical Acting
3 cr
5 h (60h)
Vocal Performance: Context Analysis
3 cr
5 h (60h)
Dance: Artistry, Interpretation & Expression
3 cr
6 h (84h)
Contemporary Concepts & Applications of
Musicianship
3 cr
6 h (84h)
15 credits
Total Cr/Hrs
32.5 credits
25 hours
34+ hours
15 credits
32.5 credits
25 hours
32.5 hours
15 credits
35.5 credits
25 hours
35+ hours
Advanced Diploma Music TheatrePerformance
SEMESTER 1
Acting 1
Introduction to Shakespeare
Vocal Technique 1
Music Theatre Vocal Performance 1
Dance 1
Dance Performance 1
Ear Training 1
Music Theory 1
Commercial Performance 1-Technique
Computer Skills
Stagecraft 1
SEMESTER 2
Acting 2
Scene Study 1-Contemporary
Vocal Technique 2
Dance 2
Dance Performance 2
Ear Training 2
Music Theory 2
Commercial Performance 2-Solo
Music Technologies 1
Theatre Survey-Classical
Theatre Survey-Modern
SEMESTER 3
Acting 3
Scene Study 2-Classical
Vocal Technique 3
Dance 3
Dance Performance 3
Ear Training 3
Music Theory 3
Credits
Hours
5.5 cr
2 cr
1.5 cr
5 cr
4.5 cr
3 cr
3 cr
2 cr
1.5 cr
1.5 cr
1 cr
77 hrs
28 hrs
19 hrs
70 hrs
63 hrs
42 hrs
42 hrs
28 hrs
21 hrs
21 hrs
13 hrs
5 cr
1.5 cr
1.5 cr
3 cr
4.5 cr
3 cr
3 cr
3.5 cr
3 cr
1.5 cr
3 cr
3 cr
68 hrs
21 hrs
20 hrs
42 hrs
63 hrs
42 hrs
42 hrs
49 hrs
42 hrs
24 hrs
42 hrs
42 hrs
5.5 cr
2 cr
1.5 cr
6 cr
4.5 cr
2 cr
3 cr
3.5 cr
76 hrs
28.5 hrs
19 hrs
84 hrs
63 hrs
28 hrs
42 hrs
49 hrs
35
Total Cr/Hrs
Credits
Hours
Total Cr/Hrs
History of Early Music Theatre
SEMESTER 4
Principles of Modernism in Acting
3 cr
3 h (42h)
3 cr
5 h (50h)
Styles in Vocal Performance
3 cr
5 h (60h)
Styles in Dance Performance
3 cr
6 h (84h)
Music Performance: Notation, Transcription
and Scoring
3 cr
6 h (84h)
History of Contemporary Music Theatre
SEMESTER 5
Acting Styles and Media
3 cr
3 h (42h)
3 cr
5 h (60h)
15 credits
Commercial Vocal Repertoire Development
3 cr
5 h (60h)
31 credits
24 hours
Dance Repertoire Development
Music Industry: Professional Practice
3 cr
3 cr
6 h (84h)
5 h (60h)
31 hours
Breadth elective
3 cr
3 h (42h)
SEMESTER 6
Post-Modern Theories of Acting
Music Theatre Vocal Project
Dance Project
3 cr
3 cr
3 cr
5 h (60h)
5 h (60h)
6 h (84h)
MTP: Production I
Breadth Elective
4 cr
3 cr
12 (168)
3 h (42h)
SEMESTER 7
Master Class (specialization)
Audition Techniques
MTP: Production II
Breadth elective
3 cr
3 cr
5 cr
3 cr
3 h (42h)
7 h (98h)
14 h (14h)
3 h (42h)
15 credits
34 credits
25 hours
16 credits
35 hours
31 hours
14 credits
27 hours
27 credits
28+ hours
Commercial Performance 3
Theatre Survey-Early Music Theatre
SEMESTER 4
Acting 4
Scene Study 3-Modern
Vocal Technique 4
Dance 4
Dance Performance 4
Ear Training 4
Music Theory 4
Commercial Performance 4
Production 1
Professional Practice 1
Theatre Survey-Contemporary MT
SEMESTER 5
Acting 5
Vocal Technique 5
Commercial Performance 5-Critique
Dance 5
Production 2
SEMESTER 6
Acting 6
Vocal Technique 6
Dance 6
Commercial Performance 6-AV Tech.
Production 3
Credits
Hours
3 cr
1.5 cr
3 cr
42 hrs
21 hrs
42 hrs
2.5 cr
1.5 cr
1.5 cr
1.5 cr
4.5 cr
2 cr
4 cr
1 cr
15 cr
1 cr
6 cr
4 cr
3 cr
31.5 hrs
21 hrs
20 hrs
21 hrs
63 hrs
28 hrs
56 hrs
14 hrs
21 hrs
42 hrs
84 hrs
56 hrs
42 hrs
3.5 cr
1.5 cr
4 cr
5 cr
1.5 cr
4.5 cr
6 cr
5 cr
45.5 hrs
21.5 hrs
56 hrs
70 hrs
21 hrs
63 hrs
84 hrs
70 hrs
2 cr
1.5 cr
4.5 cr
2 cr
12 cr
5 cr
31 hrs
22.5 hrs
63 hrs
42 hrs
168 hrs
70 hrs
36
Total Cr/Hrs
15 credits
24 hours
Credits
Hours
SEMESTER 8
Capstone Project (specialization)
Audition Master Class
MTP: Production III
Breadth elective
4 cr
3 cr
5 cr
3 cr
1 h (14h)
6 h (84h)
14 h (196)
3 h (42h)
Total Cr/Hrs
Credits
Hours
Table 5.2.4.3: Gap Analysis by Discipline
ACTING DISCIPLINE
Related BAA Music Theatre Performance
Program Learning Outcomes
Related Baccalaureate
Courses by Discipline
1. Research the history of music theatre in
order to develop a personal acting, vocal, and
dance repertoire that is informed by, and
responds to, trends in the evolution of the art
and its industry.
Fund. of Acting
3. Perform a wide variety of styles of material
required by todayʼs theatrical and music
industries at the entry-level professional
standard expected by the industry.
5. Generate acting, vocal, and dance
performances that engage the audience,
reflecting strong narrative, characterization,
and believable relationships among
characters.
6. Create believable characters with fullydeveloped physicality and voice, informed by
psychology and based on thoughtful research
and critical analysis.
10. Develop original and unique artistic
performances by engaging in critical and
creative problem-solving and decision-making.
Principles of Classical
Acting
Principles of Modernism
in Acting
Acting Styles & Media
Post-Modern Theories
of Acting
Dramaturgy Master
Class (PCP)*
Acting Capstone Project
(PCP)
Related Adv.
Diploma Courses by
Discipline
Acting 1
Intro. to Shakespeare
Acting 2
Scene Study 1
Acting 3
Scene Study 2
Acting 4
Scene Study 3
Acting 5
Acting 6
Gap Elements
-Critical analysis of Elizabethan drama.
-Analysis of work of Viola Spolim, et al.
-Michael Shurtleffʼs Twelve Guideposts of
Acting.
-Historical context of Shakespeareʼs
canon.
-Analysis of genres of Shakespearian
work.
-Comparative analysis of poetry and
prose.
-Modern interpretive approaches to
acting.
-Principles and work of Peter Brook,
Philippe Gaulier et al.
-Contemporary methodologies of acting.
-Research of prominent contemporary
Canadian playwrights.
-Physiology and anatomy considerations
related to acting and other disciplines in
the field.
-Alexander technique.
-Research on the Theatre Guild and its
historical and cultural context.
-Research on the emergence of the
Actorsʼ Studio.
Bridge/Degree
Completion
Requirements
Completion of a bridge
course worth six (6)
credits:
Acting: Historical and
Cultural Context and
Analysis
Evaluation Plan
a) annotated bibliography
and review of the
literature
b) research paper
c) essay
d) comparative analysis
e) exam
f) seminar presentation
37
Fund. of Acting
11. Foster personal development and collegial
working relationships that conform to
established industry hierarchy, professional
etiquette, and protocols, through self-reflection,
effective communications, and collaboration
strategies.
13. Generate a personal methodology and
approach to work required of the field of study
and the music theatre industry.
15. Incorporate, where appropriate, current
and evolving technologies, into individual
performances and collaborative projects.
Acting
in Acting
Post-Modern Theories
of Acting
Dramaturgy Master
Class (PCP)*
(PCP)
Related Adv.
Diploma Courses by
Discipline
Acting 1
Intro. to Shakespeare
Acting 2
Scene Study 1
Acting 3
Scene Study 2
Acting 4
Scene Study 3
Acting 5
Acting 6
Gap Elements
-Research on the history of the American
school of method acting.
-Research noteworthy actors, directors,
playwrights.
-Classical methodologies of acting.
-Research on the technique of
“personification”.
-Research/analyze English Renaissance
Theatre.
-Research concept of Elizabethan World
Picture.
-Research and analyze the “new”
naturalism.
-Work and philosophies of Freud and
Darwin regarding the modern view of the
world.
-Roles of men and women in society.
-Research 20th century fathers of
heightened realism.
-Work of Tennessee Williams, Arthur
Miller, Chekov.
-Sociopolitical climate and context of
post-World War II America.
-Psychosexual issues of post -1945 era.
-Critical self-reflection and metacognition.
-Approaches to acting – schools, formal
& informal.
-Performance informed by research.
-Significant scope of research and
scholarly writing.
Bridge/Degree
Completion
Requirements
If acting is chosen as the
area of specialization,
students must take the
following degree
requirements:
Dramaturgy Master
Class
Acting Capstone
Project
*(PCP) Program Critical Performance
38
VOCAL DISCIPLINE
and its industry.
Fundamentals of Vocal
Technique & Theory
2. Create a professional repertoire that reflects
a comprehensive and detailed understanding
of the nature and requirements of the North
American music theatre industry.
characters.
8. Integrate meta-cognitive practices and
systems of knowledge in order to enhance
oneʼs personal vision and oneʼs relationship
with the audience during performances.
Vocal Technique:
Physiology & Anatomy
Vocal Performance:
Context Analysis
Styles in Vocal
Performance
Commercial Vocal
Repertoire Development
Music Theatre Vocal
Project
Music Theatre Vocal
Performance Master
Class OR Commercial
Production Master
Class (PCP)
Music Theatre Vocal
Performance Capstone
Project OR Commercial
Production Capstone
Project (PCP)
Related Adv.
Diploma Courses by
Discipline
MT Vocal Perf. 1
Vocal Technique 1
Commercial Perf. 1
MT Vocal Perf. 2
Vocal Technique 2
Commercial Perf. 2
Music Technologies
MT Vocal Perf. 3
Vocal Technique 3
Commercial Perf. 3
MT Vocal Perf. 4
Vocal Technique 4
Commercial Perf. 4
MT Vocal Perf. 5
Vocal Technique 5
Commercial Perf. 5
Vocal Technique 6
Commercial Perf. 6
No comparators
Gap Elements
-Research of traditional music theatre
repertoire from the Golden Age of Music
Theatre.
-Research of contemporary commercial
vocal material.
-Origins of commercial vocal as a
discipline.
-Research and analysis of composers,
lyricists, book writers, performing artists.
-Protocols for success.
-Analysis of music structure.
-Song as storytelling.
-Self-care strategies.
-Research of contemporary music
theatre.
-Concepts of subjectivity and objectivity.
-Development of a personal work
process.
-Principles of contemporary commercial
voice repertoire and technique.
-Principles of classical vocal technique.
-Performance of a classical Italian aria.
-Spontaneity in performance.
-Complexity in performance.
-Group microphone technique.
-Performance of Early Music Theatre
(pre-Golden Age of Broadway)and
commercial vocal repertoire.
-Research of the styles and composers of
pre-Golden Age of Broadway.
-American Operetta.
-Ornamentation.
-The English Art Song.
-American Popular Song.
-Personal style and creativity.
-Artistry.
-Relationship with the audience.
Bridge/Degree
Completion
Requirements
credits:
Music, Commercial
Vocal Performance and
Music Theatre Vocal
Performance: History
and Analysis
Evaluation Plan
and review of the
literature
b) comparative analysis
c) research paper
d) exam
e) seminar presentation
f) reflective paper
If Vocal is chosen as the
following degree
requirements:
39
strategies.
Technique & Theory
12. Generate a personal physical regimen
required to maintain effective acting, vocal,
and dance technique, for success in music
theatre and commercial performance.
Vocal Performance:
Context Analysis
Vocal Technique:
Styles in Vocal
Performance
Commercial Vocal
Music Theatre Vocal
Project
Music Theatre Vocal
Performance Master
Class OR Commercial
Production Master
Class (PCP)
Music Theatre Vocal
Production Capstone
Project (PCP)
Related Adv.
Diploma Courses by
Discipline
MT Vocal Perf. 1
Vocal Technique 1
Commercial Perf. 1
MT Vocal Perf. 2
Vocal Technique 2
Commercial Perf. 2
Music Technologies
MT Vocal Perf. 3
Vocal Technique 3
Commercial Perf. 3
MT Vocal Perf. 4
Vocal Technique 4
Commercial Perf. 4
MT Vocal Perf. 5
Vocal Technique 5
Commercial Perf. 5
Vocal Technique 6
Commercial Perf. 6
Gap Elements
-Research of genres and composers.
-Analysis of technical and stylistic
modifications for mastering
commercial/pop vocal material.
-Collaborative rehearsal process.
-Refined character development informed
by research, analysis, and physical and
vocal exploration.
-Refinement of artistic vision.
scholarly writing.
Bridge/Degree
Completion
Requirements
Music Theatre Vocal
Performance Master
Class
OR Commercial
Production Master
Class
and
Music Theatre Vocal
Production Capstone
Project
No comparators
40
DANCE DISCIPLINE
and its industry.
Fundamentals of Dance
Technique
Dance Technique:
Dance: Artistry,
Interpretation and
Expression
Styles in Dance
Performance
Dance Repertoire
Development
Dance Project
Choreography Master
Class (PCP)
Dance Performance
Capstone Project
characters.
strategies.
Related Adv.
Diploma Courses by
Discipline
Dance 1
Dance Performance 1
Dance 2
Dance Performance 2
Dance 3
Dance Performance 3
Dance 4
Dance Performance 4
Dance 5
Dance 6
No comparators
Gap Elements
-Research on the general origins of
genres of dance commonly used in music
theatre.
-Historical context of ballet from 15th
century Italian renaissance to the France
of Louis XIV.
-Historical context of jazz from African
American vernacular dance.
-Historical context of tap from African
gumboot dance and other international
dance forms.
-Fundamentals of human anatomy and
physiology.
-Principles of movement related to
anatomy and physiology.
-Principles of physical health and
wellness.
-Research on the basic structure and
function of muscles used in dance.
-Physical workouts, warm ups, stretching,
cool downs.
-Basic rehabilitation techniques.
-Nutrition, diet and personal wellness.
-Additional dance styles including
Modern, lyrical and Latin.
-Related dance and anatomical
terminology.
-Critical and comparative analysis of
different dance styles.
-Interpretation of select and general
dance styles and techniques.
-Fundamentals of character development
and storytelling within dance.
-Refined artistry, interpretation and
expression.
-Efficient assimilation of styles within the
choreography.
Bridge/Degree
Completion
Requirements
credits:
Dance: Historical,
Cultural and
Kinesthetic Analysis
and Context
Evaluation Plan
and review of the
literature
c) research paper
d) seminar presentation
If Dance is chosen as the
following degree
requirements:
Choreography Master
Class
and
Dance Performance
Capstone Project
41
14. Design comprehensive, cogent, and
creative entrepreneurial strategies related to
self-promotion and marketing that incorporate
effective presentation, communication, and
technological skills, where appropriate.
and evolving technologies into individual
Technique
Dance Technique:
Dance: Artistry,
Interpretation and
Expression
Styles in Dance
Performance
Dance Repertoire
Development
Dance Project
Choreography Master
Class (PCP)
Dance Performance
Capstone Project
Related Adv.
Diploma Courses by
Discipline
Dance 1
Dance Performance 1
Dance 2
Dance Performance 2
Dance 3
Dance Performance 3
Dance 4
Dance Performance 4
Dance 5
Dance 6
No comparators
Gap Elements
-Research specific artists and icons in the
music theatre in the various genres and
styles.
-Comparative analysis of styles and
artists and choreographers associated
with given styles.
-Research historical and cultural data
(modern, jazz – lyrical and Broadway).
-Research the role and importance of
dance in music theatre.
-Research the evolution of dance from
accessory to plot support to narrative.
-Additional dance styles and their origins.
-Choreography and meta-cognition.
-Refined self-management processes.
-Research for a dance project.
-Original choreography for project
performance.
scholarly writing.
Bridge/Degree
Completion
Requirements
credits:
Dance: Historical,
Cultural and
Kinesthetic Analysis
and Context
Evaluation Plan
and review of the
literature
c) research paper
d) seminar presentation
If Dance is chosen as the
following degree
requirements:
Choreography Master
Class
and
Dance Performance
Capstone Project
42
MUSIC DISCIPLINE
Aural Concepts and
Music Theory
Fundamental
Musicianship
Contemp. Concepts &
Applications of
Musicianship
Music Performance:
Notation, Transcription
and Scoring
4. Generate creative individual and collective
music performances informed by inquiry,
research and scholarly writing, using
appropriate methodology.
7. Refine musical literacy in order to interpret,
through performance, the intent and
methodology of the composer.
Related Adv.
Diploma Courses by
Discipline
Ear Training 1
Music Theory 1
Ear Training 2
Music Theory 2
Ear Training 3
Music Theory 3
Ear Training 4
Music Theory 4
Gap Elements
-Research historical and cultural context
of major music periods and movements.
-Contribution of choral music in the
context of historical, cultural and social
development and movements.
-Greater scope of research and scholarly
writing.
-Greater scope of research and scholarly
writing.
Bridge/Degree
Completion
Requirements
Missing research
elements have been
integrated into the two
bridging courses:
Music, Commercial
Vocal Performance and
Music Theatre Vocal
Performance: History
and Analysis
and
Music Theatre:
Entrepreneurial
Practice and
Professional Portfolio
9. Develop aural acuity that reflects the
multidimensional nature of musicianship by
integrating constructs of music knowledge with
listening skills.
strategies.
43
Related Adv.
Diploma Courses by
Discipline
Gap Elements
Bridge/Degree
Completion
Requirements
44
PROFESSIONAL COURSES
and its industry.
Music Industry:
Professional Practice
Audition Techniques
4. Generate creative individual and collective
music performances informed by inquiry,
research and scholarly writing, using
appropriate methodology.
characters.
Related Adv.
Diploma Courses by
Discipline
1
2
3
Computer Skills
Stagecraft 1
Gap Elements
-Research and analysis of industry
landscape.
-Research and analysis of development
and practice of music theatre industry.
-Research and analysis of types of
Canadian theatre organizations and
functions of their most influential
personnel.
-Protocols and processes of professional
stagecraft.
-Formulation of career goals.
-Refinement of self-management and
organizational processes.
-Development of career path strategies.
-Management of financial records.
-Design of rudimentary budgets.
-Categorize incomes and expenditures.
-Formulation of plan for basic personal
financial sustainability.
-Comparative analysis of employment
and self-employment: strengths and
challenges.
-Business principles.
-Analysis of project management.
-Creation of project proposals.
-Generation of business and
entrepreneurial strategies.
-Design of websites.
-Document layout and design.
-Use of spreadsheets for bookkeeping
purposes.
-Adaptation of choreographic style.
-Research of the play being produced.
-Research of roles.
-Refined artistry /performance informed
by research.
Bridge/Degree
Completion
Requirements
course worth three (3)
credits:
Music Theatre:
Entrepreneurial
Practice and
Evaluation Plan
a) Professional portfolio
b) Strategic Project Plan
c) Research Project
d) Exam (10
45
Music Industry:
Audition Techniques
strategies.
Related Adv.
Diploma Courses by
Discipline
1
2
3
Computer Skills
Stagecraft 1
Gap Elements
-Analysis and evaluation of the audition
process in relation to success in the
industry.
-Consolidation of personal Artistʼs
Statement.
Bridge/Degree
Completion
Requirements
course worth three (3)
credits:
Music Theatre:
Entrepreneurial
Practice and
Evaluation Plan
a) Professional portfolio
b) Strategic Project Plan
c) Research Project
d) Exam (10
And the Program Critical Performance
46
PROFESSIONAL COURSES – PRODUCTION
and its industry.
MTP: Production 1
MTP: Production 2
MTP: Production 3
5. Generate acting, vocal and dance
characters.
Related Adv.
Diploma Courses by
Discipline
Production 1
Production 2
Production 3
Gap Elements
Self-reflection
Self-evaluation
Bridge/Degree
Completion
Requirements
It would appear that most
elements are present in
both the advanced
diploma and the degree
programs.
Any differences would
appear to be related to
two elements:
a) Integration: the degree
program reflects a
stronger and more
intentional integration
across the disciplines.
b) Scope: in terms of the
degree program, the
scope reflects a deeper
and broader approach in
terms of the research
and the historical and
cultural contexts that
inform the process.
Rather than address this
minor variation by
requiring students to
engage in productions as
part of the bridge, these
elements are addressed
in the capstone courses
in particular, and also in
the master classes and
composite courses that
are part of the bridge.
47
effective communications and collaboration
strategies.
MTP: Production 1
MTP: Production 2
MTP: Production 3
Related Adv.
Diploma Courses by
Discipline
Production 1
Production 2
Production 3
Gap Elements
Self-reflection
Self-evaluation
Bridge/Degree
Completion
Requirements
Therefore, there is no
requirement to include
production as part of the
bridge or as part of the
remaining requirement
for degree completion.
effective presentation, communication and
and evolving technologies into individual
And the Program Critical Performance
48
BREADTHS
and its industry.
Composition & Rhetoric
History of Western
Theatre
History of Early Music
Theatre
History of
Contemporary Music
Theatre
Breadth Elective
Breadth Elective
Breadth Elective
Breadth Elective
Related Adv.
Diploma Courses by
Discipline
Theatre Survey Classical
Theatre Survey Modern
Theatre Survey - Early
Music Theatre
Theatre Survey –
Contemporary Music
Theatre
Gen. Ed. Elective
Gen. Ed. Elective
Gap Elements
Research and critical analysis of social,
political, economic and historical factors,
trends and events that affected the
development of New York City as a key
international centre of commerce, and the
general history of NYC to the 1940s.
Research and critical analysis of social,
political, economic and historical factors,
trends and events that affected the
development of Broadway as the hub of
entertainment for NYC.
Bridge/Degree
Completion
Requirements
Students bridging from
the Sheridan Advanced
Diploma program are
required to complete the
following courses to meet
degree requirements:
Composition and
Rhetoric
Four Breadth Electives
The gap elements in this
section are addressed
and integrated through
the four bridging courses.
49
5.2.5 Bridging Courses
Course Title:
Acting: Historical and Cultural Context and Analysis – Bridging Course
Course/Subject Description: In this course, students research historical and contemporary approaches to the
craft of acting in Europe (with particular emphasis on Russia and England) and North America (the United States
and Canada.) They examine the nature of the craft within the framework of generally accepted contemporary
concepts, principles, and theories, and analyze the evolution of the craft from the time of Shakespeare to the
present. They generate project work in a variety of media that focuses on the relationship between the actor and
the craft of acting. In addition, students demonstrate their ability to work both independently and co-operatively.
Students explore the canon of William Shakespeare and its historical context, with an emphasis on the
comparative critical analysis of the four genres into which Shakespeare's plays are divided. They correlate these
genres with their contemporary equivalents. Students investigate the ʻclassical structureʼ of Shakespearean
monologues, correlating this structure with the construct of well-crafted contemporary dramatic monologues and
music theatre solo songs. In addition, students research and analyze Elizabethan drama as a reflection of the
concept of the Elizabethan World Picture. They analyze the practices of English Renaissance Theatre, and the
emergence of 'personification' as an acting technique employed by its actors, which evoked significant emotional
response from its contemporary audiences.
Students research the dramatic literature acting styles of the Restoration period within a historical and political
context, including the English civil war and the rebuilding of the theatrical tradition, as well as the emergence of
career dramatic writers like Congreve and Goldsmith. They research the evolution of Farce from the works of
Moliere (late 1600s) to Feydeau (late 1800s, early 1900s), and on to contemporary times. They analyze the
emergence of Melodrama (mid 1700s to early 1900s) as a legitimate form of drama and forerunner of musical
theatre.
As well, students research the evolution of the two most commonly employed, yet diametrically opposed,
contemporary acting techniques, as characterized by the great modern actors who personified these general
approaches (most specifically the turn-of-the-20th-Century actresses Sarah Bernhardt and Eleanora Duse.)
Through an overview of the work and philosophies of Darwin and Freud regarding the modern view of the world
(including the changing roles of men and women) students investigate the emergence of Modernism and PostModernism with the establishment of the Moscow Art Theatre at the turn of the 20th Century as a leading influence
on the craft of Acting, and the Theatre Guild in New York City as a tonic to the rampant commercialism of
Broadway in the early 20th Century (with special attention given to the works of Chekhov, Ibsen, Shaw, and
OʼNeill). Through an examination of the emerging psychosexual issues and of the sociopolitical climate of postWorld War II era in America, students investigate the establishment of the Group Theatre and Actorsʼ Studio (with
special attention given to the works of playwrights Tennessee Williams and Arthur Miller) as proponents of the
American school of ʻHeighted Realismʼ and ʻMethodʼ Acting.
Student analyze Michael Shurtleff's Twelve Guideposts to Acting in the context of classical, modern, and
contemporary methodologies of acting Through written work, and visual and oral presentations, students refine
their communications, research and meta-cognition skills in the context of Acting, and reinforce their understanding
of the historical and theoretical foundations of the discipline.
Method(s) of Instruction: One-on-one tutorials, small group sessions, guidance and direction through the
assignment work.
Content Outline by Topic:
This course is part of a bridging program offered to graduates of specific Music Theatre Advanced Diploma
programs bridging into the BAA Music Theatre Performance program. As such, it is considered an independent
study course that does not include a weekly topical, but has very specific areas targeted for learning and further
development, to be evaluated by an advisor assigned to the student during the bridging semester.
Actual Contact Hours: 42
50
Course Title:
Method(s) and Frequency of Evaluation of Student Performance:
Annotated bibliography and review of the literature
10%
Two research papers @15%
30%
Essay
10%
Comparative analysis chart
15%
Exam
10%
Seminar presentation
25%
Resources to be purchased/provided by students: N/A
Textbook Requirements: TBD
Learning Outcomes:
1. Research historical and contemporary approaches to the craft of acting in Europe (with particular emphasis on
Russia and England) and North America (the US and Canada).
2. Examine the nature of the craft within the framework of generally accepted contemporary concepts, principles
and theories.
3. Analyze the evolution of the craft from the time of Shakespeare to the present.
4. Generate project work I n a variety of media that focuses on the relationship between the actor and the craft of
acting.
5. Analyze the four genres into which Shakespeareʼs plays are divided, correlating these genres to their
contemporary equivalents.
6. Correlate the classical structure of Shakespearean monologues with the construct of well-crafted
contemporary dramatic monologues and music theatre solo songs.
7. Analyze Elizabethan drama as a reflection of the concept of the Elizabethan World Picture.
8. Analyze the practices of English Renaissance Theatre and the emergence of ʻpersonificationʼ as an acting
technique employed by its actors to evoke significant emotional response from its audiences.
9. Research the dramatic literature acting styles of the Restoration period within a historical and political context,
including the English civil war and the rebuilding of the theatrical tradition, as well as the emergence of career
dramatic writers like Congreve and Goldsmith.
10. Research the evolution of Farce from the works of Moliere (late 1600s) to Feydeau (late 1800s, early 1900s),
and on to contemporary times.
11. Analyze the emergence of Melodrama (mid 1700s to early 1900s) as a legitimate form of drama and
forerunner of musical theatre.
12. Research the evolution of the two most commonly employed, yet diametrically opposed, contemporary acting
techniques, as characterized by the great modern actors who personified these general approaches (most
specifically the turn-of-the-Century actresses Sarah Bernhardt and Eleanora Duse.
13. Investigate the emergence of Modernism and Post-Modernism with the establishment of the Moscow Art
Theatre at the turn of the 20th Century as a leading influence on the craft of acting, and the Theatre Guild in
New York City as a tonic to the rampant commercialism of Broadway in the early 20th Century (with special
attention given to the works of Chekhov, Ibsen, Shaw, and OʼNeill) through an overview of the work and
philosophies of Darwin and Freud regarding the modern view of the world (including the changing roles of men
and women).
14. Investigate the establishment of the Group Theatre and Actorsʼ Studio (with special attention given to the
works of playwrights Tennessee Williams and Arthur Miller) as proponents of the American school of
ʻHeighted Realismʼ and ʻMethodʼ Acting through an examination of emerging psychosexual issues and of the
sociopolitical climate of post-World War II era in America.
15. Analyze Michael Shurtleff's Twelve Guideposts to Acting in the context of classical, modern, and
contemporary methodologies of acting.
Information about course designer/developer:
Course designed by other: Greg Peterson, Norra Taylor
Faculty qualified to teach the course and/or statement “faculty to be hired”: Greg Peterson, Mimi Mekler,
Denise Norman
If the method of instruction includes on-line delivery (technology based, computer-based, web-based),
what percentage of the course content will be offered on-line? N/A
51
Course Title:
Faculty qualifications required to teach/supervise the course: Minimum 10 years experience as a
professional in the theatre industry and/or the film and television industry; minimum 5 years teaching experience;
Masters preferred.
Classroom Requirements: Smart Classroom
Equipment Requirements: Dependent on student selected project
52
Course Title:
Music, Commercial Vocal Performance, and Music Theatre Vocal Performance:
History and Analysis – Bridging Course
Course/Subject Description: Students research the historical and cultural evolution of western music, as well as
the concepts, principles, and theories of contemporary commercial and music theatre vocal performance styles.
Through written, visual, and oral presentations, they refine their communication, research, and meta-cognition
skills while reinforcing their understanding of the historical and theoretical foundations of the vocal discipline in
music theatre performance, thereby enriching their individual performance styles.
In addition, students research major periods in the evolution of Western music: Medieval, Renaissance, Baroque,
Classical, Romantic, and Modern, as well as the major composers who championed each of these eras. They
evaluate the role of choral music in its various forms in this evolution. They also generate a critical comparative
analysis of the different genres of popular song that emerged from these eras, including the Classical Italian Aria,
the English Art Song, the Operetta Song, and the American Popular Song.
As well, students analyze the historical, political, social, and economic contexts of the evolution of early jazz and
ragtime music in America, the development of the Golden Age of Broadway musicals, the subsequent emergence
of divergent popular musical styles, and the resultant diversification of the contemporary commercial music market.
Using audio-visual digital recordings of performances by major music theatre and commercial performing artists,
students evaluate refined artistry through an examination of individual interpretation, character development, and
physical and vocal expression. They analyze the differences between classical and contemporary commercial
vocal performance styles focusing on their effectiveness in communicating emotionally with the audience. In
addition, they refine their individual vocal performance style through scholarly research and analysis.
Students generate work in a variety of media that focuses on the relationship between the singer and the song, the
singer and the audience, and the vocal performance style and the effectiveness of its communication.
Through concentrated research, and critical and comparative analysis, students demonstrate their ability to work
independently while developing a significant awareness of the continuing evolution of Commercial Vocal
Performance and Music Theatre Vocal Performance styles and the place of singers as agents of this evolution.
assignment work.
10%
Two research papers @15%
30%
Essay
10%
Comparative analysis chart
15%
Exam
10%
25%
Learning Outcomes:
1. Research the historical and cultural evolution of western music.
2. Compare the concepts, principles, and theories of contemporary commercial and music theatre vocal
performance styles.
3. Analyze the historical and theoretical foundations of the vocal discipline in music theatre performance.
4. Research major periods in the evolution of Western music as well as the major composers who championed
each of these periods.
5. Evaluate the role of choral music in the evolution of the major eras in music history.
53
Course Title:
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
Music, Commercial Vocal Performance, and Music Theatre Vocal Performance:
History and Analysis – Bridging Course
Generate a critical comparative analysis of the different genres of popular song that emerged from the major
eras in music history.
Research the origins of commercial music in America.
Analyze the historical, political, social, and economic contexts of the evolution of early popular song, jazz, and
ragtime music in America,
Analyze the historical, political, social, and economic contexts of the development of the Golden Age of
Broadway musicals, the subsequent emergence of divergent popular musical styles, and the resultant
diversification of the contemporary commercial music market.
Evaluate refined artistry through the examination of individual interpretation, character development, and
physical and vocal expression.
Analyze the differences between classical and contemporary commercial vocal performance styles.
Refine individual vocal performance style through scholarly research and analysis.
Generate work in a variety of media that focuses on the relationship between the singer and the song, and on
vocal performance as a form of communication.
Refine communications, research, and meta-cognition skills through written, visual, and oral presentations.
Refine personal processes related to organization skills, and resource, information and time management
skills.
Faculty qualified to teach the course and/or statement “faculty to be hired”: Greg Andrews
professional in the music theatre industry and/or the commercial vocal and recording industry; minimum 5 years
teaching experience; Masters preferred.
54
Course Title:
Dance: Historical, Cultural and Kinesthetic Analysis and Context – Bridging
Course
Course/Subject Description: In this course, students research the general origins of the three genres of dance
commonly used in Music Theatre: Ballet, Jazz, and Tap. They research the historical and cultural context of:
1.
Ballet from the 15th century Italian renaissance and the French society of Louis XIV,
2.
Jazz from African American vernacular dance, and
3.
Tap from African gumboot dance and other international dance forms.
They generate a critical and comparative analysis of these three dance genres. They also analyze the evolution of
other contemporary dance styles, including Modern, Lyrical, and Latin.
Students generate a comparative and critical analysis between these genres and the significant contributions of
Broadway choreographers like George White, George Balanchine, Agnes De Mille, Jack Cole, Jerome Robbins,
Bob Fosse, Michael Kidd, Gower Champion, Michael Bennett, Tommy Tune, Jerry Mitchell, and Susan Stroman.
They evaluate the development and evolution of dance in Music Theatre from accessory, to plot support (most
significantly in character development), to narrative.
Students research the basic structure and function of muscles generally used in dance. They analyze the
principles of movement in the context of human anatomy and physiology fundamentals, using appropriate
terminology. They generate an individual health and wellness program that includes nutritional, diet, and exercise
information including recommendations for basic rehabilitation techniques for injuries commonly experienced by
dancers.
Students evaluate the refined artistry, interpretation, and individual expression in iconic (recorded) dance
performances in Music Theatre. They analyze the effect of choreography to communicate emotionally with the
audience.
Through concentrated research and critical and comparative analysis, students develop a significant awareness of
the continuing evolution of Dance as a discipline and the place of dancers as agents of this evolution. In addition,
through written, kinesthetic, and oral presentations, students refine their communications, research and metacognition skills in the context of Dance, and reinforce their understanding of the historical and theoretical
foundations of the discipline.
Students generate work in a variety of media that focuses on the relationship between the dancer and the art of
dance as a form of communication while Integrating learning from self-reflection and meta-cognition into personal
written, oral and kinesthetic discourse.
assignment work.
10%
Research paper and comparative analysis chart
35%
Exam
20%
35%
Learning Outcomes:
1. Research the general origins of genres of dance commonly used in music theatre.
th
2. Research the historical and cultural context of ballet from the 15 century Italian renaissance to the French
society of Louis XIV.
55
Course Title:
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
Dance: Historical, Cultural and Kinesthetic Analysis and Context – Bridging
Course
Research the historical and cultural context of jazz from African American vernacular dance.
Research the historical and cultural context of tap from African gumboot dance and other international dance
forms.
Analyze the evolution of contemporary dance styles, including Modern, Lyrical and Latin.
Generate a critical and comparative analysis of different dance styles and the significant contributions of
specific artists, choreographers and other icons to the development and evolution of those different genres
and styles in dance as a discipline.
Analyze the evolution of dance from accessory, to plot support, to narrative.
Analyze the fundamentals of character and storytelling within dance.
Evaluate the development and evolution of the role of dance in music theatre.
Research the basic structure and function of muscles generally used in dance.
Analyze the principles of movement in the context of human anatomy and physiology fundamentals, using
appropriate terminology.
Generate an individual health and wellness program that include nutritional, diet and exercise information and
recommendations for basic rehabilitation techniques for injuries commonly experienced by dancers.
Evaluate refined artistry, interpretation and individual expression in select researched dance performances.
Evaluate the role and importance of dance in music theatre, with specific reference to iconic performances.
Integrate learning from self-reflection and meta-cognition into personal written, oral and kinesthetic discourse.
Analyze the effect of choreography within certain dance styles on the ability of the dancer to communicate
emotionally with the audience.
Refine individual communication skills.
Refine personal processes related to organization skills, and resource, information and time management
skills.
Faculty qualified to teach the course and/or statement “faculty to be hired”: Marc Richard, Gillian Saunders
professional in the music theatre industry and/or dance industry; minimum 5 years teaching experience, Masters
preferred.
56
Course Title:
Music Theatre: Entrepreneurial Practice and Professional Portfolio – Bridging
Course
Course/Subject Description: In this course, students research the Canadian Music Theatre industry landscape in
terms of current trends and practices in the field. They research commercial, festival, regional, summer stock, and
independent theatre organizations that routinely produce musicals and their performance venues. They analyze
their administrative and operational structures, and their specific functions, including the identification of their most
influential personnel and their backgrounds.
Students generate personal career plans that include general goals and career path strategies. They generate a
comparative analysis of employment and self-employment strengths and challenges (a SWOT analysis). They
consolidate these insights into an Artistʼs Statement.
Students analyze bookkeeping practices. They manage finances by designing rudimentary personal budgets on
spreadsheets categorizing sources of income and expenditures. Students formulate basic plans for personal
financial sustainability, based on business principles and entrepreneurial strategies.
Students also research common legal issues encountered by self-employed artists in the industry and the
professional associations and individuals that provide assistance and advice in these situations.
Students research the social, political, economic, and historical factors, trends, and events that affected the
development of New York City as a key international centre of commerce and the development of Broadway as its
hub of entertainment. They analyze how Broadway influenced the development of the Music Theatre industry in
Canada.
Students develop a major project plan, which incorporates effective document layout and design skills and reflects
strategic marketing skills.
Through concentrated research and critical and comparative analysis, students develop a significant awareness of
the entrepreneurial nature of the Music Theatre industry. In addition, through written and oral presentations,
students refine their communications, research, and meta-cognition skills in the context of the Music Theatre
industry, and reinforce their understanding of the historical and theoretical foundations of its commercial nature.
They also refine personal processes related to organization skills, and resource, information, and time
management skills.
assignment work.
Professional portfolio
40%
Strategic project plan
30%
Research Project
20%
Exam
10%
Learning Outcomes:
1. Research the landscape of the Music Theatre industry in terms of current trends in the field.
2. Research the types of theatre organizations and their functions, including the identification of their most
influential personnel.
3. Research the legal aspects of the Canadian music industry and related functions.
4. Generate a personal career plan that includes general career goals and career path strategies.
5. Generate a comparative analysis of employment and self-employment strengths and challenges (a SWOT
57
Course Title:
Music Theatre: Entrepreneurial Practice and Professional Portfolio – Bridging
Course
analysis).
Formulate a plan for basic personal financial sustainability, based on business principles and entrepreneurial
strategies.
7. Refine individual communication skills.
8. Design a rudimentary budget that involves the management of financial records that reflect the use of
spreadsheets and categorization of income and expenditures for bookkeeping purposes.
9. Consolidate oneʼs personal Artistʼs Statement.
10. Develop a major project plan that incorporates document layout and design skills and reflects effective
marketing skills.
11. Refine personal processes related to organization skills, and resource, information and time management
skills.
12. Research the social, political, economic, and historical factors, trends, and events that affected the
development of New York City as a key international centre of commerce and the development of Broadway
as its hub of entertainment.
6.
Course designed by faculty eligible to teach this course: Greg Peterson, Norra Taylor
Faculty qualified to teach the course and/or statement “faculty to be hired”: Greg Peterson, Norra Taylor
professional in the music theatre industry; minimum 5 years teaching experience; Masters preferred.
58
5.3 Promotion and Graduation Requirements
Grade point average is calculated per term (TERM GPA OR TGPA) and over the student’s entire
academic history with Sheridan (Cumulative GPA or CGPA). Courses re-taken will have grades from all
attempts recorded on the transcript; however, only the highest grade will be used in the GPA calculation.
Grade Point Averages are weighted calculations based on the grade received and the credit value of the
course. An example of a weighted GPA is:
Course Grade
Credit
Weighted
Grade
Points
Value
Credit Value
A
4.0
x
3.0
=
12.0
B+
3.5
x
3.0
=
10.5
B
3.0
x
3.0
=
9.0
C+
2.5
x
3.0
=
7.5
C
2.0
x
3.0
=
6.0
D
1.0
x
3.0
=
3.0
Total
18.0
48.0
GPA – total weighted credit value ÷ total credit value
Based on example above: 48.0 ÷ 18.0 = 2.6 GPA
Graduation Requirements
For students in Sheridan Baccalaureate programs, the following promotion and graduation requirements
apply:
Program Requirement
Courses in disciplines outside the
main field(s) of study
Courses with disciplines within the
main field(s) of study
Other, please specify (e.g., work
placement/internship)
Other, please specify (e.g., research
paper)
Other, please specify (e.g.,
laboratories)… etc.
Overall achievement
Level of achievement
Promotion
2.0
Graduation
2.0
2.5
2.5
N/A
N/A
N/A
N/A
N/A
N/A
2.4
2.4
Academic Standing, Baccalaureate Degrees Policy approved by Sheridan’s Board of Governors April 20,
2005
Graduation Policy approved by Sheridan’s Board of Governors October 20, 2004
Both approved by Ministry with the BAHSc. (Exercise Science & Health Promotion) December 31, 2007
59
6.2 Professional/Accreditation or Other Organization Support
6.2.1 Professional/Accreditation or Other Requirements
Not applicable to this submission.
65
6.2.2 Letters of Support: Professional/Accreditation or Other Requirements
66
67
68
6.3 Program Content Summary Material
6.3.1 Program Level Learning Outcomes
Program Level Learning Outcomes
1. Research the history of music theatre
in order to develop a personal acting,
vocal and dance repertoire that is
informed by, and responds to, trends
in the evolution of the art and its
industry.
2. Create a professional repertoire that
reflects a comprehensive and detailed
understanding of the nature and
requirements of the North American
music theatre industry.
3. Perform a wide variety of styles of
material required by today’s theatrical
and music industries at the entry-level
professional standard expected by the
industry.
Course, course segments or workplace requirements
that contribute to this outcome
Fundamentals of Acting, Fundamentals of Vocal
Technique & Theory, Fundamentals of Dance Technique,
Principles of Contemporary Acting, Vocal Technique:
Physiology and Anatomy, Dance Technique: Physiology
and Anatomy, Principles of Classical Acting, Vocal
Performance: Context Analysis, Dance: Artistry,
Interpretation & Expression, History of Early Music
Theatre, Principles of Modernism in Acting, Styles in
Dance Performance, Styles in Vocal Performance, History
of Contemporary Music Theatre, Acting Styles & Media,
Commercial Vocal Repertoire Development, Dance
Repertoire Development, Music Industry: Professional
Practice, Post-Modern Theories of Acting, Music Theatre
Vocal Project, Dance Project, MTP: Production I,
Dramaturgy Master Class, MT Vocal Performance Master
Class, Commercial Performance Master Class,
Choreography Master Class, Audition Techniques, MTP:
Production II, Acting Capstone Project, MT Vocal
Performance Capstone Project, Commercial Performance
Capstone Project, Dance Performance Capstone Project,
Audition Master Class, MTP: Production III
Fundamentals of Vocal Technique & Theory,
Fundamentals of Dance Technique, Vocal Technique:
and Anatomy, Vocal Performance: Context Analysis,
Dance: Artistry, Interpretation & Expression, Styles in
Vocal Performance, Styles in Dance Performance,
Practice, MT Vocal Project, Dance Project, MTP:
Production I, MT Vocal Performance Master Class,
Commercial Performance Master Class, Choreography
Master Class, Audition Techniques, MTP: Production II,
MT Vocal Performance Capstone Project, Commercial
Performance Capstone Project, Dance Performance
Capstone Project, Audition Master Class, MTP: Production
III
All courses within the discipline.
69
4. Generate creative individual and
collective music performances
informed by inquiry, research and
scholarly writing, using appropriate
methodology.
5. Generate acting, vocal and dance
performances that engage the
audience, reflecting strong narrative,
characterization and believable
relationships among characters.
6. Create believable characters with fully
developed physicality and voice,
informed by psychology and based on
thoughtful research and critical
analysis.
7. Refine musical literacy in order to
interpret, through performance, the
intent and methodology of the
composer.
Aural Concepts & Music Theory, Fundamental
Musicianship, Contemporary Concepts & Applications of
Musicianship, Music Performance: Notation, Transcription
and Scoring, Music Industry: Professional Practice,
Audition Techniques, Audition Master Class, Work Term
Technique & Theory, Fundamentals of Dance Technique,
Principles of Contemporary Acting, Vocal Technique
Physiology and Anatomy, Dance Technique Physiology
and Anatomy, Principles of Classical Acting, Vocal
Performance: Context Analysis, Dance: Artistry,
Interpretation & Expression, Principles of Modernism in
Acting, Styles in Vocal Performance, Styles in Dance
Performance, Acting Styles & Media, Commercial Vocal
Repertoire Development, Dance Repertoire Development,
Music Industry: Professional Practice, Post-Modern
Theories of Acting, Music Theatre Vocal Project, Dance
Project, MTP: Production I, Dramaturgy Master Class, MT
Vocal Performance Master Class, Commercial
Performance Master Class, Choreography Master Class,
Audition Techniques, MTP: Production II, Acting
Capstone Project, MT Vocal Performance Capstone
Project, Commercial Performance Capstone Project, Dance
Performance Capstone Project, Audition Master Class,
MTP: Production III, Work Term
Technique & Theory, Principles of Contemporary Acting,
Vocal Technique: Physiology & Anatomy, Principles of
Classical Acting, Vocal Performance: Context Analysis,
Principles of Modernism in Acting, Styles in Vocal
Performance, Acting Styles & Media, Commercial Vocal
Practice, Post-Modern Theories of Acting, Music Theatre
Vocal Project, MTP: Production I, Dramaturgy Master
Class, MT Vocal Performance Master Class, Commercial
Performance Master Class, Audition Techniques, MTP:
Production II, Acting Capstone Project, MT Vocal
Performance Capstone Project, Commercial Performance
III, Work Term
Aural Concepts and Music Theory, Fundamental
& Scoring
70
systems of knowledge in order to
enhance one’s personal vision and
one’s relationship with the audience
during performances.
9. Develop aural acuity that reflects the
multidimensional nature of
musicianship by integrating constructs
of music knowledge with listening
skills.
performances by engaging in critical
and creative problem-solving and
decision-making.
11. Foster personal development and
collegial working relationships that
conform to established industry
hierarchy, professional etiquette, and
protocols through self-reflection,
effective communications and
collaboration strategies.
Fundamentals of Dance Technique, Aural Concepts and
Music Theory, Vocal Technique: Physiology & Anatomy,
Dance Technique: Physiology & Anatomy, Fundamental
Musicianship, Vocal Performance: Context Analysis,
Dance: Artistry, Interpretation & Expression,
Contemporary Concepts & Applications of Musicianship,
Styles in Vocal Performance, Styles in Dance
Performance, Music Performance: Notation, Transcription
& Scoring, Commercial Vocal Repertoire Development,
Dance Repertoire Development, Music Industry:
Professional Practice, Music Theatre Vocal Project, Dance
Project, MTP: Production I, MT Vocal Performance
Master Class, Commercial Performance Master Class,
Choreography Master Class, Audition Techniques, MTP:
Production II, MT Vocal Performance Capstone Project,
Commercial Performance Capstone Project, Dance
Performance Capstone Project, Audition Master Class,
MTP: Production III, Work Term
Aural Concepts & Music Theory, Fundamental
& Scoring
All courses within the discipline plus Composition &
Rhetoric, History of Western Theatre, History of Early
Music Theatre, History of Contemporary Music Theatre
All courses within the discipline plus the Work Term
71
required to maintain effective acting,
vocal and dance technique, for
success in music theatre and
commercial performance.
approach to work required of the field
of study and the Music Theatre
industry.
creative entrepreneurial strategies
related to self-promotion and
marketing that incorporate effective
presentation, communication and
technological skills, where
appropriate.
15. Incorporate, where appropriate,
current and evolving technologies,
into individual performances and
collaborative projects.
Fundamentals of Dance Technique, Vocal Technique:
and Anatomy, Vocal Performance: Context Analysis,
Dance: Artistry, Interpretation & Expression, Styles in
Vocal Performance, Styles in Dance Performance,
Practice, Music Theatre Vocal Project, Dance Project,
MTP: Production I, MT Vocal Performance Master Class,
Commercial Performance Master Class, Choreography
MT Vocal Performance Capstone Project, Commercial
Performance Capstone Project, Dance Performance
III, Work Term
All courses within the discipline plus Composition &
Rhetoric, History of Western Theatre, History of Early
Music Theatre, History of Contemporary Music Theatre
and the Work Term
Fundamentals of Dance Technique, Aural Concepts and
Music Theory, Dance Technique: Physiology & Anatomy,
Fundamental Musicianship, Dance: Artistry, Interpretation
& Expression, Contemporary Concepts & Applications of
Musicianship, Styles in Dance Performance, Music
Performance: Notation, Transcription & Scoring, Dance
Practice, Dance Project, MTP: Production I, Choreography
Audition Master Class, MTP: Production III, Work Term
All courses within the discipline.
72
6.3.2 Course Descriptions
The detailed program map has been used in Appendix 6.4 in lieu of individual course outlines. This
format was used to facilitate identification and validation of the complex and extensive integration across
disciplines (the view by semester) and intentional sequencing through individual disciplines from
Semester 1 through 8. Space requirements for the detailed program map are such that the shorter Calendar
Description for each course was used, to accommodate all required components of the course outline
expected by PEQAB in the single 6.4 document.
As a result, this Appendix provides the detailed course descriptions, to ensure that the full intent of the
learning as outlined in these descriptions is included within the proposal.
Course Title
Year One, Semester 1
Calendar Course Description
In this course, students learn fundamental approaches to acting. In a
studio setting they examine the basic principles of improvisation,
analyze the classic structure of monologues, and investigate the two
techniques generally employed by actors. In interactive lectures, they
research the history of actors and acting.
In a studio setting, in the improvisation component, students explore
being ‘in the moment’ by responding to stimuli, inventing active
patterns of response, and exploring instinctive, extemporaneous
spontaneity as the cornerstone of individual original creativity. Using
variations of classroom exercises first developed in the 1940s by Viola
Spolin, the American Grandmother of Improv, and others, students
assimilate the rules of improvisation as they apply to modern
interpretive approaches to acting.
In a studio setting, in the monologue fundamentals component,
students explore the canon of William Shakespeare and its historical
context. They analyze the four genres into which Shakespeare’s plays
are divided and the inherent differences between poetry and prose and
examine the principles of scansion and the classical structure of
Shakespeare’s soliloquies. They discover the correlation between this
classical structure and the construct of modern monologues and of
contemporary music theatre songs. Students select, prepare, and
perform soliloquies drawn from different genres of Shakespeare plays.
In a studio setting, in the acting techniques component, students
explore the differences between the outside-in and inside-out
approaches to acting by participating in related exploratory exercises.
In a studio setting, in the impulse and archetypes component, students
explore the fundamental dynamics between performer and audience.
By participating in group and individual exercises which follow the
principles of Peter Brook, Philippe Gaulier, and Jacques LeCoq,
students become aware of their ingrained personal habits and explore
ways to address them. Using breath, movement, and the archetypes of
natural element work, they seek to awaken their perceptions of social
interaction and personal reaction, and consequently their ability to
control and utilize impulses.
In interactive lectures, students research the evolution of the two most
73
Course Title
Technique and Theory
Technique
commonly employed, yet diametrically opposed, acting techniques as
characterized by the great actors who personified these general schools
of thought, specifically the turn-of-the-20th-Century actresses Sarah
Bernhardt and Eleanora Duse. They also explore Michael Shurtleff’s
12 Guideposts.
In this course, students learn the fundamentals of vocal technique.
They examine the concepts of free, unrestricted vocal production and
communication through song. They perform traditional music theatre
and commercial vocal repertoire while exploring basic care of the
voice and diverse physical and vocal exercises essential for body/voice
connection.
In interactive lectures, students explore basic vocal hygiene, and
prepare and perform Preliminary Division scales and vocal studies
(based on the Royal Conservatory of Music Grade 6 requirements in
those categories.) They analyze the role and importance of concepts
like vocal hygiene and body/breath connection to successful vocal
technique.
In a studio setting, students perform traditional music theatre
repertoire from the Golden Age of Broadway. They analyze song
lyrics and musical structure, in order to root their performances in text
and to communicate vocal material effectively. They research the
composers, lyricists, book writers, and performing artists attached to
the pieces they perform. They collaborate effectively with
accompanists for rehearsals and presentations.
In a studio setting, through performances of traditional commercial
vocal repertoire, students explore basic patter skills, develop
microphone technique, and explore eye-phrasing. They research the
origins of the discipline as well as the composers of the songs they
perform.
In private one-on-one sessions, students engage in vocal tutorials to
ensure formative individual development. They evaluate current
performance strengths and challenges and develop a personal work
process that includes effective self-management skills (i.e. setting
goals, managing workload, meeting deadlines).
In this course, students learn the fundamental dance techniques
commonly applied to the genres of ballet, jazz, and tap and research
the origins of these genres. While incorporating standard dance class
protocols, students practice barre, floor, and centre work. They explore
the concepts of space, rhythm, balance, energy, and dynamics.
In interactive lectures, students research the origins of the three genres
of dance commonly used in Music Theatre: ballet, jazz, and tap. They
analyze how ballet’s origins as a dance interpretation of fencing in the
late 15th Century Italian Renaissance court was developed in the
French court of Louis XIV as a concert dance form. They analyze how
jazz dance originated from African American vernacular dance from
the late 1800s to the mid-1900s. They analyze how tap dance
developed from the African gumboot dance, the traditional clog dance
of Ireland and northern England, the Juba dance of the West Indies,
74
Course Title
Aural Concepts and Music
Theory
and the Spanish flamenco.
In a studio setting, while assimilating the common French vocabulary
associated with specific balletic moves, students develop the
foundational principles of ballet including posture, alignment, balance,
turnout, flexibility, and pointing the toe. Through a series of repetitive,
rigorous, and precise barre, floor, and centre exercises, students
develop a strong core and strength in the lower body as well as an
awareness of and relationship to space. They cultivate healthy physical
habits in order to protect their muscles, limbs, bones, and general wellbeing.
In a studio setting, students develop the foundational principles of
jazz, including the use of sharp dynamic and energetic movement, the
isolation of various parts of the body, and the personalization of
interpretive performance. Students execute variations of battements,
jetes, turns, walks, and jazz progressions, emphasizing the rhythms
and energy of contemporary jazz and rock music.
In a studio setting, students develop the foundational principles of tap.
Through a series of repetitive ankle and foot isolation exercises,
students explore the basic steps associated with the tap genre including
ball tap, heel tap, step, stomp, stamp, touch, heel drop, ball drop,
brush, flap, cramp roll, and shuffle. Through an exploration of both
simple and complex combinations of these movements, students
develop a sense of rhythm and syncopation.
In a studio setting, students explore a variety of dance styles including
Hip-Hop, Modern, Lyrical, and Musical Theatre.
Students assimilate the protocols required for success in each of their
four studio dance classes.
In this course, students develop rudimentary skills in music reading,
writing and listening, through the study of music theory. With an
emphasis on singing, they build a foundation for learning through
sight-reading, music notation, and aural listening. They contextualize
these music skills by analyzing major periods in music history.
In a studio setting, students explore rudimentary aural concepts
through a sequentially ordered, multidimensional approach to learning
modeled on the Kodály Method. Through this methodology, they
correlate the use of solfa and rhythm duration syllables with hand
signs. In addition, they engage in hearing, singing, deriving, reading,
improvising, conducting, and notating rhythms and melodies based on
major and minor pentatonic tonalities in simple and compound meters.
They encode and decode the system of musical notation by
establishing the mental relationship between sounds heard and the use
of written symbols that form musical notation.
Through interactive lectures, students investigate rudimentary music
theory concepts. Topics include an examination of pitch, clefs, octave,
register, visualizing the piano keyboard, accidentals, diatonic major
scales, intervals, the organization of key signatures, consonance and
dissonance, and transposition.
In interactive lectures, they research the work of major composers in
75
Course Title
Year One, Semester 2
Principles of
Contemporary Acting
the historical and cultural context of major music periods and
movements.
Through the critically reflective and co-dependant actions of
performing and listening, improvising and listening, composing and
listening, and conducting and listening, students develop rudimentary
musicianship.
In this course, students examine contemporary methodologies of
acting. In a studio setting, they incorporate the principles of script
analysis into contemporary scene study, cultivate a centred core
through universal mask exercises, and practice the fundamentals of
speech. In interactive lectures, students research the development of
the American school of Method acting.
Students investigate the principles of script analysis. They consider the
underlying idea being expressed by the playwright, analyze the
structure of a play, dissect scenes into beats, determine objectives,
obstacles, and tactics, and perform scenes from an exemplary
contemporary play incorporating these precepts.
In a studio setting students explore a variety of plays by prominent
contemporary Canadian playwrights. They analyze, rehearse, and
perform scenes from these plays incorporating the principles they
investigated in script analysis.
Also in a studio setting, using variations of universal mask (also
known as neutral mask) exercises first developed in the 1950s by
renowned French master of physical theatre Jacques LeCoq, students
cultivate the fundamentals of improvisation acquired in first semester
by integrating mind and body, clarifying impulse, experiencing selfacceptance, and developing a facility to express honest, authentic, and
balanced emotions.
In a studio setting, building on the work begun in neutral mask,
students adapt inhibiting habits through a series of vocal exercises.
They relate skeletal anatomy to the performer’s breath and to
alignment support for voice (Alexander Technique). They explore
fundamental articulation techniques, including focus and breath
connection. Students apply these concepts using contemporary text.
In interactive lectures, students research the establishment of the
Theatre Guild in 1918 as an antidote to the commercialism of
Broadway, the offshoot of the Group Theatre in 1931 by its younger
rebellious members Harold Clurman, Cheryl Crawford and Lee
Strasberg, and the emergence of the Actors’ Studio in 1947 by
founders Elia Kazan, Cheryl Crawford and Robert Lewis as the
harbinger of the new school of Method acting. They research the many
noteworthy actors, directors, and playwrights who emerged from this
school.
Students prepare diverse and challenging monologue material, which
they perform in weekly private tutorials in front of an acting coach.
They apply the constructive criticism given them in tutorials to
enhance their monologue performances.
76
Course Title
Vocal Technique:
Physiology and Anatomy
Dance Technique:
In this course, students examine the fundamentals of physiology and
anatomy, specifically as they apply to the voice and vocal technique.
They continue to explore the concepts of free, unrestricted vocal
production and communication through song by performing
contemporary music theatre and commercial repertoire.
In interactive lectures, students examine basic human anatomy and the
physiology involved in vocal production. They explore physical and
vocal exercises essential for vocal skills development and self-care
strategies. They then analyze the implications that this knowledge has
on healthy physical function, which in turn results in improved vocal
technique and strong vocal performance. As an extension to these
interactive lectures, students engage in individual rehearsals with an
assigned musical coach/accompanist in preparation for the final
Division #1 Vocal Jury presentations at the end of the Semester.
Through the practice of Division #1 scales and of vocalization studies
(which are based on the Royal Conservatory of Music Grades 7 and 8
requirements in those categories) and employing Bel Canto technique,
students integrate the skills they have developed, culminating in the
performance of a classical Italian Aria.
In a studio setting, students perform contemporary music theatre vocal
repertoire. They continue to analyze song lyrics and musical structure,
in order to further root their performances in text and to communicate
vocal material with spontaneity and emotional honesty. They research
contemporary composers, lyricists, book writers, and performing
artists.
In a studio setting, through performances of contemporary commercial
vocal repertoire, students explore and apply the concepts of
subjectivity and objectivity in order to maximize emotional impact.
They further develop their patter skills, microphone technique, and
eye-phrasing. They research the composers of the songs they perform.
In private one-on-one vocal tutorials, students continue to develop
individual vocal skills and repertoire.
In this course, while continuing to build on practical dance techniques,
students examine the fundamentals of human anatomy and physiology
specifically as they relate to dance. They investigate the principles of
physical health and wellness, and the relationship of dance
conditioning to proactive injury prevention.
In interactive lectures, students research the basic structure and
function of the muscles most commonly employed in dance. They
examine the physical mechanics of turnout and rotation of the hip
socket while the body maintains proper stance. Through a series of
physical workouts, including warm-up, stretching, cool-down, and
core strength technique exercises, students learn injury prevention
strategies. They recognize common injuries related to dance and
research appropriate rehabilitation techniques. They develop a
personal wellness plan that includes proper diet and nutrition. They
maintain a proper physical and mental regimen that enhances their
continued success in the development of healthy dance technique.
77
Course Title
In a studio setting, students further develop the foundational principles
of ballet including posture, alignment, balance, turnout, flexibility, and
pointing the toe. Through a series of repetitive, rigorous, and precise
barre, floor, and centre exercises, students further develop their
technique and increase flexibility while maintaining a strong core and
strength in the lower body as well as an increased awareness of and
relationship to space. They cultivate healthy physical habits in order to
protect their muscles, limbs, bones, and general well-being.
of jazz, including the use of sharp dynamic and energetic movement,
the isolation of various parts of the body, and the personalization of
jetes, turns, walks and jazz progressions, emphasizing the rhythms and
energy of contemporary jazz and rock music.
of tap. Through a series of repetitive ankle and foot isolation exercises,
continue to develop a sense of rhythm and syncopation.
Hip-Hop, Modern, Lyrical, Latin and Musical Theatre.
In this course, students cultivate fundamental musicianship through
music reading, writing, and listening. They integrate additional
rudimentary concepts of music theory into vocal performance and on
the piano keyboard. In addition, they investigate music technology
related to music notation, production and sequencing software.
In a studio setting, while continuing to employ Kodály methodology,
students build on their sight-reading, music notation, and aural
listening skills.
Through interactive lectures, students examine additional fundamental
elements of music theory, including minor key signatures, scales, a
study of harmony, triads, harmonic progression, non-harmonic tones,
tonic and dominant chords, and 7th chords.
In a midi-lab setting, students are introduced to music technology
software relating to notation, production and sequencing resulting in
professional level music scores and recordings. As a final project, they
compose, arrange and edit an original composition that integrates
major concepts and principles learned to date.
Through individual study, they research the work of major composers
in the historical and cultural context of major music periods and
movements.
Through continued critically reflective and co-dependant actions of
performing and listening, improvising and listening, students cultivate
fundamental musicianship.
78
Course Title
History of Western
Theatre
Year Two, Semester 1
Acting
In this course, students explore the history and development of
Western Theatre from its origins in classical Greece to contemporary
theatre. They explore the various elements that comprise the
development of Western Theatre since ancient times, analyzing both
the evolution and the continuity of these elements through successive
eras. In addition, students broaden their awareness of plays,
playwrights, actors and stagecraft throughout the course of history
through guided discussion of the required reading list of plays. They
research the plays and playwrights who shaped critical trends in
theatre, and the influential actors/actor-managers whose contributions
marked key turning points in theatre development. In addition,
students investigate major socio-political factors of each period under
study that affected the way in which theatre was presented and
perceived. They attend two professional performances and critique
them. Utilizing an approach that combines interactive lecture,
discussion, group presentation and individual research, students
develop the necessary foundation as well as the critical historical
context for subsequent courses and research in theatre.
In this course, students investigate classical methodologies of acting.
They cultivate the vocal and physical skills needed to support classical
text (including alignment, breath, and articulation), perform scenes
from Shakespeare's canon, construct and perform clown turns, and
experiment character mask. In interactive lectures, they research the
great actor/managers of the Classical era.
In a studio setting, students construct and perform clown turns. Based
on the direct actor/audience relationship of Elizabethan theatre,
students explore the power of sharing raw personal emotional
responses. Through breaking the ‘fourth wall’, they elicit profound
personal audience response. By employing techniques developed by
Jacques Le Coq and Richard Pochinko, and by using their own
personalities as a base for a character, they experience a strong
connection with themselves, their partners, and the world. They apply
these techniques to soliloquies (direct address to the audience), and to
scene work (vulnerability, spontaneity, and commitment to action).
Building on the improvisational and audience relationship skills
acquired in clown, students explore the archetypes of character mask,
most notably in the tradition of Commedia dell’Arte. They portray
character by employing strong physical and vocal expression. They
develop the skills required to embody character roles.
In interactive lectures, students research the great actor/managers of
the Classical Era including Colley Cibber, David Garrick, William
Charles Macready, Henry Irving, and Herbert Beerbohm Tree.
In a studio setting, students build on their knowledge of anatomy,
alignment techniques (Alexander), and breath support and release.
They cultivate verbal clarity and energy, expression of open sound,
and articulation, as required to support classical text, through use of
Shakespeare’s sonnets.
79
Course Title
Vocal Performance:
Context Analysis
Dance: Artistry,
Interpretation and
Expression
In a studio setting, students perform scenes from different genres of
Shakespeare's plays. They research the technique of personification
that emerged in English Renaissance Theatre and place the characters
they portray within the concept of the Elizabethan World Picture. They
explore the new naturalism, which emerged within the artifice of
acting Classical heightened text, and which evoked significant
emotional response from its contemporary audiences. Using
Shakespearean text, students develop the ability to play larger-than-life
characters that experience strong emotions while speaking poetic
language.
Students prepare diverse and challenging monologue material, which
they perform in weekly private tutorials in front of an acting coach.
They apply the constructive criticism given them to further enhance
their performances.
In this course, students perform scenes and songs from the musical
theatre repertoire that are informed by research and contextual
analysis. They continue to explore the concepts of free, unrestricted
vocal production and communication through song by performing solo
music theatre and group commercial/pop repertoire.
In interactive lectures, students explore physical and vocal exercises
essential for vocal skills development. They prepare and perform
Division #2 scales and vocal studies (based on the Royal Conservatory
of Music Grade 8/9 requirements in those categories.) They analyze
the significance of technique development for versatility and strength
in vocal performance.
In a studio setting, students perform scenes and songs from the music
theatre repertoire. They analyze text, scene structure, and character as
well as song lyrics and musical structure in order to further root their
performances in text and to communicate with complexity,
spontaneity, and emotional honesty.
In a studio setting, through performances of commercial/pop group
repertoire, students develop the skills of vocal blending, vocal
harmony, and physical staging for effective commercial/pop
performance. They research the composers, lyricists and pop group
artists of the songs they perform.
In private one-on-one vocal tutorials, students continue to analyze
personal performance strengths and challenges and develop individual
vocal skills and repertoire.
In this course students learn how to interpret, express, and develop
their artistry through dance. Through the use of movement, they learn
how to analyze, differentiate, and interpret different styles of dance
while continuing to build on the foundation dance techniques.
Through interactive lectures, students explore the fundamentals of
character development and storytelling within dance. They analyze
how to access their own emotions through expression and learn how to
interact appropriately with the audience. Using proper technique, they
develop their artistry by incorporating musicality, breath work, nuance
and style, to create dramatic effect without the use of spoken word.
80
Course Title
Contemporary Concepts
and Applications of
Musicianship
Students explore the structure of exercise development and delivery
techniques.
of ballet including posture, alignment, balance, turnout, flexibility, and
pointing the toe. Through a series of repetitive, rigorous, and precise
barre, floor, and centre exercises, students further develop their
technique and increase flexibility while maintaining a strong core and
strength in the lower body, as well as an increased awareness of and
relationship to artistry. They cultivate healthy physical habits in order
to protect their muscles, limbs, bones, and general well-being.
of jazz, including the use of sharp dynamic and energetic movement,
the isolation of various parts of the body, and the personalization of
jetes, turns, walks and jazz progressions, emphasizing the rhythms and
energy of contemporary jazz and rock music.
of tap. Through a series of repetitive ankle and foot isolation exercises,
continue to develop a sense of rhythm and syncopation.
Hip-Hop, Modern, Lyrical, Latin and Musical Theatre. Students will
be introduced to the fundamentals of partnering work.
In this course, students continue to develop musicianship by
examining various patterns of music reading, writing and listening.
They explore further elements of music theory and integrate these
concepts to the piano keyboard and performing in a vocal ensemble.
Additionally, they continue research into a major period in musical
history.
In a studio setting, students continue to develop musicianship through
reading and writing a variety of patterns of music that includes leaps
of the tonic and dominant triads. They aurally identify melodic
intervals, chords, diatonic chord progressions and scales. They
research the cultural origins of Canadian folk music and perform five
Canadian folk songs according to cultural traditions and practice.
Through interactive lectures, students examine topics in music theory
including cadences, voice leading, arranging for Soprano, Alto, Tenor
and Bass voices, melodic and harmonic analysis, and a study of the
modes with integration of concepts to the piano keyboard.
In a studio setting, students explore musical styles, genres, and
composers from the Renaissance to the present through the study and
performance of choral music for mixed voices – Soprano, Alto, Tenor,
and Bass (SATB). They enhance their own knowledge and
81
Course Title
Theatre
Year Two, Semester 2
in Acting
understanding of the contribution of choral music to human historical,
cultural, and social development. In addition, they apply newly
acquired knowledge and refined skills while continuing to develop
their music literacy and musicianship.
movements.
Through interactive lectures, research, student presentations, practical
demonstrations and applications, students refine their musicianship
through ongoing critically reflective and co-dependent actions of:
listening, and conducting and listening.
In this course, students explore early European forms of musical stage
entertainment, analyze how they influenced the evolution of the
integrated musical in America, and contextualize that process with
socio-economic trends in the United States specifically as they relate
to the emergence of New York City as a world centre of commerce
and to the development of Broadway as its hub of entertainment. They
research notable American composers, as well as lyricists, book
writers, producers, directors, choreographers, and performing artists
who helped shape the truly integrated form of American Music
Theatre. As well, students investigate the social, economic, political
and cultural events and climate of the time to determine how they
affected the development of the indigenous American form of Music
Theatre. In addition, students examine musical repertoire from the preGolden Age of Broadway. Topics include a brief history of New York
City, an exploration of early forms of European and American musical
entertainment, European and American operetta, Tin Pan Alley,
Monopolization: the Syndicate and the Shuberts, the emergence of the
Revue format, Irving Berlin, Jerome Kern, George Gershwin, Rodgers
and Hart, Cole Porter, and Kurt Weill.
In this course, students research the Modern school of acting. In a
studio setting, they correlate emotional vulnerability with breath
awareness in the delivery of text, perform scenes from plays by Henrik
Ibsen or Anton Chekhov and Tennessee Williams or Arthur Miller,
and choreograph stage combat routines.
In interactive lectures, they explore the Modern view of the world, as
shaped by Darwin and Freud, as well as the changing roles of men and
women. They then move on to the 20th Century ‘Fathers of
Heightened Realism’ in America: Tennessee Williams and Arthur
Miller. In works by Williams, they explore the underlying
psychosexual issues of the day, as well as the poetic rhythms and
cadences inherent in the southern drawl utilized by many characters. In
works by Miller, they explore the sociopolitical underpinnings of
America in the post-World War II era that gave birth to the rise of the
anti-hero in contemporary dramatic literature, as well as the stylized
speech patterns and/or elevated vocabulary utilized by most characters.
82
Course Title
Styles in Vocal
Performance
In a studio setting, students rehearse and perform scenes from selected
plays by the two 19th Century European pioneers of the Modern
school: Henrik Ibsen and Anton Chekhov. Using a series of verbal and
vocal exercises, students develop a greater sense of breath awareness,
emotional range, self-awareness, and clarification of detail. Through
the use of modern text, students diversify rehearsal exploration
techniques.
In a studio setting, students also develop basic unarmed stage combat
skills practicing safe and controlled movement. They generate combat
choreography with clear intent and actions, consistent with character
physicality, and derived from organic emotional response to critical
situations. They acquire a basic knowledge of stage combat notation.
In tutorials, students address personal acting challenges and strengths.
They work independently, exploring and preparing challenging
monologue material from scripts appropriate for audition purposes as
well as for personal growth.
In this course, students examine the wide variety of styles required by
today’s theatrical and musical industries. They perform Early Music
Theatre and commercial vocal repertoire while exploring diverse
physical and vocal exercises essential for vocal freedom and technical
development.
In interactive lectures, students examine vocal production as it applies
to various musical and vocal performance styles. They explore
physical and vocal exercises essential for technical development and
vocal freedom, resulting in continued healthy physical function and
vocal versatility. As an extension to these interactive lectures, students
engage in individual rehearsals with an assigned musical
coach/accompanist in preparation for the final Division #2 Vocal Jury
presentations at the end of the Semester. Through the continued
progressive practice of the Division #2 vocal studies (which are based
on the Royal Conservatory of Music Grade 9 requirements in those
categories), students continue to ground their technical development in
Classical vocal technique.
In a studio setting, students perform Early Music Theatre (Pre-Golden
Age of Broadway) repertoire. They analyze song lyrics and musical
structure in order to root their performances in text and to
communicate vocal material effectively. They research the composers,
lyricists, book writers and performing artists attached to the pieces
they perform. They collaborate effectively with accompanists for
rehearsals and presentations.
In a studio setting, through performances of commercial vocal
repertoire, students analyze and further develop personal stylistic
strengths. They examine commercial marketing, industry expectations,
live club acoustics, and appropriate use of technology.
current performance strengths and develop individual vocal skills and
repertoire.
83
Course Title
Styles in Dance
Performance
Music Performance:
Notation, Transcription
and Scoring
In this course, students learn how to perform and apply appropriate
techniques in a wide variety of dance styles required by today’s
theatrical and musical industries. They develop the ability to pick up
and retain choreography in a timely fashion. In addition, they learn to
assimilate various dance styles, while incorporating previously
acquired skills such as artistry, interpretation and expression. They
develop their skills and versatility as a dance artist.
Through interactive lectures, students recognize and describe specific
characteristics and styles of respected performers and choreographers
synonymous with musical theatre: Robert Alton, Georges Balanchine,
Agnes De Mille, Gower Champion, Michael Kidd, Jack Cole, Jerome
Robbins, Bob Fosse, Michael Bennett, and Susan Stroman. Topics
include the use of modern, jazz, (both lyrical and Broadway styles)
and tap, within musical theatre, specifically in the context of their
historical and cultural origins.
In a studio setting, students refine the principles of ballet technique,
including posture, alignment, balance, turnout, flexibility, and pointing
the toe. Through a series of repetitive, rigorous, and precise barre,
floor, and centre exercises, students further develop their technique
and increase flexibility while maintaining a strong core and strength in
the lower body, as well as an increased awareness of and relationship
to artistic expression. They cultivate healthy physical habits in order to
In a studio setting, students refine the principles of jazz, including the
use of sharp dynamic and energetic movement, the isolation of various
parts of the body, and the personalization of interpretive performance.
Students execute variations of battements, jetes, turns, walks and jazz
progressions, emphasizing the rhythms and energy of contemporary
jazz and rock music.
In a studio setting, students refine the principles of tap. Through a
series of repetitive ankle and foot isolation exercises, students explore
the basic steps associated with the tap genre including ball tap, heel
tap, step, stomp, stamp, touch, heel drop, ball drop, brush, flap, cramp
roll, and shuffle. Through an exploration of both simple and complex
combinations of these movements, students continue to develop a
sense of rhythm and syncopation.
Modern, Lyrical jazz, Broadway Jazz and Broadway tap. Students will
further develop partnering techniques.
In this course, students continue to develop musicianship through
complex-level music reading, writing and listening, and by performing
in a vocal ensemble. They examine complex elements of music theory
emphasizing transcription and scoring of rhythm section instruments
and operate professional computer music software to produce recorded
and notated music.
In a studio setting, students refine their sight-reading, music notation
84
Course Title
History of Contemporary
Music Theatre
Year Three, Semester 1
and listening skills of complex-level music. They aurally identify
melodic intervals beyond an octave, 7th chords, more complex chord
progressions, scales and all modes. In addition, they research the
culture, origins and traditions of Canadian folk music and perform five
Canadian folk songs not previously studied.
Through interactive lectures, students explore complex-level
theoretical concepts including arranging for rhythm section
instruments (bass, drums, guitar and piano). They critically listen for
these instruments on a musical track, and transcribe the music heard
onto a score using a computer music notation program and further
integrate these concepts to the piano keyboard.
Music technology introduces the student to music production and
sequencing software, and explores the processes involved in creating
professional level music recording including effective self-guided
problem solving techniques.
In a studio setting, students apply musicianship knowledge in an
authentic musical situation through participation in a vocal ensemble.
They rehearse choral music arrangements of popular music and
perform with a live band in April.
movements.
Through interactive lectures, research, student presentations and
practical demonstrations and applications, musicianship is developed
through the critically reflective and co-dependant actions of:
listening, and conducting and listening.
In this course, students research significant musicals of the Golden
Age of Broadway and the evolution of a variety of genres in the years
following its demise. They contextualize these developments with
major world events and with political and socio-economic trends in the
United States specifically as they relate to the establishment of New
York City as a world centre of commerce. Students research notable
American composers, as well as lyricists, book writers, producers,
directors, choreographers, and performing artists who crafted the truly
integrated form of American Music Theatre during the Golden Age
and who helped develop subsequent genres. In addition, students
examine musical repertoire from the Golden Age of Broadway and
beyond. Topics include significant Book Musicals of the Golden Age,
significant traditional Book Musicals beyond the Golden Age, the
popularization of revised Revivals, the re-emergence of the Revue
format, Concept Musicals, Mega-Musicals, Juke-Box Musicals, and
such concepts as Hit/Flop, Success/Failure, Colour-Blind Casting, and
the transformative power of this particular medium.
In this course, students investigate a variety of different acting styles
and media techniques. They enhance their vocal/verbal agility and
experiment with on-camera techniques. They research the evolution of
85
Course Title
Commercial Vocal
acting styles from the mid 17th Century to the Victorian Age and
perform scenes from plays in restoration, farce, and/or melodrama
styles.
In a lecture setting, students research the evolution of restoration,
farce, and melodrama as vital theatrical forms. Students explore the
rebuilding of a theatrical tradition in England after the devastation of
the Civil War. They examine the emergence of career dramatic writers
including William Congreve, Oliver Goldsmith. Richard Brinsley
Sheridan, William Wycherley, and Aphra Behn. Students explore the
evolution of farce as a major theatrical form from Moliere in the late
1600s, to Feydeau at the turn of the 20th Century, to contemporary
times. Students research how melodrama emerged as an attempt to
circumvent the strict patent laws governing permissible forms of
legitimate theatre by adding music. They explore how the form has
influenced popular contemporary entertainment on stage, in film, and
on television.
In a studio setting, students develop their vocal dexterity and an
independent vocal and physical warm-up. They apply acquired
performance skills to various styles of dramatic text. Refining vocal
detail, students cultivate vocal resonance and articulation. In addition,
they investigate dialects.
In a studio setting, students explore three different styles of acting:
restoration, farce, and melodrama. They familiarize themselves with
these styles in order to cultivate their wit (restoration), physicality
(farce), and passion (melodrama).
In a television studio setting, students experiment with the most
common techniques used in video performance. They become familiar
with the workings of a film or television studio or set, and learn the
terminology to describe various functions. They develop a
performance technique that is suitable for the camera, and perform and
analyze scenes.
In a public performance, students perform an Acting Critique. They
choose, prepare, and perform a 5- to 10-minute play excerpt that
addresses their specific personal acting challenges for which they
receive a detailed aural and written commentary.
In private tutorials, students prepare diverse and challenging
monologue material, which they perform and develop in weekly
private tutorials in front of an acting coach. They apply the feedback
given them to further enhance their performances.
In this course, students perform solo commercial/pop vocal repertoire
essential for today’s Music Theatre and Commercial Music industries,
culminating in the Commercial Performance Critiques at the end of the
Semester. They explore personal style and artistry, relationship to the
audience, working with a live band, appropriate use of technology, and
contemporary/pop vocal technique.
essential for vocal skills development. They prepare and perform
Division #3 scales and vocal studies (based on the Royal Conservatory
86
Course Title
Dance Repertoire
Development
of Music Grade 9/10 requirements in those categories). They analyze
and apply the technical and stylistic modifications necessary to master
commercial/pop vocal material.
In a studio setting, students perform contemporary/pop music theatre
repertoire. They research the composers, lyricists and book writers of
songs being performed. They analyze song lyrics, musical structure
and vocal style in order to root their performances in text and to
communicate vocal material effectively.
In a studio setting, students perform solo commercial/pop material in
preparation for the Commercial Performance Critiques. In consultation
with faculty members, they construct a 12- to 15-minute ‘nightclub’ or
concert act. They generate their own scripts, technical cue lists, and
musical charts for the band. They recruit peer back-up support,
rehearse independently, and meet all required deadlines. At the end of
the semester, they perform their act with a live band in front of an
invited audience and a critique panel consisting of faculty and music
industry professionals at a downtown venue.
current performance strengths and challenges while developing
In this course, students perform and apply appropriate techniques in a
wide variety of dance styles not yet covered in previous courses within
the discipline, which are required by today’s theatrical and musical
industries. They develop the ability to pick up and retain choreography
in a timely fashion and develop the skills and versatility required as a
dance artist. They learn to assimilate various dance styles, while
incorporating previously acquired skills such as artistry, interpretation,
and expression.
In interactive lectures students analyze the specific characteristics and
styles of dance associated with respected choreographers synonymous
with musical theatre. Students research and analyze the significant role
dance has played within musical theatre, specifically in the context of
the progression of dance from an accessory to the plot, to becoming
the narrative.
In a studio setting, students refine the principles of ballet technique,
including posture, alignment, balance, turnout, flexibility, and pointing
the toe. Through a series of repetitive, rigorous, and precise barre,
floor, and centre exercises, students further develop their technique
and increase flexibility while maintaining a strong core and strength in
the lower body, as well as an increased awareness of and relationship
to artistic expression. They cultivate healthy physical habits in order to
In a studio setting, students refine the principles of jazz, including the
use of sharp dynamic and energetic movement, the isolation of various
parts of the body, and the personalization of interpretive performance.
Students execute variations of battements, jetes, turns, walks and jazz
progressions, emphasizing the rhythms and energy of contemporary
jazz and rock music.
87
Course Title
Music Industry:
Year Three, Semester 2
Post-Modern Acting
Theories
In a studio setting, students refine the principles of tap. Through a
series of repetitive ankle and foot isolation exercises, students explore
the basic steps associated with the tap genre including ball tap, heel
tap, step, stomp, stamp, touch, heel drop, ball drop, brush, flap, cramp
roll, and shuffle. Through an exploration of both simple and complex
combinations of these movements, students continue to develop a
sense of rhythm and syncopation.
Hip Hop, Latin, and Swing Dancing. Students will further develop
partnering techniques.
In this course, students begin to strategize career paths by formulating
goals, analyzing the industry landscape, managing financial records,
generating professional portfolios, creating project proposals, and
designing websites. They analyze the development and practice of
Music Theatre in Canada and network with key industry professionals.
In interactive lectures on business practices, students formulate
personal career goals, establish organizational processes, and analyze
the administrative structures of key music industries and of various
types of theatre organizations in Canada and the functions of their
most influential personnel. They categorize incomes and expenditures,
design rudimentary budgets, and formulate basic plans for achieving
and maintaining financial sustainability. In addition, they outline the
inherent financial differences between employment and selfemployment. Students also explain the protocols and processes of
theatrical stagecraft. As well, they generate self-promotional
professional portfolios by constructing properly formatted resumes,
choosing appropriate 8 x 10 head-shot photographs, composing
effective cover letters, and diversifying their personal audition
repertoire. They analyze the processes of project management and
create a project proposal.
In a studio setting, students analyze the history and cumulative
development and practice of the Music Theatre industry in Canada.
They network with key industry professionals and explore their bodies
of work.
In a Mac Computer Lab, students cultivate word processing skills
including formatting, labeling, mail merging, and document layout and
design. The develop list and data management skills by constructing
spreadsheets with numeric formulae for bookkeeping purposes. They
design, construct, and maintain rudimentary self-promotional websites.
In this course, students enhance their knowledge of the principles of
acting through an examination of major Post-Modern theories of the
practice of theatre. They assimilate the principles of physical theatre,
perform scenes from plays in Post-Modern styles, and investigate
advanced on-camera and audio recording studio voiceover techniques.
In interactive lectures, students examine the work of prominent Post-
88
Course Title
Music Theatre Vocal
Project
Modern companies (e.g. Mabou Mines, Café de la Mama, Ann
Bogart’s SITI, Bread and Puppet, and Canada’s own One Yellow
Rabbit, Cirque du Soleil and Robert Lepage’s Ex Machina). Where
available, students analyze video recordings of performances by these
companies.
In a studio setting, students explore some of the major contemporary
approaches to physical and vocal actor training, which go beyond the
psychological realism of the Stanislavski Method. Using Anne
Bogart’s Viewpoints, the Tadashi Suzuki Method, and the Michael
Chekhov Technique, students refine their physical discipline and
emotional accessibility. Using voice and body, they explore concepts
of architecture, kinetic response, time, space, internal focus coupled
with energy release, the “psychological gesture”, and the actor’s place
in society.
In a studio setting, students analyze and perform scenes from plays by
European and North American playwrights writing in the Absurdist
and Post-Modern styles. They employ approaches to acting demanded
by these scripts, which expand their usual boundaries, and focus on
images, physicality, and non-linear storytelling.
In television and audio recording studio settings, students explore
techniques commonly employed in video and audio performance
auditions. Using ‘sides’ from contemporary television scripts while
communicating with an off-camera reader, students perform in front of
a digital camera. Using commercial readings and radio plays, students
perform in front of microphones. They analyze their proficiencies
through video and audio playback. Students acquire practical
experience that approximates the type of processes they will encounter
in auditions for professional digital media work.
Students refine their acting skills by choosing diverse and challenging
monologue material, which they perform and develop in weekly
private tutorials in front of an acting coach. They apply the
constructive criticism given them to further enhance their
performances and focus on material, which may be useful for
auditions. At the end of the Semester, students perform a variety of
contrasting pieces in an Acting Jury in front of a panel comprised of
faculty members. They discuss context, themes, and the body of the
playwright's work.
Finally, students integrate what they have learned in successive
courses in the discipline with their own personal vision in the context
of a refined artist’s statement. They use self-reflective and metacognitive processes to inform a decision about specialization in Year
4.
In this course, students rehearse and perform music theatre excerpts,
applying the knowledge and skills acquired in previous courses.
Through research, analysis, interpretation, and physical exploration of
music and text, with continued emphasis on healthy, stylistically
appropriate vocal technique, students create a detailed, cohesive music
theatre performance project.
89
Course Title
Dance Project
Music Theatre
Performance: Production I
essential for advanced vocal skills development and vocal freedom,
resulting in continued healthy physical function and increased vocal
versatility. They examine vocal production and the technical
refinements necessary for successful, stylistically correct vocal
performance. Through the continued progressive practice of the
Division #3 vocal studies (which are based on the Royal Conservatory
of Music Grade 10 requirements in those categories), students
continue to ground their technical development in advanced Classical
vocal technique. As an extension to these interactive lectures, students
engage in individual rehearsals with an assigned musical
coach/accompanist in preparation for the final Division #3 Vocal Jury
presentations at the end of the Semester.
In a studio setting, students rehearse and perform assigned music
theatre excerpts, integrating the direction of the instructors (in the roles
of Director and Music Director) with their own personal processes.
Through the analysis of script, lyrics, musical structure, and character,
combined with physical and vocal exploration, students learn to create
a cohesive, vocally effective Music Theatre Project. This process
enables the students to further refine a personal artistic vision in the
context of future academic program options and possible career paths.
In private on-on-one vocal tutorials, students continue to analyze
current performance strengths and challenges while developing
In this course, students research, choreograph, and perform a dance
project at an introductory level, applying the knowledge and skills
acquired in previous courses in the discipline. They develop their
creative process through music selection, stylistic choices, and
storytelling. In addition, they investigate the path of self discovery and
creativity, developing a performance using original and personal
movement ideas.
In interactive lectures, students recognize the process of constructing a
dance project, including the basic structure and composition of
choreography at a fundamental level. They develop their preparation
process including subject matter, dance style, music selection, and
casting. Students explore their creative process through the use of
movement and improvisation. They develop their communication
skills through dance, through the use of storytelling, and through
personal voice. Students revisit and refine their original Artist
Statement reflecting a synthesis of knowledge acquired as well as their
future development and growth.
In this first summative course, students engage in authentic audition,
rehearsal, and performance experiences that approximate the dynamic
and demanding environment of the professional Music Theatre
industry. Through the intensive learning experience of casting,
rehearsing, and performing chorus or minor supporting roles in a
Theatre Sheridan production, students generate initial performances
that are reflective of industry-level expectations.
90
Course Title
Year Four, Semester 1
Dramaturgy Master Class
Prior to the audition, students research the musical/play being
produced in order to converse and communicate proficiently about its
author(s), performance history, plot, and score. They select and
prepare appropriate audition material, submit a professional portfolio
to the audition panel, and engage in the interview and audition process.
Once the productions are cast, students participate in a four-week
intensive rehearsal process. Collectively, they analyze the script scene
by scene, determine its underlying artistic idea, and rehearse its scenes,
songs, and choreography under the tutelage of the Artistic Team
(usually consisting of the Director, the Music Director, and the
Choreographer). Prior to the first public performance, students
participate in technical and dress rehearsals under the guidance of the
technical team (usually consisting of the Stage Manager, the
Production Manager, the Technical Director, the Crew Chief, the
Operators, and the Designers).
Students perform before a paying public for a run of approximately
three weeks during which they demonstrate self-confidence,
performance expertise, and a degree of artistry.
In order to meet the artistic and technical expectations of the
production, students begin to develop and execute an effective
technique and process by adhering to professional protocols, and by
demonstrating professional deportment through positive co-operation
with artistic and technical teams, peers, technical production students,
and all faculty and staff involved.
In this course, students explore the principles of Dramaturgy while
generating an Acting Capstone Project Proposal. In interactive
lectures, they categorize the different functions of production and
institutional dramaturges. In a studio setting, they prepare and perform
an original or adapted script informed by research and an
understanding of composition and the elements of action.
In a lecture format, students explore the functions of a production
dramaturge. Students examine the principles elucidated by Aristotle,
developed by Goethe, and shaped by contemporary theorists and
critics. They also explore the functions of the institutional dramaturge,
including literary management, play development, and audience
identification and outreach.
In a studio setting, students choose one of the following projects:
prepare a version of a short classical play (or part thereof); generate a
translation from another language; adapt non-theatrical text;
theatricalize a current event.
For the first half of the semester, they compile research, and analyze or
create the composition and progression of action. They explore
background material on the playwright, the playwright's time and
place, the play's time and place, references to events and places in the
play, and the issues dealt with in the play. They track the activity of
individual characters, list the progression of events, and ensure that, in
planning all aspects of production, the idea of the play is adhered to.
91
Course Title
Music Theatre Vocal
Performance Master Class
Commercial Performance
Master Class
By mid-way through the semester, they generate a complete or edited
working script with a clearly defined creative concept, define an
artistic team and cast, produce a list of stage and technical
requirements, and submit all supportive analysis and research.
In the second half of the semester, the students rehearse and perform
the piece. By the end of this course, students will have demonstrated
the ability to synthesize original thought, analysis, and research into a
practical framework for production.
Students also generate a Capstone Project Proposal, which includes a
project rationale, production timeline, a list of logistical requirements,
a negotiation portfolio, an annotated contact list, and a promotion and
marketing plan.
In this course, students refine their music theatre vocal performance
skills, applying the knowledge and skills acquired in previous courses.
Students choose, prepare and explore personally appropriate music
theatre repertoire in order to showcase individual performance
strengths. They conceptualize, prepare and organize a project proposal
for their final Music Theatre Vocal Performance Capstone Project.
In a studio setting, students rehearse and perform music theatre
material of their own choice. This material may be chosen from
established or original works. Through analysis, research,
collaboration with peers, rehearsals, and critiques, students develop
their creative processes and refine music theatre performance skills in
order to showcase their individual talents. They explore the
opportunity for cross discipline collaboration in preparation for their
Capstone Project. Continued emphasis is placed on utilizing a
functionally healthy, stylistically appropriate vocal technique. This
process enables the student to further refine a personal artistic vision in
order to conceptualize, prepare and organize a project proposal for
their final Music Theatre Vocal Performance Capstone Project.
In interactive lectures, students analyze current trends in the
commercial music industry. In a studio setting, students refine live
commercial performance expertise. In lab settings, students explore
live and voice-over recording, music production, and songwriting
practices. They generate a Project Proposal for a Commercial
Performance Capstone Project specializing in one of these four areas.
Students analyze current trends in the commercial music industry and
correlate their own abilities and strengths. They apply the techniques
and protocols required to generate a creative individual or collective
commercial performance that is informed by inquiry and research,
using appropriate methodology and technology.
At the beginning of the Semester, in two initial interactive lectures,
students compare and contrast various aspects of industry expectations
and practices in the areas of live performance, in-studio recording,
music production, and songwriting (composition and arranging).
Through more specialized study in lab settings, they develop further
knowledge and practical skills in these areas. By mid-Semester
students are required to select one of these areas as the focus of their
92
Course Title
Choreography Master
Class
Capstone Project.
In the second half of the semester students refine their skills in their
chosen area of focus. Through thoughtful inquiry and directed research
they design and construct their Capstone Project Proposals.
Should students choose to focus on live vocal performance, they
explore live vocal techniques and performance technologies, arranging
for and working with live musicians. They generate a project proposal
based on a live performance in a downtown commercial venue.
Should students choose to focus on studio vocal performance
practices, they explore voiceover techniques, vocal recording, and
narration, working with producers and engineers, and studio
technology. Students develop a project proposal based on producing a
performance-based demo reel.
Should students choose to focus on studio music production, they
explore in detail multimedia production techniques, recording with
live musicians in a studio setting, and working with emerging
technologies. They develop a project proposal based on the production
and marketing of a professional-quality demo recording.
Should students choose to focus on songwriting (composition and
arranging), they explore different commercial and non-commercial
composition styles. They analyze popular song structure and current
songwriting techniques, arranging, recording technologies, and
notation. They develop a project proposal based on producing a body
of original music.
Through self-directed research and practical application, students
develop professional standards, technological skills, and an awareness
of popular culture that will help them to determine their future career
paths.
In this course students refine their knowledge and skills in the field of
choreography. They explore their creative process and use of
movement as a communicative mode, using a variety of dance styles,
while developing their problem solving skills and flexibility in their
approach to creative discovery.
In interactive lectures, students refine their development process,
including subject matter, dance style, logistics and potential
opportunity for a cross-discipline collaboration in preparation for their
Capstone Project. They explore their creative process using various
medias and authentic movement. Students refine their choreographic
skills through improved structure, solving choreographic challenges
and use of personal voice. Students conceptualize, prepare and
organize their Capstone Project through a proposal, regarding the
framework given, including time, technical considerations and
resources.
In a studio setting, students explore, analyze, and perform through a
series of interpretive choreography exercises. They develop, perform
and critique short individual or collaborative works. They develop
their communication and leadership abilities, as well as their capacity
to collaborate with other artists.
93
Course Title
Audition Techniques
Music Theatre
Performance: Production
II
In this course, students correlate fundamental audition techniques in
the disciplines of acting, singing and dance. They analyze legal aspects
of the Canadian music industry and network with professionals who
share their expertise, insights, and advice. In addition, they choose and
prepare appropriate audition material for the annual Theatre Ontario
Showcase.
In interactive lectures on business practices, students cultivate legal
competencies essential for self-employed artists in the Canadian Music
Theatre industry. Topics include managing relations with legal
advisors, establishing and enforcing contracts, copyright protection,
and resolving legal disputes. Students also network with agents,
entertainment lawyers, and representatives from professional
associations.
In studio settings, students cultivate the techniques, etiquette, and
protocols most commonly utilized in professional audition calls. In
simulated acting and singing auditions, they determine what kind of
audition material showcases their performance strengths. In simulated
dance auditions, students develop the ability to adapt quickly to
whatever style of choreography is required with technical accuracy
and artistry. Students are presented with different audition scenarios.
They research the musical/play being produced in order to determine
the role for which they are best suited and to converse and
communicate proficiently about its author(s), performance history,
plot, and score. In addition, they research the production company and
its key personnel. As well, they select and prepare appropriate audition
material, submit a professional portfolio to the audition panel, and
engage in the interview and audition process. In the last two weeks,
students demonstrate the skills and knowledge they have cultivated by
auditioning for guest artists.
Students prepare for the annual Theatre Ontario Showcase in January
by constructing and preparing a two and one-half minute audition
composed of diverse, contrasting material chosen to showcase their
performance strengths. They perform their pieces at a downtown
Toronto venue in front of agents, casting agents, directors, artistic
directors, and producers.
Students prepare diverse and challenging audition material, which they
perform in weekly private tutorials in acting and singing. They then
apply the constructive criticism coaches give them to enhance their
performances.
In this second summative course, students engage in further authentic
audition, rehearsal, and performance experiences that approximate the
dynamic and demanding environment of the professional Music
Theatre industry. Through the intensive learning experience of casting,
rehearsing, and performing chorus, supporting, or minor leading roles
in a Theatre Sheridan production, students generate solid performances
with a degree of artistry and personal creativity that are reflective of
industry-level expectations.
Prior to the audition, students research the musicals/plays being
94
Course Title
Year Four, Semester 2
produced, in order to converse and communicate proficiently about its
author(s), performance history, plot, score, and underlying artistic
idea. They select and prepare appropriate audition material, submit an
expanded professional portfolio to the audition panel, and engage in
the interview and audition process.
intensive rehearsal process. Collectively and individually, they analyze
the script scene by scene, determine its underlying artistic idea, devise
suitable character objectives, obstacles, and tactics, and then rehearse
its scenes, songs, and choreography integrating the directions of the
Artistic Team with their own personal interpretive choices. They begin
to bring a personal style and perspective to the rehearsal and
performance process, demonstrating a degree of originality in their
interpretive choices.
three weeks during which they demonstrate growing self-confidence,
increased performance expertise, and an effective individual sense of
artistry through a marked emotional engagement in the roles they play.
production, students refine their technique and process by fully
engaging in professional protocols, and by actively maintaining
professional deportment through positive co-operation with artistic and
technical teams, peers, technical production students, and all faculty
and staff involved.
In this course, students manage a major acting project from concept to
completion, including the final production performance that
assimilates all the learning that students have acquired during the
previous acting courses. Students focus on the concepts and work
covered in previous semesters, including the principles of script
analysis, improvisation and spontaneity, character development,
physicality, vocal clarity and range, connection to the audience,
truthfulness and bravura. They use their Project Proposals, finalized
the previous semester, to organize the work, resources and timelines
associated with their project. While much of the course requirements
are completed through independent study, development, preproduction and production, students meet with faculty advisors for
collective lectures and individual mentoring sessions on a weekly basis
to ensure the successful and timely achievement of required
benchmarks.
Students choose from a number of possible projects including:
performing in a short play or play excerpt on stage; performing on
screen; directing; assistant directing a Theatre Sheridan production;
writing a script; performing in an original script written by a fellow
student
Students must negotiate all logistical arrangement related to space,
personnel, equipment, contracts, and promotion and marketing. In
addition, they observe all the procedures, protocols and etiquette
95
Course Title
Music Theatre Vocal
Project
required for success in the industry. Through these components of the
project process, they integrate the business skills and entrepreneurial
strategies addressed in the professional practices course,
demonstrating their ability to manage this particular area of their
future careers.
Students generate a post-production Reflective Summary Report in
which they analyze and evaluate the level of their success in terms of
projected budget and timelines, and actual results. They engage in
critical and creative thinking, troubleshooting and problem-solving,
decision-making and meta-cognitive activities. Through these
processes, students deliver a quality dance performance production
that reflects the entry-level standard required of the industry.
In this course, students manage a major Music Theatre Vocal project
from concept to completion, including the final production
performance that assimilates all the learning that students have
acquired during the previous vocal courses. They use their Project
Proposals finalized the previous semester to organize the work,
resources and timelines associated with their project. While much of
the course requirements are completed through independent study,
development, pre-production and production, students meet with
faculty advisors for collective lectures and individual mentoring
sessions on a weekly basis to ensure the successful and timely
achievement of required benchmarks.
future careers.
processes, students deliver a quality Music Theatre Vocal Performance
production that reflects the entry-level standard required of the
industry.
In this cumulative course, students integrate and demonstrate the
learning they have acquired in all the previous vocal courses. Students
analyze the artistic and technical requirements of their Capstone
Project and rehearse independently with their creative team. They
focus on physical staging, utilizing appropriate vocal technique and
making performance choices based on analysis of character, text and
music in order to create a performance which will fully engage the
audience and realize a personal artistic vision.
96
Course Title
Capstone Project
Dance Performance
Capstone Project
In this course, students manage a Commercial Performance Project
from concept to completion. While much of the course requirements
are completed through independent study, development, preproduction, and production, students meet with faculty advisors for
benchmarks.
Students assimilate the learning they acquired from all previous
courses in the vocal discipline (especially the commercial performance
components) and in the music discipline. They use the Project
Proposals finalized in the previous semester to organize work,
resources and timelines associated with their project.
future careers.
They engage in critical and creative thinking, troubleshooting and
problem solving, decision-making and meta-cognitive activities. They
generate an independent work process that includes effective selfmanagement skills required of the field of study and the related
industry in order to meet production timelines. They incorporate,
where appropriate, current and evolving technologies into the project.
Through these processes, students deliver a quality, creative individual
or collective Commercial Performance Project informed by inquiry,
research and using appropriate methodology and technology that
reflects the entry-level standard required of the industry.
projected budget and timelines, and actual results.
In this course, students manage a major dance project from concept to
completion, including the final production performance that
assimilates all the learning that students have acquired during the
previous dance courses. They use their Project Proposals finalized the
previous semester to organize the work, resources and timelines
associated with their project. While much of the course requirements
are completed through independent study, development, preproduction and production, students meet with faculty advisors for
benchmarks.
97
Course Title
Music Theatre
Performance: Production
III
future careers.
processes, students deliver a quality dance performance production
that reflects the entry-level standard required of the industry.
Students integrate concepts covered in previous semesters, into their
Dance Performance Capstone Project. This includes artistry,
expression, use of storytelling, emotional connection, musicality,
breathe, nuance, the use of specific dance styles, and structure and
delivery of authentic and personal choreography. Students continue to
develop communication and collaborative skills through ensemble
work.
In this course, students synthesize the knowledge and skills they
acquired throughout their course of study in the program by
auditioning in the disciplines of acting, singing, and dance at an
industry entry level for highly respected guest artists.
In an acting studio setting, students present prepared professional
portfolios to, engage in an interview process with, and perform acting
and singing pieces for guest directors, music directors, and casting
agents drawn from the industry. In a dance studio setting, students
perform demonstrated dance routines for guest choreographers drawn
from the industry, thereby refining their ability to adapt quickly to
whatever style of choreography is required with technical accuracy
and artistry. They consolidate the techniques, etiquette, and protocols
most commonly utilized in professional audition calls.
Students prepare dynamic audition material showcasing their personal
performance strengths, which they perform in weekly private tutorials
in acting and singing. They then apply the constructive criticism
coaches give them to generate performances at an industry-entry level.
In this cumulative course, students engage in a final series of authentic
production experiences that approximate the dynamic and demanding
environment of the professional Music Theatre industry. After being
cast in chorus, supporting, or major leading roles in a Theatre Sheridan
production, students generate final performances that are reflective of
industry-level expectations, integrating and demonstrating the full
range of learning they have acquired through the entire program of
study.
Prior to the audition, students research the musicals/plays being
produced, determine the roles for which they may be suitable, and
select and prepare appropriate audition material. They familiarize
themselves with the career credits of the members of the audition
panel. They submit expanded and refined professional portfolios to the
98
Course Title
audition panel and engage in the interview and audition process,
demonstrating knowledge of the playwrights, the musicals/plays, and
the panel.
intensive rehearsal process. Collectively and individually, they analyze
the script scene by scene, determine its underlying artistic idea, devise
suitable character objectives, obstacles, and tactics, and then rehearse
its scenes, songs, and choreography integrating the directions of the
artistic team with their own personal interpretive choices. Having
developed a personal narrative style and voice, they integrate their
own perspective into the rehearsal and performance processes,
demonstrating a secure sense of originality.
three weeks during which they demonstrate secure self-confidence,
proficient performance expertise, and a solid display of artistry by
emotionally relating to their roles, fully engaging the audience, and
eliciting emotional response.
production while maintaining their own personal artistic integrity,
students fully engage in professional protocols, and actively maintain
professional deportment through positive co-operation and effective
collaboration with the artistic and technical teams, their peers, the
technical production students, and all faculty and staff involved.
99
6.3.3 Academic Course Schedule Information
6.3.3.1 Program Hour/Credit Conversion Justification
There are two considerations related to program credits and hours that are identified in this appendix. The
first is the justification for course offerings that do not have a 1:1 ratio for credits and hours in this
proposed Music Theatre Performance program. The second is the justification for determining the breadth
courses percentage on the basis of credits rather than hours.
Part A: Justification for course offerings that do not have a 1:1 ratio
The first consideration is related to the ratio between credits and hours for the course offerings. The
following courses in the program reflect a 1:1 ratio in terms of credits and contact hours:
Dramaturgy Master Class – Semester 7
Music Theatre Vocal Performance Master Class – Semester 7
Commercial Performance Master Class – Semester 7
Choreography Master Class – Semester 7
All eight (8) breadth courses – Semesters 1 through 8
The remaining courses have been designed using different ratios that are indicative of the nature of the
learning, the intent for learning, and the structure of the learning in the program. The majority of these
courses reflect a ratio in which the number of credits is less than the number of hours. The exception
includes the Capstone courses (highlighted) in Semester 8, in which the credit value is four (4) and the
contact hours are one (1). The information on the courses without a 1:1 ratio is reflected in the following
table.
Semester
Course
Sem 1
Sem 2
Sem 3
Sem 4
Sem 5
Contact
Hours
6hrs
Credit
Equivalency
3cr
Fundamentals of Vocal Technique and Theory
6hrs
3cr
6hrs
3cr
6hrs
3cr
6hrs
3cr
Vocal Technique: Physiology and Anatomy
6hrs
3cr
Dance Technique: Physiology and Anatomy
6hrs
3cr
6hrs
3cr
6hrs
3cr
6hrs
3cr
Dance Artistry, Interpretation and Expression
6hrs
3cr
Contemporary Concepts and Applications of Musicianship
6hrs
3cr
6hrs
3cr
6hrs
3cr
6hrs
3cr
Music Performance: Notation, Transcription and Scoring
6hrs
3cr
6hrs
3cr
100
Semester
Commercial Vocal Repertoire Development
Contact
Hours
6hrs
Credit
Equivalency
3cr
6hrs
3cr
Music Theatre Industry: Professional Practice
5hrs
3cr
6hrs
3cr
6hrs
3cr
Dance Project
6hrs
3cr
Music Theatre Performance: Production I
12hrs
4cr
Music Theatre Performance: Production II
14hrs
5cr
Audition Techniques
7hrs
3cr
Sem 8
Acting Capstone
1hr
4cr
One or
more of the
four
Music Theatre Vocal Performance Capstone
1hr
4cr
Commercial Performance Capstone
1hr
4cr
Dance Performance Capstone
1hr
4cr
Music Theatre Performance: Production III
14hrs
5cr
6hrs
3cr
Sem 6
Sem 7
Course
The proposed Music Theatre Performance Baccalaureate program has been carefully designed to reflect
the unique nature of learning in the program. Because it is the first of its kind in Canada, considerable
effort and time was allocated to address how the program should be structured in terms of the
hours/credits ratio, and what the implications were for achieving the required learning reflected in the
program outcomes and program critical performance. In addition, some of the most highly respected
programs in Music Theatre in the US were reviewed as part of the process.
The program map, with its various credit/hours ratios for different courses, reflects the academic rigour
required of a baccalaureate program while ensuring the integrity and quality of the performance element
that is expected of graduates of such a program. There was a special commitment to experimenting with
different designs and approaches grounded in important dialogue with experts in the industry and
significant research that resulted in informed, critical discourse and reflection by the development team.
There are different types and approaches to learning required in a performance program such as this one.
In terms of the cognitive domain, this includes:
a. factual knowledge (facts, terminology, and knowledge of specific details and elements)
b. conceptual knowledge (knowledge of categories and classifications, principles and
generalizations, and knowledge of theories and models)
c. procedural knowledge (knowledge of discipline-specific skills and algorithms, and knowledge for
determining when to use appropriate procedures)
d. meta-cognitive knowledge (including strategic knowledge, cognitive tasks, and self-knowledge)
In addition, the proposed program addresses significant areas in the psychomotor domain, resulting in
gradually increasing skill development through hands-on practice and application, in order to perform
basic operations, complex operations and integrated operations. The performance aspect of the program is
extensive and complex, and requires significant hours of practice and rehearsal informed by theory, meta-
101
cognition and procedures. This praxis of theory and application results in creative, unique and artistic
performances. The following types of learning in this domain include:
a. perception: use sensory perception to guide physical activity
b. set: a learner’s readiness to act
c. guided response: early stage of learning a complex skill which includes imitation
d. mechanism: the ability to perform a complex motor skill
e. complex overt response: an advanced stage of learning a complex skill
f. adaptation: ability to modify skills to fit a new situation
g. origination: ability to create new movement patterns
Of equal importance to success in the music theatre performance discipline and its industry is the
development of qualities and characteristics (identified in the Affective domain) that can be refined to the
point at which they become part of an individual’s persona. As with the cognitive and psychomotor
learning, the affective component has been embedded in the program outcomes, and includes the
development and growth that students experience with respect to the professional and ethical behaviour
required for developmental success in the music theatre industry. The learning includes the following:
a. receive (attend to stimuli)
b. respond (respond to stimuli)
c. value (attach value or worth to something)
d. organize (conceptualize the value, resolve conflict between it and other values)
e. internalize (integrate the value into a personal value system that guides behaviour)
To address the scope of learning and the different types of learning required in this discipline, the result
was the Program Map in Appendix 16.1.1 that reflects 120 credits and 206 hours. This scope of learning
and differentiation of learning is reflected in individual courses as well. Generally, they have been
designed in such a way that the credits and hours are distributed over theory, praxis and studio application
and practice. This model recognizes the holistic and symbiotic relationship of all the learning in all
domains, and the unique and integrated nature of the learning in music theatre performance. Most of these
courses reflect a 3 credit:6 hour or 3 credit:5 hour ratio.
Exceptions to this 3 credit:6 hour ratio can be found in the professional courses. The audition and
production courses in particular require extensive skills development and rehearsal, independently and
collectively; hence the extended hours in relation to the nature of the learning in the studio component of
these courses. The Music Theatre Industry: Professional Practice course has been designed around 3
credits and 5 hours of learning, as the nature and scope of that learning include a variety of different areas
for which additional faculty contact hours are necessary, but the learning achieved is equivalent to three
(3) credits.
In contrast, the Capstone courses reflect a ratio of 4:1 in terms of credits and contact hours. This
configuration affirms the independent nature of the capstone project that students are required to do
independently, with minimum faculty direction and input.
In terms of the credit/hours ratios that were developed, similar programs elsewhere were investigated. As
there are no comparable programs in Canada, the comparison was limited to recognized programs in the
United States, and a few similar or related programs in Canada. Some of the results, shown in the table
below, confirm that the design for the proposed Music Theatre Performance baccalaureate program
adopted in terms of credits/hours ratio is reflective of those programs. In all cases, there was a significant
difference between total credits and total hours required, and most reflected a framework similar to the
Sheridan proposed model.
102
Comparable or related programs in terms of credit/hours ratio (samples only)
Institution
Name of the Program
Program
Credits: Hours
120 cr:206 hrs
Samples of Course Credits:
Hours
3 cr:6 hr, 3 cr:5 hr, 3 cr:3 hr,
4 cr:12 hr, 4 cr:1 hr
Sheridan College of Applied
Learning and Technology
BAA in Music Theatre
Performance (proposed)
Boston Conservatory of
Music
BFA in Music
132 cr:196 hrs
5 cr: 8 hr, 12 cr:20 hr, 3 cr: 6 hr,
6 cr:6 hr, 8:4cr
University of Michigan
BFA in Music Theatre
126 cr:144 to 200
hrs
2 cr:3.5 hr, 3 cr:4 hr, 3 cr:4.5 hr
22 cr:6 hr 1:3
University of Cincinatti
BFA in Musical Theatre
194 cr:276 hrs
16 cr:3 2hr, 1 cr:3 hr, 8 cr:10 hr,
3 cr: 3hr 3 cr:2 hr
York University
BFA in Acting
141 cr:186 hrs
27 cr:18 hrs, 54 cr:108 hrs
Joint University of Toronto
and Sheridan College
BA (Honours) in Theatre
and Drama Studies
Total hours 196
20 credits
.5 cr:3 hr; .5 cr:6 hr, .5 cr:2 hr
In assigning the various ratios of credits to hours throughout the proposed program, different types of
learning at the baccalaureate level have been addressed in a manner that is reflected in comparable
programs, and contributes to a design that achieves the program learning outcomes and program critical
performance by students.
103
Part B: Justification for determining the breadth courses percentage on the basis of credits
The decision to determine the required percentage of breadth courses and credits by working with the
proposed program credits rather than hours was connected to the unusual credit:hour ratios in the program
design. It reflects the scope (depth and breadth) of the discipline, respect for and the necessity of synthesis
across the domains of learning, the levels of learning, and the nature of the learning inherent in music
theatre performance.
According to the PEQAB Handbook for Ontario Colleges (rev 2006):
“Program hours” refers to all contact hours between instructor and student, excluding
work term components of the program…For only those programs which incorporate a
laboratory component, the Board may consider a calculation of the program breadth
requirements based on program credits as opposed to program hours. For a conversion of
program hours to credits to be considered by the Board, see Submission Guidelines for
Ontario Colleges.
The performance nature and the structure and scope of the program are such that the studio time required
in the three main disciplines of Acting, Vocal and Commercial Performance, and Dance, as well as Music
and the Professional courses, is critical to student success. The ongoing skills development informed by
theory, research and discourse through the semesters as students refine their performances from those that
are purely technical to performances filled with creative, personal artistry involves the type of studio
learning that is comparable to the laboratory component for a different discipline. Repeated and continual
practice and application are required. The type of learning through studio studies in music theatre
performance is comparable to the type of learning addressed in certain laboratory components for a
different discipline. The Music Theatre Performance program also includes a lab component in some of
the courses.
For all of the courses in the three major disciplines (Acting, Vocal, Dance) as well as the Music courses,
the general formula of 3 hours of lab to 1 credit of learning was applied. This is reflective of the theory
presented in a discipline, the opportunity for students to engage in a faculty-led discussion and
demonstration related to technique or skill, and the need for repetitive cultivation, reinforcement, and
practice of those techniques and skills monitored by faculty and/or technical staff, in order to position
students well on graduation in terms of the international market. The credit/hour ratio of these different
types of learning conforms to the conversion of studio hours to program credits and is consistent with
Ontario postsecondary educational standards for training in the subject field. The following conversion
for courses in the Acting discipline (see below) is the same for the Vocal and Commercial Performance
stream in Semesters 1 through 6. The ratio applied to these streams is 3 credits:5 hours.
Course
Theoretical
Studio/Lab
1 hour for 1 credit
Praxis (Theory
&Practice)
1 hour for 1 credit
1 hour for 1 credit
1 hour for 1 credit
3 hours for 1 credit
1 hour for 1 credit
1 hour for 1 credit
1 hour for 1 credit
1 hour for 1 credit
1 hour for 1 credit
1 hour for 1 credit
1 hour for 1 credit
1 hour for 1 credit
104
For the Dance and Music disciplines, the general ratio of 3 credits:6 hours applies:
Course
Theoretical
Studio/Lab
1 hour for 1 credit
Praxis (Theory and
Practice)
Dance Technique: Physiology and Anatomy
1 hour for 1 credit
Dance: Artistry, Interpretation, and
Expression
1 hour for 1 credit
1 hour for 1 credit
1 hour for 1 credit
Dance Project
1 hour for 1 credit
1 hour for 1 credit
1 hour for 1 credit
Contemporary Concepts and Applications of
Musicianship
1 hour for 1 credit
Music Performance: Notation, Transcription
and Scoring
1 hour for 1 credit
The major disciplines have a 1 hour to 1 credit ratio in Semester 7 because the nature and scope of the
learning is comparable to what would be found in the breadth courses. They involve intensive research
and preparation for the development of the projects in the Capstone courses.
In Semester 8, these major disciplines have a 1 hour to 4 credit ratio which reflects the intensive and
extensive nature of the learning in a course(s) that requires independent, individual and collaborative
learning by students for successful completion of the Capstone courses.
For the Professional courses, the various ratios are indicated below.
COURSE
Theoretical
1 hour for 1 credit
MTP: Production I
1 hour for 1 credit
MTP: Production II
1 hour for 1 credit
MTP: Production III
Audition Techniques
1 hour for 1 credit
1 hour for 1 credit
Praxis (Theory and
Practice)
1 hour for 1 credit
Studio/Lab
11 hours for 3 credits
The intentional use of various ratios used for hours of contact and credits of learning and the calculation
of the breadth percentage using these credits of learning was a thoughtful, informed, and critical design. It
reflects understanding of, and respect for, the research and scholarship of teaching and learning (SoTL)
and the scholarship of curriculum development (SoCD). It realistically reflects the situational learning
context that realistically mirrors the performance level required in the work environment of the music
theatre industry while maintaining the academic integrity and requirements for a baccalaureate program in
Ontario. Furthermore, it affirms Sheridan’s commitment to learning-centred, performance-based
education in which student achievement is reflected in credits of learning, not hours, and in which student
success is measured through the achievement of the program learning outcomes and program critical
performance.
105
One of the most difficult structural issues for education policy-makers in Canada has
been institutional differentiation…Specifically, is conflict inevitable between preparing
applied graduates for employment and fitting them for further education? Are there other
curriculum models for applied baccalaureate programs that would reduce or alleviate this
conflict? …The college baccalaureate particularly the applied…seems in large part a
response to the challenges of globalization and the knowledge society.
(Floyd, Deborah, Skolnik, Michael, and Walker, Kenneth. [2005]. The Community
College Baccalaureate: Emerging Trends and Policy Issues, pp. 66, 69, 77)
The proposed Music Theatre Performance program is an opportunity to provide a slightly different
curriculum model grounded in learning-centred, performance-based principles and design in order to
serve these purposes.
106
6.3.3.2 Academic Course Schedule
Course Title
Year One Semester 1
Fundamentals of
Acting
Fundamentals of
Vocal Technique and
Theory
Fundamentals of
Dance Technique
Aural Concepts and
Music Theory
Composition and
Rhetoric
Year One Semester 2
Principles of
Contemporary Acting
Vocal Technique:
Physiology and
Anatomy
Dance Technique:
Physiology and
Anatomy
Fundamental
Musicianship
Theatre
Year Two Semester 3
Acting
Total
DW
Crs.
Sem.
Hours
Total
DO
Crs.
Sem.
Hours
Total
DL
Crs.
Sem.
Hours
Pre-requisites &
Co-requisites
3
BA* English, Drama
MA Theatre
MMus Voice Perf.
Gillian Saunders
Sara Jane Burton
Greg Andrews
MA Dance
MA Liberal Studies
MMus (Education)
Has Malik
PhD English
Literature
Fundamentals of
Acting
Fundamentals of
Vocal Technique
and Theory
Fundamentals of
Dance Technique
Mimi Mekler
Greg Peterson*
Gail Hakala
Marie Baron**
MFA Theatre
BA* English, Drama
MMus Voice Perf.
Gillian Saunders
Sara Jane Burton
MA Dance
MA Liberal Studies
Aural Concepts &
Music Theory
Greg Andrews
MMus (Education)
David Copelin
PhD Criticism &
Dramatic Literature
Principles of
Contemporary
Acting
Vocal Technique:
Physiology and
Anatomy
Dance Technique:
Physiology and
Anatomy
Fundamental
Musicianship
Denise Norman
Leslie O’Dell
MFA Acting
PhD Drama
Gail Hakala
Marie Baron**
MMus Voice Perf.
Gillian Saunders
Sara Jane Burton
MA Dance
MA Liberal Studies
Greg Andrews
MMus (Education)
History of Early
Music Theatre
David Copelin
PhD Criticism &
Dramatic Literature
Principles of
Classical Acting
Vocal Performance:
Context Analysis
Dance: Artistry,
Interpretation &
Expression
Contemporary
Concepts and
Applications of
Mimi Mekler
Kevin Bowers
Gail Hakala
Marie Baron**
Gillian Saunders
Sarah Jane Burton
MFA Theatre
MA Theatre
MMus Voice Perf.
Greg Andrews
MMus (Education)
3
3
3
3
3
3
3
3
Vocal Performance:
Context Analysis
3
Dance: Artistry,
Interpretation and
Expression
Contemporary
Concepts and
Applications of
Musicianship
History of
Contemporary Music
Theatre
Year Two Semester 4
Principles of
Modernism in Acting
Styles in Vocal
Performance
Styles in Dance
Performance
3
Music Performance:
Notation,
Transcription and
3
3
3
3
3
3
Highest Qual.
Earned & Discipline
of study (or req. of
FTBH)
Greg Peterson*
Kevin Bowers
Gail Hakala
Marie Baron**
3
3
Proposed
Instructor (or
TBH)
MA Dance
MA Liberal Studies
107
Course Title
Scoring
History of Western
Theatre
Year Three Semester 5
Total
DW
Crs.
Sem.
Hours
3
3
Commercial Vocal
Repertoire
Development
Dance Repertoire
Development
Music Industry:
Breadth Elective
Year Three Semester 6
Post-Modern
Theories of Acting
Music Theatre Vocal
Project
Dance Project
3
MTP: Production I
4
Breadth Elective
Year Four Semester 7
Dramaturgy Master
Class
Music Theatre Vocal
Performance Master
Class
Commercial
Performance Master
Class
Choreography Master
Class
Audition Techniques
MTP: Production II
Breadth Elective
Year Four Semester 8
Acting Capstone
Project
Music Theatre Vocal
Performance
Capstone Project
Commercial
Performance
Capstone Project
Dance Performance
Capstone Project
MTP: Production III
Total
DO
Crs.
Sem.
Hours
3
Total
DL
Crs.
Sem.
Hours
Highest Qual.
Earned & Discipline
FTBH)
Pre-requisites &
Co-requisites
Proposed
Instructor (or
TBH)
Musicianship
History of
Contemporary MT
David Copelin
PhD Criticism &
Dramatic Literature
Principles of
Modernism in Acting
Styles in Vocal
Performance
Mimi Mekler
Kevin Bowers
Gail Hakala
Marie Baron**
MFA Theatre
MA Theatre
MMus Voice Perf.
Styles in Dance
Performance
Gillian Saunders
Sarah Jane Burton
Greg Peterson*
Jim Betts
MA Dance
MA Liberal Studies
BA* English, Drama
MA English
Acting Styles &
Media
Styles in Vocal
Performance
Dance Repertoire
Development
Audition required
Mimi Mekler
Kevin Bowers
Gail Hakala
Marie Baron**
Gillian Saunders
Marc Richard
Greg Peterson*
MFA Theatre
MA Theatre
MMus Voice Perf.
Post-Modern
Theories of Acting
Music Theatre Vocal
Project
Mimi Mekler
Denise Norman
Gail Hakala
Marie Baron**
MFA Theatre
MFA Acting
MMus Voice Perf.
Commercial Vocal
Repertoire
Development
Dance Project
Magi Oman
MFA
Gillian Saunders
Marc Richard
Marie Baron**
Gail Hakala
Greg Peterson*
Mimi Mekler
Magi Oman
MA Dance
MA Dance
Mimi Mekler
Leslie O’Dell
Marie Baron**
Gail Hakala
Greg Peterson*
Magi Oman
MFA Theatre
PhD Drama
Gillian Saunders
Marc Richard
Marie Baron**
Gail Hakala
Greg Peterson*
Greg Peterson*
MA Dance
MA Dance
3
3
3
3
3
MA Dance
MA Dance
BA* English, Drama
3
3
3
Music Industry:
Professional
Practice
MTP: Production I
Audition required
5
MMus Voice Perf.
BA* English, Drama
MFA Theatre
MFA
3
4
3
5
Dramaturgy Master
Class
MT Vocal
Performance Master
Class
Commercial
Performance Master
Class
Choreography
Master Class
Audition Techniques
MTP: Production II
MMus Voice Perf.
BA* English, Drama
MFA
MMus Voice Perf.
BA* English, Drama
BA* English, Drama
108
Course Title
Total
DW
Crs.
Sem.
Hours
Total
DO
Crs.
Sem.
Hours
Total
DL
Crs.
Sem.
Hours
Breadth Elective
Subtotal Course
Hours (credits)
Total Program Hours
Calculate the
percentage of the
program offered in Do
and DL courses
3
A=96
B=24
C=0
credits credits credits
A + B + C = 120 credits
[(B + C) ÷ (A + B + C)]
X 100 = 20%
Calculate the
percentage of the
breadth courses
offered in DO courses
Calculate the
percentage of the
breadth courses
offered in DL courses
[B ÷ (B + C)] X 100 = 100%
[C ÷ (B + C)] X 100 = 0%
Pre-requisites &
Co-requisites
Proposed
Instructor (or
TBH)
Audition required
Marie Baron**
Highest Qual.
Earned & Discipline
FTBH)
Must be at least 20% of total program.
Due to the nature of this program and the extensive applied
performance hours required, the percentage calculation have been
completed on the credit values of the learning within the program
as a true reflection of the core and breadth weightings.
(See 6.3.3.1)
Must be at least 75% of total DO and DL courses.
Must not be greater than 25% of the total DO and DL course.
*See Exception Letter for Greg Peterson 8.6.2A
**See Exception Letter for Marie Baron 8.6.2 A
109
6.3.3.3 Identification of Previously Assessed Subjects
Subject Title
Type
Previously Assessed
Fundamentals of Vocal Technique &
Theory
DW
DW
No
No
DW
DW
DO
No
No
Vocal Technique: Physiology and
Anatomy
Dance Technique: Physiology and
Anatomy
Dance: Artistry, Interpretation &
Expression
Contemporary Concepts & Applications
of Musicianship
History of Early Music Theatre
Music Performance: Notation,
Transcription and Scoring
History of Contemporary Music Theatre
Commercial Vocal Repertoire
Development
Dance Project
MTP: Production I
Music Theatre Vocal Performance Master
Class
Commercial Performance Master Class
Choreography Master Class
Audition Techniques
MTP: Production II
Music Theatre Vocal Performance
Capstone Project
Commercial Performance Capstone
Project
Dance Performance Capstone Project
DW
DW
No
No
DW
No
DW
DW
DW
DW
No
No
No
No
DW
No
DO
DW
DW
DW
DW
No
No
No
No
No
DO
DW
DW
No
No
No
DW
DW
DO
DW
DW
DW
DW
DW
DW
No
No
No
No
No
No
No
No
No
DW
DW
DW
DW
DW
DW
No
No
No
No
No
No
DW
No
DW
No
Yes
Consent Program
BAA(Animation)
BAA(Illustration)
BAIS(Information Systems
Security)
BAHSc(Athletic Therapy)
BAHSc(Exercise Science
and Health Promotion)
BAB(Global Business
Management)
110
Subject Title
Type
Previously Assessed
MTP: Production III
DW
DW
No
No
Consent Program
The following Breadth electives have been previously assessed with BAA(Animation), BAA(Illustration)
BAIS(Information Systems Security), BAHSc(Athletic Therapy), BAHSc(Exercise Science and Health
Promotion), BAB(Global Business Management) consent programs.
Course Code
Course Title
1.
BIOL15586GD
Introduction to Biology
2.
CULT14717GD
Music: Structure and Culture
3.
CULT18263GD
Japanese Language and Culture
4.
ENGL17889GD
5.
HIST10101GD
History of Film
6.
HIST18653GD
Art In a Social and Cultural Context
7.
HUMA10025GD
Canadian Studies: Critical Approaches to the Canadian “North”
8.
HUMA10123GD
Illustrations of the Romantic Period: 1798-1832
9.
HUMN10199GD
Archetypes in Science, Nature, Design
10.
HUMN21518GD
Mythology in Literature Art and Film
11.
HUMN14681GD
Canadian Politics
12.
HUMN15817GD
International Politics Introduction
13.
HUMN27198GD
Studies of Character and Culture
14.
LITT10123GD
Censorship and Literature: Critical Approaches
15.
LITT16206GD
Women’s Writing: 1900-1965
16.
LITT19599GD
World Literature
17.
LITT25993GD
Introduction to the Short Story
18.
LITT20065GD
Troy in Literature and Film
19.
PHIL16121GD
Introduction to Philosophy
20.
PHIL14444GD
Practical Ethics
21.
PHIL16367GD
Philosophies of World Religion
22.
PHIL10082GD
Asian Spiritual Traditions
23.
PHIL23130GD
Moral Philosophy
24.
PHIL26544GD
New Age Philosophy
25.
POLI14049GD
Social Movements and Protest
26.
PSYC16571GD
Principles of Psychology
27.
PSYC20210GD
Psychology: Abnormal
28.
PSYC20261GD
Gender Psychology
29.
PSYC20410GD
Psychology: Selected Topics
30.
PSYC22766GD
Psychology: Personality
31.
PSYC23019GD
Introduction to Addictions
32.
PSYC23491GD
Social Psychology
33.
PSYC24178GD
Developmental Psychology: Growth and Human Development
34.
PSYC24328GD
Psychology of Emotion
35.
PSYC25026GD
Psychology of Motivation
36.
PSYC25028GD
Health Psychology
111
Course Code
Course Title
37.
PSYC26859GD
Psychology of Sport
38.
PSYC27721GD
Psychology of Aggression and Violence
37.
PSYC28614GD
Cognitive Psychology
40.
SOCI17221GD
Principles of Sociology
41.
SOCI20839GD
Diversity in Canadian Society
42.
SOCI23821GD
Issues in Sociology
43.
SOCI26693GD
Sociology of Deviance
44.
SOCI28448GD
Sociology of Sport
45.
SOCS14201GD
Introduction to Physical Anthropology
46.
SOCS16500GD
Social and Cultural Anthropology
47.
SOCS17370GD
Applied Research Methods
112
6.4 Course Outlines and Other Graduation Requirements
There are no Ministry Standards for the baccalaureate credential in this discipline; however, the
Curriculum Framework as reflected in the program critical performance and related program learning
outcomes has been designed in accordance with the PEQAB Degree Standard while addressing the
critical requirements identified by industry experts and through research. Further, it has been mapped to
exceed the current Ministry Standard that exist for an Advanced Diploma Program in the discipline. This
juxtaposition highlights the degree-level focus of the proposed program.
In addition, the curriculum reflects Sheridan’s commitment to learning-centred, performance-based
achievement, with the inherent quality control processes and tools to address development,
implementation, validation, assessment and design. Specifically, the curriculum approach is reflective of
the emergent research in learning as it relates to the design and development of curricula in the postmodern era in which we are currently operating. This includes the specific design of learning
opportunities and experiences that address such elements as creativity, collaboration, innovation, strategic
thinking, sustainability, social justice and change. To this end, the curriculum is intentionally aesthetic,
engaging, energetic and evocative.
All learning outcomes for courses will comply with Sheridan’s standards for Health and Safety practices.
All Health and Safety practices for Theatre Sheridan operations are set out in the School’s annual manual.
To ensure this design was entrenched in the proposed program, it was necessary to design a curriculum
that was eclectic in nature, one that draws from a variety of models and theories and that encourages a
sense of disequilibrium in faculty and students alike in order to maximize the potential for personal and
professional growth. This was accomplished through extremely comprehensive integration that takes
many forms. These include:
a) Connected curriculum, in which, within each discipline and subject area, integrated course content,
skill and affective components are connected topic to topic, concept to concept, year to year in the
discipline.
b) Nested curriculum, in which, within each discipline, multiple skills are targeted – for example, a
social skill, critical thinking, a discipline specific-skill.
c) Spiralled (sequenced) curriculum, in which, within each discipline and across disciplines, units of
study are rearranged to coincide with one another. Similar concepts are taught in concert in separate
disciplines, but because of the sequencing, students more easily make the connections to similarities
across disciplines. An example of this is the physiology and kinesiology addressed in acting, voice
and dance in Semester 2.
d) Shared curriculum, in which the development, design, implementation, and evaluation occurs in two
or more disciplines where overlapping concepts, principles and theories emerge as organizing
elements.
e) Webbed curriculum, in which a thematic approach to integrating concepts is used.
f) Threaded curriculum, in which best practices and good pedagogy, the scholarship of teaching and
learning, and performance-based models thread research, scholarly writing, communication, problemsolving, critical and creative thinking, artistic vision, and meta-cognition through the three major
disciplines and the other core studies (Music, Business, Entrepreneurship, Professional Practice, and
Technology).
g) Immersed curriculum, in which students integrate all the data and learning from within the discipline
and outside it, and funnel this significant learning into a Capstone Project.
h) Networked curriculum, in which industry practice and requirements in the program and the
contributions of guest speakers and panelists from the field, serve as an external source of input for
students to acquire, extend, extrapolate, refine and master new concepts and ideas.
113
The curriculum is provided in the format of the detailed program map rather than the traditional course
outlines in order to facilitate the review of the full curriculum. Two views are provided: the first presents
the proposed program by Semester, across the various disciplines. This provides the reader with a full
overview of the connected nature of the program through the use of various curriculum models (spiralled,
nested, shared, webbed, threaded, immersed and networked) identified above. The second view is by
discipline, which highlights additional reinforcing models within each discipline (connected, nested
spiralled, webbed and so on).
This plan for intentional learning meets the PEQAB degree standard and accommodates a variety of
learning experiences for students.
114
6.5.2 Support for Work Experience
The college will assist students to find internship placements in a twofold way:
1. Through the assistance of the college’s Co-op Office.
2. Through the assistance of faculty within the program specifically assigned to this task.
Faculty will have the resources to develop a network of contacts to assist in placements.
Types of internship placements:
•
•
•
•
roles in community or festival theatres
assisting in community efforts to develop theatrical productions
working in high schools to assist in their productions
working with community youth outreach programs
139
6.5.3 Work Experience Outcomes and Evaluation
This component of the proposed program reflects Sheridan’s commitment to performance-based,
learning-centred education. The articulation of the outcomes has been written to ensure that the
intentional learning is both measurable and observable in order to facilitate valid and comprehensive
assessment. This means that each outcome for the work experience, as with all other components of the
program, is expressed as a performance (cognitive, psychomotor or affective) to be demonstrated.
In terms of this work experience, course outcomes from courses in Semesters 1 through 6, and certain
program outcomes that have been addressed, wholly or in part by the end of Semester 6, were reviewed to
determine what students should demonstrate the ability to do by the end of Semester 6, that could be
assessed in a Music Theatre-related work environment rather than in an academic setting. Consideration
was also given to ensuring that those outcomes used in the Work Term Assessment would be reasonable
for a wide range of related work environments.
It was also important to create an assessment instrument that was not time-intensive for employers to use
but that also definitively identified the level of learning and related performance expected of students
preparing to enter the final year of their baccalaureate program. Initial intake meetings with employers
will be scheduled and a faculty member will be assigned to oversee and guide the process, with the
employers and students.
The result was a comprehensive checklist clearly related to both the academic program and to the
industry, which could be used by employers to monitor and validate a student’s successful completion of
the work experience.
Program of Study
Semester 1
Semester 2
Semester 3
Semester 4
Technique and Theory
Technique
Aural Concepts and Music
Theory
Principles of Contemporary
Acting
Vocal Technique:
Dance Technique:
Acting
Vocal Performance:
Context Analysis
Dance: Artistry,
Interpretation and
Expression
Contemporary Concepts
and Applications of
Musicianship
Theatre
Principles of Modernism in
Acting
Styles in Vocal
Performance
Styles in Dance
Performance
Music Performance:
Notation, Transcription and
Scoring
History of Contemporary
Music Theatre
Semester 5
Semester 6
Semester 7
Semester 8
Commercial Vocal
Dance Repertoire
Development
Music Industry:
Breadth Elective
Post-Modern Theories of
Acting
Music Theatre Vocal
Project
Dance Project
MTP: Production I
Breadth Elective
OR
Music Theatre Vocal
Performance Master Class
OR
Master Class
OR
Choreography Master
Class
Audition Techniques
MTP: Production II
Breadth Elective
OR
Music Theatre Vocal
Project
OR
Capstone Project
OR
Dance Performance
Capstone Project
MTP: Production III
Breadth Elective
140
For more information, contact the School of Animation, Arts and Deign (SAAD):
Dr. Ronni Rosenberg, Associate Dean, (905) 845-9430 ext. 2621, [email protected]
Professor Greg Peterson, (905) 845-9430 ext. 2716, [email protected]
BAA Music Theatre Performance Work Experience Assessment (Week 7 & Week 14)
(Note: Any score of 1, 2 or 5 requires a substantiating narrative explanation)
1 = Does not meet the standard
4 = Exceeds the standard
2 = Approaches the standard
5 = Excels
Discipline-related and Performance Standards
3 = Meets the standard
Student demonstration of achievement
1
2
3
4
5
N/A
General knowledge and understanding of the field
Generate acting, vocal and dance performances that engage the
audience, reflecting strong narrative, characterization and
believable relationships among characters.
Create believable characters with fully developed physicality and
voice, informed by psychology and based on thoughtful research
Foster personal development and collegial working relationships
that conform to established industry hierarchy, professional
etiquette, and protocols, through self-reflection, effective
communications and collaborative strategies.
Generate a personal regimen required to maintain effective acting,
vocal and dance technique, for success in music theatre and
commercial performance.
Generate a personal methodology and approach to work required
of the music theatre industry.
Audition, using appropriate material and exhibiting industry-level
entry requirements. (PP)
Integrate acting/staging, vocal, choreographic and music
directions by the artistic team into rehearsals and performance.
(PP)
Integrate historical, cultural and stylistic contexts into personal
performance. (M)
Develop personal stress management strategies to maintain vocal
and physical health through demanding performance schedules.
(V)
Personal and professional growth and development
Generate acting, vocal and dance performances that engage the
audience, reflecting strong narrative, characterization and
believable relationships among characters.
Engage in self-reflective and meta-cognitive practices and critical
analysis that address oneʼs personal artistic vision and
professional growth as an actor. (A)
Modify personal behaviour to successfully contextualize
performances. (A)
Communicate effectively in verbal, visual and kinesthetic forms.
(D)
Evaluate current personal performance strengths and challenges.
(D)
Refine personal artistic vision in the context of future academic
program options and possible career paths. (V)
141
5 = Excels
1
2
3
4
5
N/A
ACTING
Generate performances that reflect a critical and creative analysis
of the actorʼs place in society.
Cultivate vocal dexterity, resonance and articulation, as well as
dialects appropriate for various styles of acting.
Refine verbal clarity and energy, expression of open sound and
articulation.
Perform scenes from different genres.
Represent “larger-than-life” characters that experience strong
emotion.
VOCAL
Integrate the required vocal technique into music theatre and
commercial vocal repertoire.
Collaborate effectively with accompanists for rehearsals and
performances.
Analyze scenes, songs and character, in order to root
performance in text and effectively communicate with complexity,
spontaneity and emotional honesty.
Perform music theatre and commercial repertoire effectively and
with appropriate musical style and connection to the text.
Create a believable, physically and vocally expressive character
through research, analysis and physical and vocal expression.
DANCE
Develop believable characters and storytelling through dance.
Interact appropriately with the audience.
Access emotions through dance movement.
Collaborate effectively with peers in partnering.
Develop the ability to pick up and retain choreography.
Incorporate artistry, interpretation and expression into dance
routines and performances.
Analyze the role and importance of dance as accessory and
narrative in music theatre.
142
5 = Excels
1
2
3
4
5
N/A
MUSICIANSHIP
Sing musically and in tune while reading prepared melodies within
specific parameters.
Solve complex musical challenges by reading, writing and
listening to music.
Engage in self-reflective and meta-cognitive practices that
address the growth of oneʼs personal music literacy, selfconfidence and levels of enjoyment in meeting musical
challenges.
Integrate performance principles and knowledge of complex
concepts of musicianship as a member of a vocal ensemble.
Evaluate the musicality of oneʼs performance using critical
analysis.
Integrate the use of specific music terminology into performances.
General comments and suggestions for improvement and continued development:
___________________________________________________
__________________________
Supervisor
Date
________________________________________________________
College Liaison
____________________________
Date
________________________________________________________
Student
____________________________
Date
143
7. Program Delivery Standard
7.1 Quality Assurance for Program Delivery
7.1.1 Quality Assurance Policies
In 2003, Sheridan created a department of curriculum and faculty specialists, The Center for
Curriculum and Faculty Development (CCFD), renamed in 2009 as the Network for Innovation and
Leadership in Education at Sheridan (NILES) to promote academic rigour in all facets of learning and
teaching. This unit resides inside a larger Academic Planning and Development Department (APD),
which adds institutional research and learning technologies, reporting directly to the Vice-President
Academic. Included are curriculum and learning design experts, some with technology and on-line
expertise, who work with all schools and faculty to improve and enhance current offerings, create
new programming, and facilitate the teaching process. They work as project leaders, teacher
instruction facilitators, design and curriculum assurance processors, with theory documentation and
review facilitation.
The importance of curriculum design, whether face to face or on-line delivery, is a major focus of this
group who work continuously to improve the interconnectivity of the variables of the learner’s style,
the delivery mode and the course outline integrity with observable and measurable performance
outcomes and appropriate evaluation strategies. College policies, procedures and processes relating to
the teaching and learning in higher education are often initiated within this Center and include such
items as on-line learning objects to create meaningful, performance based course outlines.
Teaching and Learning Academy (TLA)
All new full-time faculty at Sheridan must attend three, two-week structured and facilitated teaching
and learning training sessions within their employment probationary period. These sessions take a
new faculty member through the fundamentals of the process of learning and effective teaching styles
through the self-awareness of their own teaching methods and appropriate modification strategies.
Throughout, supportive exercises and in-class application strategies build a community of practice
excellence.
Fundamentals of Teaching and Learning (FTL)
All part-time teaching faculty at Sheridan are required to attend the three day Fundamentals of
Teaching and Learning (FTL) workshop within their first semester of teaching at Sheridan.
Workshops are structured to demonstrate the creation of a viable and interesting learning environment
where critical thinking and active learning take place. Seminars are intensive, active and participative,
integrating complex theory and practice with emphasis on experiencing various types of learners and
what those students experience in the classroom. The culminating activity is a demonstration by the
participants encompassing their new and growing knowledge within a 10 minute participative class
lesson, critiqued by peers and captured on DVD for their personal viewing and later reflection. In
FTL, the teachers become the thoughtful designers of an effective learning environment.
Peer Coaching
Teachers Helping Teachers
The Peer Coaching Program is a collaborative, constructive program designed to link college faculty
interested in developing aspects of their teaching with a peer who supports them. The mutual goal is
to enhance the quality of student learning.
144
Features
The Peer Coaching process is:
Confidential: only the professor and the peer coach will share information.
Voluntary: participation is through the individual's own volition.
Collaborative and non-judgemental: the role of the peer coach is to assist professors in achieving
individual pedagogical goals and not to critique their teaching approach or philosophy.
Timely: the professor decides when to engage in a coaching session and how frequently.
Coaching Participants
The Peer Coaching Program is designed to assist professors in furthering their success in teaching.
Participants may be established faculty members who wish to re-energize their approach to teaching,
explore new techniques or gain feedback on mobile computing implementation; new faculty members
who seek guidance on how to make their classroom experience more rewarding for themselves and
their students; sessional and part-time instructors who may benefit from the advice and experience of
an established faculty member.
New Program Development Process
The following process for new program development and approval has been designed to respond to
changes to provincial regulations as well as to internal issues identified by faculty who have been
involved in program development at Sheridan:
Stage 1 – Declaration of Interest
Stage 2 – Concept of Curriculum
Stage 3 – Concept Viability
Stage 4 – Full Program Proposal
The process rests on a set of principles that provide the rationale and criteria for program
development and approval. It consists of a series of stages of development, each of which has an
identified approval body and process.
Stage 1: Declaration of Interest in Developing a Program
New Program Title:
New Program Credential: (check one)
Sheridan Certificate
Ontario College
Certificate
Proposing School(s):
Ontario College
Diploma
Ontario College
Advanced Diploma
Ontario College Graduate
Certificate
Applied Degree
Summary of proposed program (100 words maximum):
Proposal Endorsements
Faculty Support:
145
Certification that relevant faculty in the School of _________________________ have
endorsed this program proposal and have agreed, in principle, to participate actively in the
development and delivery of the program.
Program Coordinator: ___________________________
Date:___________
Department Support:
Certification that the department of ___________________ will provide resources and support
as described in this document toward the development of the proposed program.
Associate Dean: ______________________________
Date: ____________
School Support:
Certification that the proposed program is consistent with the School program development
plan and that the School supports the proposal described in this proposal and will provide
School resources as described in this document.
Dean: ______________________________________
Date: ____________
Add endorsements for each School & Department involved in the development of this
program as required. Submit to the Vice President, Academic for approval to proceed to
Stage 2: Concept Paper.
146
Guide to Stage 2: Concept Paper
Item
Description/Purpose
Guidelines/Considerations
Proposed
Program Title
The title has some bearing, in part,
on the category (MCU code) and
funding assigned to a program by
the Ministry.
It is also useful in attracting students
if it is transparent and representative
of the nature of the program.
The school proposing the program
•
School
Proposed
Location
Anticipated
Implementation
Date
This is where the proposed program
will be housed
A program implementation date is
dependent, in part, on the ability to
complete the internal development
process (Stages 3 and 4) and the
external approval processes that
impact on OCAS deadlines and
OSAP application.
•
•
•
•
•
•
•
•
Anticipated
Enrolment
Overview of
the Proposed
Program
Anticipated enrolment impacts on
physical resources (space, facilities,
equipment) and on the number of
faculty required to deliver the
program – the capacity to deliver.
Anticipated enrolment may also
impact on other programs in the
school and/or college.
This is a paragraph that identifies
the concept underlying the proposed
program, and provides a general
description of the program.
•
•
•
•
•
•
General Goals
of the
Proposed
Program
(150 words)
Strategic Fit
(School)
Strategic Fit
(College)
This section identifies the general
goals of the program based on its
rationale and description. The goals
are not performance-based and do
not need to be written as outcomes
in this stage.
This section identifies the
relationship, and impact, that the
proposed program will have on
existing programs and on the school
in general (e.g. enrolment)
This section addresses the
proposed program in the context of
the strategic goals of the college.
•
•
•
•
•


What type of program is this: degree, graduate
certificate, advanced diploma, local certificate?
Is it reflective of the nature of the program?
Is it clear and easy for potential students to
understand?
Is it a title that exists elsewhere in the college
system?
Is it realistic in terms of OCAS requirements?
Is the school prepared to provide the school
resources needed (e.g. faculty) to complete the
development and approval processes in time for the
anticipated launch date?
Has the involvement of school faculty in the
development team been factored into their SWF?
Does the anticipated launch date make sense with
respect to the target audience?
Does the anticipated launch date factor in the need
to advertise for, and hire, additional required faculty?
Is there a possibility that additional sections will be
added to the original estimated enrolment once the
program is approved?
Is there a way to determine this, and therefore
confirm or modify the anticipated enrolment within a
legitimate range?
Briefly, what is the core content and major
curriculum themes?
Is the description of the proposed program reflective
of the nature of the program?
Does the description identify any unique features or
characteristics of the proposed program?
Is co-op or work placement a potential
consideration?
What is the intent of the proposed program?
What is the graduate expected to be able to do at
the end of the program?
Why is it being proposed?
How will the proposed program impact on existing
programs?
How does the proposed program fit into the school’s
strategic plan?
How is the proposed program consistent with
Sheridan’s strategic goals?
How does the proposed program affect other
programs in the college outside the school cluster?
147
Item
Description/Purpose
Guidelines/Considerations
Labour Market
Needs
This section identifies potential labour
market needs based on limited
preliminary discussions and
secondary research.
•
This section identifies preliminary
viability in terms of potential
employment for students on
graduation.
•
This section identifies the potential
student market for the proposed
program.
•
(to 500 words)
Employment
Opportunities
for Graduates
Potential
Applicants
•
•
•
•
•
•
Funding
Potential Existing
Programs
This section identifies comparable
existing programs for the anticipated
funding that the college may expect
to receive. Information is based, in
part, on OCAS search.
•
•
•
•
•
Institutional
Investment
This section identifies institutional
requirements to launch the program
(capacity to deliver).
•
•
•
•
•
•
•
Draft Budget
This section identifies some general
thinking around what the proposed
program might cost to launch/run.
This uses the sections above.
•
•
•
•
What sources have been consulted to date in bringing
forward this proposed program (e.g. ad hoc PAC, key
exports, professional association)?
What secondary sources have been reviewed and/or
referenced (e.g. reports from HRSDC)?
What preliminary research and use of secondary
sources has been used to identify potential
employment (e.g. Workopolis)?
What types of positions/jobs would be available to a
graduate of this proposed program?
Given the nature of the proposed program and its
intended launch date, what is the likely target market
for the proposed program?
Is the target market specific or general in nature?
Can this potential market be sustained over an
extended period of time?
What secondary research has been done that
supports this?
How will the intended audience be informed of this
new program?
What education in this field is currently available?
What other colleges offer comparable programs?
What funding weight has already been assigned to
comparable programs?
Will the proposed program saturate the catchment
area?
Are there Ministry Standards available for this
program?
Is any significant capital investment required to launch
and sustain the proposed program?
What are the space requirements?
Is special classroom space (e.g. computer labs)
needed?
Is there any specialized equipment needed to launch
and operate the program?
Are additional part time and/or full time faculty
needed?
Will faculty from other programs be employed in the
proposed program?
What might be the expected minimum qualification for
faculty to teach in the proposed program?
What is the anticipated enrolment in Years 1, 2, 3,
and 4?
What is the expected tuition?
What is the Ministry funding available with respect to
comparable existing programs in the system?
What is the required college investment (e.g. capital,
space, faculty)
148
Stage 2: Concept Paper
Item
Description/Purpose
Sign
Off
Proposed
Program Title
School
Proposed
Location
Anticipated
Implementation
Date
Anticipated
Enrolment
Overview of the
Proposed
Program
General Goals of
the Proposed
Program
(150 words)
Strategic Fit
(School)
Strategic Fit
(College)
Labour Market
Needs
(to 500 words)
Employment
Opportunities for
Graduates
Potential
Applicants
Funding Potential:
Existing Programs
Institutional
Investment
Draft Budget
DISCUSSION NOTES:
Comments by Deans/VPA
o Approved
Date:___________________________
o
Approved with modification
Date:___________________________
o
Not approved
Date:___________________________
SCHOOL PRIORITY (circle one):
COLLEGE PRIORITY (circle one):
1
1
2
2
3
3
4
4
School Contact: __________________________________
School Development Team: ____________________________________________________________________
Sent to CCFD in Academic Planning and Development (Stage Three) on: ______________________________
CCFD Program Developer assigned: ________________________________
149
Stages 3 and 4 – Academic Planning and Development
Stage 3: Concept Viability
Steps
Approved Stage 2
Document sent to
CCFD
Action Addressee
Sent by:
Action/Process
Electronic and paper copy of the Stage 2 document are sent to
CCFD
Received by:
Support person responsible for receiving the documents informs
the Dean, CCFD
Identification of
CCFD Program
Project
Dean, CCFD
Once approval is secured to move to Stage 3, and CCFD receives
the required copies of the Stage 2 document, the project is added
to the agenda of a Program Development Meeting
Review of Stage 2
Document
CCFD Development
Team (Program
Developers with Dean,
Researcher)
Review of Stage 2 document to determine context and to develop
series of questions in preparation for the Intake Meeting with the
school
Review of individual and collective development portfolios to
determine who will be assigned to the project
Assignment of Program Developer to project
Stage 3 Meeting
#1:
Program
Development
Project Intake
Dean or designate
from CCFD; Dean or
A/Dean from school;
researcher; Program
Developer from CCFD;
support person
Support Person to develop and distribute record of notes from
meeting
Identification of development team (school, CCFD, other)
Confirmation of intent of approved Stage 2 document
Overview of development process for school reps
Establishment of Parameters for Research – scope, direction,
confirmation of school’s use of resource materials in Stage 2
Identification of recommended timeline
Identification of school funding requirements and process for
request
Funding
Requirements
Sent by:
School sends the Request for Funding Form to CCFD
Received by:
Request is logged, reviewed and approved/not approved, with the
decision communicated to:
a) the School
b) the Program Developer
Approved by:
Stage 3 Meeting
#2:
Introduction and
Orientation to the
Development
Process
Development Team
(school A/Dean with
faculty/contract
persons, researcher,
program developer)
Confirm team members
Set schedule of meetings
Identify additional sources for research and design of research
(tools)
Orientation for school to the development process and the creation
of the Stage 3 document
Assignment of tasks related to process and product
150
Stage 3 Meeting
#3:
Introduction to
Curriculum Design
and Initial
Development
Development Team
Registrar’s office (if
required)
Initial Research Report - findings related to demand, industry
trends, industry needs, salaries, student interest, target population,
comparable programs, Ministry category, tuition fee information.
(Do an OCAS search for type of funding)
Identification of entry requirements with registrar’s office
ASK Analysis and Profile of the Graduate
Program Description (including potential uniqueness of the
program), Critical Performance Statement, Learning Outcomes (in
context of Standards document or Ministry description if former not
available)
ad hoc PAC
Meeting #1
Arranged by school;
attended by
development team
Introduce the program project (School)
Complete ASK Analysis (Program Developer)
Data Collection
Determine trends in the industry (Researcher)
Determine employment opportunities (Researcher)
Additional suggestions (PAC)
Summary (School)
PAC follow-up
School and Program
Developer
Data Analysis and
Integration
School to send out record of notes from meeting
School to compile list of PAC members and contact information for
Stage 3 document
Support person to collate information from ASK Analysis
Program Developer to integrate information from faculty and PAC
Analyses
Researcher integrates information from PAC into research
component
Stage 3 Meeting
#4:
Development Team
Consolidation
Session
a) Research
b) Curriculum
c) Document
Ongoing research summary
Discussion and demonstration of the way in which PAC data is
integrated
Consolidating curriculum piece for document – potential program
map draft through identification of streams through Learning
Outcomes and clustering data from ASK Analysis in potential
course offerings
Discussion with CVS about language and intent of Program
Learning Outcomes
Capacity to deliver and draft budget from school
Review of Stage 3 document to determine what is outstanding
Intent and delivery planning for next PAC meeting
Request for Program proposal to be placed on the agenda for
Academic Council
151
Ad hoc PAC
Meeting #2
Development Team
And Support Personnel
Information Session
Research presentation – findings
Presentation of the program outline with integration of previous
PAC data
May include some discussion of delivery options depending on the
nature of the program
Request for motion to support moving the program through to the
next stage of development
PAC follow-up
School and Program
Developer
School to send out notes from meeting
Program Developer to integrate any agreed upon changed to the
document and add the PAC motion into the document
Stage 3 Meeting
#5:
Development Team
Finalizing development requirements for Stage 3 document
Researcher
Final research components (set template)
School:
Background information, school cluster, impact on other programs
in the school, college, contribution to Sheridan strategic plan, draft
budget with details around capacity to deliver
Program Developer
Curriculum pieces including the appropriateness of the credential
and learning strategies and delivery options, Executive Summary
Stage 3 Meeting
#6:
Approval
Preparation
Development Team
Prepares preparation of the presentation to Academic Council
CCFD support
Makes the necessary copies of the document and distributes as
required
Stage 3
Approval
A/Dean and
Development Team
Presentation to Academic Council
Finalizing the
Document
Stage 3 Approval
Follow up
Notification to registrar, marketing, OCAS to indicate that the
program is moving forward to Stage 4 (curriculum development)
Stage 4: Full Program Proposal
Stage 4 Meeting
#1:
Development Team,
including the A/Dean or
Dean
Program
Development
Project Intake
Identification/confirmation of school participants; addition of
curriculum writing team members as required; review school
funding requirements and any potential modifications
Overview of development process for school reps
Confirmation of recommended timeline
Set schedule of curriculum meetings
Assign tasks (e.g. pieces for writers; budget for A/Dean; detailed
program map for CCFD)
Stage 4 Meeting
#2:
Orientation to
Curriculum
Development &
Course Design
Program Developer
Orientation for school to the curriculum development process and
the creation of a course outline(emphasis on components that are
identified in the detailed program map included in the Stage 4
document)
Provide resource materials to facilitate drafting of curriculum
documents
152
Stage4 Meetings
#3, #4, #5:
Curriculum
Development
(Note: Number of
meetings here will
vary depending on
type of program,
number and
experience of team
members, etc)
Stage 4 Meeting
#6:
Finalizing the
Document and
Process
ad hoc PAC
Meeting #3
Program Developer
Revisit draft program map to confirm/make modifications
Program Developer
Discuss components of detailed program map and relate it to
components in the course outline from orientation in the previous
meeting
Development Team
Complete Detailed Program Map
Development Team
Complete Program Learning Outcomes/Course Offerings Matrix
Development Team
Complete (if time allows) the course outlines for the program (this
involves only the addition of a potential topical outline to the work
done for the detailed program map)
School
Revisit capacity to deliver
Complete detailed budget for initial discussion with VPA, and future
inclusion to ASA
School and Program
Developer
Complete Ministry document relating to delivery of program in
terms of hours and settings
Program Developer
Follow up discussion with CVS on program level material
Program Developer
Request placement on AQA schedule
Development Team
Presentation of detailed curriculum for review and comment
Request for motion to support moving the program through to the
next stage of development
Stage 4 Meeting
#7:
Approval Prep
Development Team
Prepares the presentation to AQA
CCFD support
Makes the necessary copies of the document and distributes as
required
Stage 4:
Approval
A/Dean and
Development Team
Presentation to AQA to confirm integrity of curriculum and
appropriateness of the credential
External CVS
Approval Follow
up
Program Developer
Documentation to CVS for approval; Credential Validation Service
confirms credential match and title (allow a week or so)
ASA
Approval Prep
School or developer
Send document to VPA, including budget, before its distribution to
Board
Request placement on agenda for ASA
Make necessary copies of the required documents for ASA and for
BOG
Add Executive Summary for BOG
ASA Approval
Presentation to ASA (Academic and Student Affairs ) Board
Subcommittee by team
Review and recommendations; changes to be integrated into
documents before BOG
Board of
Governors
Approval
Full Document, Exec Summary and Budget to Board for approval
(presented by ASA Chair; Dean may be expected to be available
for questions)
153
Follow Up
Ministry Approval
Program Developer
Ministry Funding Documents completed by CCFD, signed by
President and sent to Ministry
Approval for
OSAP
-
Submitted when Ministry funding letter received
Takes average 4-6 weeks
Marketing
-
OCAS, calendar,
On line advertisement, open house, press
Academic
Services
School in consultation
with Program Developer
Assign course codes to new courses in program
Complete new course special forms for Academic Services by fall
and spring deadlines
Full curriculum to
AQA
School and Program
Developer
-
Completion of Course outlines (in stages as required)
Program Launch
Program quality
assessment
154
Academic Governance
Board of Governors
- Approval of all academic policies
- Approval of all academic programs
- Approval of all new academic initiatives of significance (e.g. Davis Academic Plan)
- Setting strategic direction in relation to programs
- Review recommendations of Program Advisory Committees (PACs)
- Review results of program reviews
Academic and Students Affairs Sub-committee of the Board (ASA)
Recommends:
- Approval of all academic policies
- Approval of all academic programs
- Approval of all new academic initiatives of significance (e.g. Davis Academic Plan)
- Strategic direction in relation to programs
Reviews recommendations of PACs
Reviews results of program reviews
Roles
Academic Council: provides decisions, recommendations and advice to the Vice President, Academic
on issues affecting teaching and learning at Sheridan.
• Recommends academic policies to ASA.
• Recommends new academic programs to ASA.
• Advises VPA on new academic initiatives of significance (e.g. Davis Plan).
• Advises VPA and Dean, Academic Planning and Development on potential new professional
development initiatives for faculty.
• Advises VPA and VPSS&IT on procedures related to academic policies.
• Approves local policies/procedures related to academic matters e.g. exceptions to College
policies such as Promotion Policy, individual program policies and processes.
Academic Quality Assurance Committee
• Makes recommendations to ASA with regard to the consistency of learning outcomes of proposed
new programs within provincial credentials framework and the consistency of the program maps
with those learning outcomes.
• Approves new courses offered for credit.
• Approves alternative delivery of current courses.
• Approves program changes involving new courses.
Local Academic Council
• Reviews new program ideas and recommends for approval processes at Stages 1 and 2.
• Approves course changes within existing program maps.
• Reviews program maps to ensure compliance with credential framework including provincial
Essential Employability Skills and General Education policies.
• Recommends new courses to AQA.
• Approves changes to existing course involving 1/3 or more of course content, evaluation
strategies or other changes of academic significance.
• Recommends local academic policies and processes to Academic Council.
• Provides input to Academic Council on college academic policies and procedures.
155
SHERIDAN COLLEGE INSTITUTE OF TECHNOLOGY AND ADVANCED LEARNING
ACADEMIC AND STUDENT AFFAIRS COMMITTEE – BOARD OF GOVERNORS
Terms of Reference
(Approved by the Board of Governors on May 19, 2004)
__________________________________________________________________________________
The Academic and Student Affairs Standing Committee of the Board of Governors is responsible for
reviewing proposals related to policies, programs and strategic initiatives that impact on the student
experience and for referring these items to the Board of Governors for approval. It provides general
oversight for the Board to Institute academic direction, quality of the curriculum and student services, and
related policies impacting on academic programs, staff and students.
In its capacity, the Academic and Student Affairs Standing Committee will:
1.
2.
3.
4.
5.
6.
7.
Ensure that there are appropriate, effective and efficient program development and
continuous improvement processes in place.
Ensure that proposals for new academic programs are consistent with the mission, vision and
values of the institution; are consistent with the provincial program framework and standards;
and meet institutional and provincial criteria.
Ensure that a full range of programs and credentials are available to the diverse communities
served by the Institute.
Receive and review information on Program Advisory Committee membership and review
annual reports from PACs.
Review and recommend enrolment plans as required.
Review and recommend proposed policies related to faculty, academic programs, student
status and services, and related matters.
Review and recommend strategic initiatives related to academic programs and student
services.
The Committee shall have access to such personnel and consultants, as it considers appropriate.
COMPOSITION:
Membership of the Academic and Student Affairs Committee includes:
•
•
•
•
Chair of the Board (ex-officio)
President (ex-officio)
such other members of the Board as the Board considers appropriate, one of whom will chair the
committee
such other non-voting members as the Board considers appropriate who are not members of the
Board, except that members of the Board will form a majority of members of the Committee
The Vice-President, Academic and the Vice-President, Student Services and Information Technology will
be resource members of the Committee.
MEETINGS:
Number per year to be determined.
156
7.1.2 Policy on Student Feedback
Student Feedback Policy approved by Sheridan’s Board of governors on February 27, 2002
157
7.1.3 Student Feedback Instruments
158
159
7.2 On-line Delivery
7.2.1 On-line Learning Policies and Practices
160
7.2.2 Academic Community Policies
161
8. Capacity to Deliver Standard
8.1 Demonstrated Strength
The proposed Bachelor of Applied Arts in Music Theatre program is uniquely positioned to offer an
exceptional learning experience for students in an important area of the cultural sector, and for which
there are no comparable programs in the Ontario or Canadian post-secondary system.
The program:
• offers an exceptional learning experience for students that cannot be replicated anywhere else in
Canada
• provides the College with an additional 45 students per year
• contributes to the operational effectiveness of the college by making efficient use of existing
facilities
• enhances current community relations and fosters new partnerships through ongoing dialogue and
cooperation with industry through field placement and committee participation
Sheridan is ideally situated to take on the proposed baccalaureate program because of its current stellar
reputation in the industry for preparing students in the existing Advanced Diploma program who can “hit
the ground running” upon graduation. This is evidenced by KPI data (85% to 96% of graduates over the
last five years have obtained employment in their field on graduation). Several Sheridan graduates to date
have acquired major roles on Broadway. Some have formed their own production companies (locally or
in their home provinces) and have produced original works. Still others have performed in a variety of
music-theatre venues. Regional theatres (Vancouver Playhouse, Arts Club, Theatre Calgary, The Citadel,
Manitoba Theatre Centre, CanStage, Neptune Theatre, The Stephenville Festival) have all hired Sheridan
graduates.
Related KPI Data
In the mid 1990s, the Ontario Government decided to enhance the accountability of Colleges of Applied
Arts and Technology by measuring and rewarding their performance in meeting specific goals and
outcomes. The Ministry of Training, Colleges and Universities (MTCU) identified these goals and
outcomes and incorporated them into a KPI Satisfaction Survey. This is a tool developed by MTCU in
conjunction with the colleges to measure general performance. Indicators of success are identified as
follows:
a)
b)
c)
d)
e)
Graduate employment
Graduate satisfaction
Employer satisfaction
Student satisfaction
Graduation rate
The information collected from students, graduates and employers is used by the colleges to identify their
strengths, demonstrate their achievements, and improve their programs and services. Tables 8.1.1 and
8.1.2 summarize Sheridan’s overall scores as a college and the cores of the Advanced Diploma program
related to the proposed BAA in Music Theatre Performance.
162
Table 8.1.1: Music Theatre–Performance Advanced Diploma Results Aligned with General Sheridan,
GTA and Provincial Results
Category
Student
Satisfaction
Graduate
Rate
Graduate
Satisfaction
Graduate
Employment
Rate
Employer
Satisfaction
Target Area
Music Theatre
Advanced
Diploma Program
College
Metro
Province
Music Theatre
Advanced
Diploma Program
College
Metro
Province
Music Theatre
Advanced
Diploma Program
College
Metro
Province
Music Theatre
Advanced
Diploma Program
College
Metro
Province
Music Theatre
Advanced
Diploma Program
College
Metro
Province
2005
2006
2007
2008
Four-Year
Average
85%
83%
87%
82%
84%
73%
74%
76%
74%
74%
78%
74%
74%
77%
74%
75%
76%
74%
74%
77%
58%
62%
71%
77%
67%
71%
57%
59%
71%
59%
60%
70%
63%
63%
69%
------65%
70%
60%
62%
96%
85%
87%
100%
92%
79%
79%
81%
80%
80%
82%
80%
80%
82%
82%
82%
83%
80%
80%
82%
87%
94%
100%
88%
92%
88%
86%
88%
89%
87%
89%
90%
88%
90%
91%
89%
91%
90%
87%
89%
100%
100%
100%
100%
100%
94%
94%
93%
92%
92%
92%
92%
93%
93%
94%
93%
93%
93%
93%
93%
Capstone Question 14: Overall your program is giving you knowledge and skills that will be useful in your future
career.
Capstone Question 26: The overall quality of the learning experiences in this program.
Capstone Question 44: The overall quality of the facilities/resources in the college.
Table 8.1.2
Music Theatre
Advanced
Diploma
Program
College
Metro
College System
(MTCU)
Province
KPI
82%
74%
82%
76%
Capstone Question 14
100%
85%
100%
98%
93%
80%
93%
93%
74%
66%
74%
58%
163
8.2 Learning and Information Resources
8.2.1 Library Resources
Identified Additional Library Resources (to be added)
Recommended Book Acquisitions
New York City
Burrows, Edwin G., & Wallace, Mike. Gotham: A History of New York City to 1898. Oxford University
Press, New York, N.Y., 1999. ISBN: 0-19-511634-8
Burns, Ric & Sanders, James (with Ades, Lisa). New York: An Illustrated History (Expanded). Alfred A.
Knoff, New York, N.Y., 2003. ISBN: 1-4000-4146-5
Kroessler, Jeffrey A.. New York Year by Year: A Chronology of the Great Metropolis. New York
University Press, New York, N.Y., 2002. ISBN: 0-8147-4750-7
Lankevitch, George J.. New York City: A Short History. New York University Press, New York, N.Y.,
1998. ISBN: 0-8147-5185-7
Homberger, Eric. The Historical Atlas of New york City: A Visual Celebration of 400 Years of New
York City’s History (Revised and Updated). Henry Holt and Company, New York, N.Y., 2005. ISBN-13:
978-0-8050-7842-8
Henderson, Mary C. The City and the Theatre: The History of New York Playhouses, A 250-Year
Journey from Bowling Green to Times Square. Back Stage Books, New York, N.Y., 2004. ISBN: 0-82300637-9
Bell, Clare. Hirschfeld's New York. Harry N. Abrams, New York, N.Y., 2002. ISBN-13: 9780810929746
Broadway
Boardman, Gerald. Americal Musical Theatre: A Chronicle (Third Edition). Oxford University Press,
New York, N.Y., 2001. ISBN-13: 978-0195130744
Green, Stanley (Revised & Updated by Green, Kay). Broadway Musicals Show by Show (Sixth Edition)
Applause Books, 2008. ISBN: 1557837368
Hischak, Thomas. The Oxford Companion to the American Musical: Theatre, Film, and Television.
Oxford University Press, New York, N.Y., 2008. ISBN-13: 978-0-19-533533-0
Everett, William A. & Laird, Paul R. (Editors). The Cambridge Companion to the Musical (Second
Edition). Cambridge University Press, New York, N.Y., 2008. ISBN: 978-0-521-86238-7
Larkin, Colin. The Virgin Encyclopedia of Stage and Film Musicals. Virgin Books, London, England,
1999. ISBN: 0-7535-0375-1
Gänzl, Kurt & Lamb, Andrew. Gänzl’s Book of the Musical Theatre. Schirmer Books, New York, N.Y.,
1989. ISBN: 00-18588
Kantor, Michael & Maslon, Laurence. Broadway: The American Musical. Bulfinch Press, New York,
N.Y., 2004. ISBN: 0-8212-2905-2
Alpert, Hollis. Broadway!: 125 Years of Musical Theatre. Arcade Publishing, New York, N.Y., 1991.
ISBN: 1-55970-092-0
Bloom, Ken. Broadway: An Encyclopedic Guide to the History, People, and Places of Times Square.
Facts on File, Inc., New York, N.Y., 1991. ISBN: 0-8160-1249-0
164
Atkinson, Books. Broadway (Revised Edition). Macmillan Publishing Co., Inc. New York, N.Y. 1974.
ISBN: 0-02-504180-0
Lerner, Alan Jay. The Musical Theatre: A Celebration. Collins, London, England, 1986. ISBN: 0-00217249-6
Brown, Gene. Show Time: A Chronology of Broadway and the Theatre from Its Beginnings to the
Present. Macmillan, New York, N.Y., 1997. ISBN: 0-02-860830-5
Botto, Louis. At This Theatre: 100 Years of Broadway Shows, Stories, and Stars. Hal Leonard Corp.,
New York, N.Y., 2002. ISBN: 1-55783-566-7
Brantley, Ben (Editor). The New York Times Book of Broadway: On the Aisle for the Unforgettable
Plays of the Last Century. St. Martin’s Press, New York, N.Y., 2001 ISBN: 0-312-28411-X
Mordden, Ethan. Make Believe: The Broadway Musical in the 1920s. Oxford University Press, New
York, N.Y., 1997. ISBN: 019510594X
Mordden, Ethan. Sing for Your Supper: The Broadway Musical in the 1930s. Palgrave Macmillan, New
York, N.Y., 2005. ISBN: 0312239513
Mordden, Ethan. Beautiful Mornin’: The Broadway Musical in the 1940s. Oxford University Press, New
York, N.Y., 1999. ISBN: 0195128516
Mordden, Ethan. Coming Up Roses: The Broadway Musical in the 1950s. Oxford University Press, New
York, N.Y., 2000. ISBN: 0195140583
Mordden, Ethan. Open a New Window: The Broadway Musical in the 1960s. Palgrave for St. Martin’s
Press, New York, N.Y., 2001. ISBN: 0312239521
Mordden, Ethan. One More Kiss: The Broadway Musical in the 1970s. Palgrave Macmillan, New York,
N.Y., 2004. ISBN: 1403965390
Mordden, Ethan. The Happiest Corpse I’ve Ever Seen: The Last 25 Years of the Broadway Musical.
Palgrave, New York, N.Y., 2004. ISBN: 0312239548
Suskin, Steven. Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical
Theatre, Oklahoma! (1943) to Fiddler on the Roof (1964). Schirmer Books, New York, N.Y., 1990.
ISBN: 0-02-872625-1
Suskin, Steven. More Opening Nights on Broadway: A Critical Quotebook of the Musical Theatre, 1965
to 1981. Schirmer Books, New York, N.Y., 1990. ISBN: 0-02-864571-5
Guernsey Jr., Otis L. Curtain Times: New York Theatre 1965-1987. Applause Theatre Book Publishers,
New York, N.Y., 1987. ISBN: 0-936839-24-4
Block, Geoffrey. Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim. Oxford
University Press, New York, N.Y., 1997. ISBN-13: 978-0195107913
Long, Robert Emmet. Broadway, the Golden Years: Jerome Robbins and the Great ChoreographerDirectors 1940 to the Present. Continuum International Publishing Group, Inc., New York, N.Y., 2001.
ISBN-13: 978-0826413475
Willis, John & Hodges, Ben. Theatre World: The Most Complete Record of the American Theatre Volume 64 2007-2008. Applause, 2008. ISBN-13: 978-1557837424
Willis, John & Hodges, Ben. Theatre World: The Most Complete Record of the American Theatre Volume 60 2003-2004. Hal Leonard Music Books, 2008. ISBN-13: 978-1557836502
Jenkins, Jeffrey Eric. The Best Plays Theatre Yearbook 2006-2007. Limelight Editions, 2008. ISBN-13:
978-0879103521
Jenkins, Jeffrey Eric. The Best Plays Theatre Yearbook 2005-2006. Limelight, 2007. ISBN-13: 9780879103460
Jenkins, Jeffrey Eric. The Best Plays Theatre Yearbook 2003-2004. Limelight, 2006. ISBN-13: 9780879103156
165
Guernsey, Jr., Otis L. (Editor) The Best Plays of 1999-2000: The Otis Guernsey/Burns Mantle Theatre
Yearbook (81st Edition). Scholarly Book Services Inc., 2002. ISBN-13: 978-0879109554
Guernsey, Jr., Otis L. & Sweet, Jeffrey (Editors) The Burns Mantle Theatre Yearbook: The Best Plays of
1989-1990. Hal Leonard Books, 1997. ISBN-13: 978-1557830913
Viagas, Robert. The Playbill Broadway Yearbook: June 2007-May 2008 (Fourth Annual Edition).
Applause Theatre and Cinema Book Publishers, 2008. ISBN-13: 978-1557837462
Viagas, Robert. The Playbill Broadway Yearbook: June 2006-May 2007 (Third Annual Edition).
Applause Theatre and Cinema Book Publishers, 2007. ISBN-13: 978-1557837325
Viagas, Robert. The Playbill Broadway Yearbook: June 2005-May 2006. Applause Theatre and Cinema
Book Publishers, 2007. ISBN-13: 978-1557837189
Viagas, Robert. The Playbill Broadway Yearbook: June 1, 2004-May 31, 2005. Hal Leonard Music
Books, 2006. ISBN-13: 978-1557836825
Ganzl, Kurt. Ganzl's Book of the Broadway Musical: 75 Favorite Shows, from H.M.S. Pinafore to Sunset
Boulevard. Schirmer Books, 1995. ISBN-13: 978-0028708324
Bloom, Ken. Broadway: An Encyclopedia: History, People, Places. Routledge, 2003. ISBN-13: 9780415937047
Norton, Richard C. A Chronology of American Musical Theater (3 Volume Set). Oxford University
Press, 2002. ISBN-13: 978-0195088885
Prince, Hal. Broadway Musicals, 1943-2004. McFarland & Company, 2005. ISBN-13: 978-0786422449
Willis, John & Hodges, Ben. Theatre World: The Most Complete Record of the American Theatre Volume 63 2006-2007. Applause Theatre and Cinema Book Publishers, 2008. ISBN-13: 978-1557837080
Benjamin, Ruth & Rosenblatt, Arthur. Who Sang What on Broadway, 1866-1996: Two Volume Set.
McFarland & Company, 2005. ISBN-13: 978-0786415069
Grant, Mark. The Rise and Fall of the Broadway Musical. Northeastern, 2005. ISBN-13: 978-155536239
Darby, Eileen, Henderson, Mary C. Stars on Stage: Eileen Darby & Broadway's Golden Age. Bulfinch
Press, UK, 2005. ISBN-13: 978-0821228975
Hischak, Thomas S. Broadway Plays and Musicals: Descriptions and Essential Facts of More that 14,000
Shows through 2007. McFarland & Company, 2008. ISBN-13: 978-0786434480
Dietz, Dan. The Off-Broadway Musical, 1910 to 2007: Cast, Credits, Songs, Critical Reception and
Performance Data of 1,800 Shows. McFarland & Company, 2008. ISBN-13: 978-0786433995
Mitchell, Jerry. Backstage Pass: Broadway Bares. Universe, 2008. ISBN-13: 978-0789315663
Jacobs, Leonard. Historic Photos of Broadway: New York Theater 1850-1970. Turner Publishing
Company, KY., 2008. ISBN-13: 978-1596523623
Bloom, Ken. Broadway Musicals: The 101 Greatest Shows of All Time (Revised and Updated, Including
New Shows). Black Dog & Leventhal Publishers, 2008. ISBN-13: 978-1579123130
Everett, William A., & Laird, Paul R. Historical Dictionary of the Broadway Musical. Scarecrow Press,
2007. ISBN-13: 978-0810860544
Hadleigh, Boze. Broadway Babylon. Watson-Guptill, 2007. ISBN-13: 978-0823088300
Mordden, Ethan. All That Glittered: The Golden Age of Drama on Broadway, 1919-1959. St. Martin's
Press; 2007. ISBN-13: 978-0312338985
Knapp, Raymond. The American Musical and the Formation of National Identity. Princeton Universwity
Press, 2006. ISBN-13: 978-0691126135
Goldman, William. The Season: A Candid Look at Broadway. Limelight Editions, 2006. ISBN-13: 9780878100230
166
Bloom, Ken. Broadway Musicals: The 101 Greatest Shows of All Time. Black Dog & Leventhal
Publishers, 2004. ISBN-13: 978-1579123901
Suskin, Steven. A Must See!: Brilliant Broadway Artwork. Chronicle Books LLC, San Francisco, CA,
2004. ISBN-13: 978-0811842174
Tumbusch, Tom. Broadway Musicals: A History in Posters. Tomart Publications, 2004. ISBN-13: 9780914293576
Frommer, Myrna Katz & Frommer, Harvey. It Happened on Broadway: An Oral History of the Great
White Way. University of Wisconsin Press, 2004. ISBN-13: 978-0299197049
Frommer, Myrna Katz & Frommer, Harvey. It Happened on Broadway: An Oral History of the Great
White Way (Hardcover). Harcourt Trade Publishers, 2001. ISBN-13: 978-0151002801
Block, Geoffrey. Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim. Oxford
University Press, 2004. ISBN-13: 978-0195167306 (Hardcover: 978-0195107913)
Lewis, David H. Broadway Musicals: A Hundred Year History. McFarland & Company, 2002. ISBN-13:
978-0786412693
van Hoogstraten, Nicholas. Lost Broadway Theatres. Princeton Architectural Press, 1997. ISBN-13: 9781568981161
Henderson, Mary C. The New Amsterdam: The Biography of a Broadway Theatre. Disney Editions,
1997. ISBN-13: 978-0786862702
Hay, Peter. Broadway Anecdotes. Oxford University Press, 1989. ISBN-13: 0195046212
Genres
Traubner, Richard. Operetta: A Theatrical History (Revised Edition). Routledge, New York, N.Y. 2003.
ISBN:0-415-96641-8
Bordman, Gerald. American Operetta from H.M.S. Pinafore to Sweeney Todd. Oxford University Press,
New York, N.Y. 1981. ISBN:0-19-502869-4
Kilgarrif, Michael. Grace, Beauty and Banjos: Peculiar Lives and Strange Times of Music Hall and
Variety Artistes. Oberon Books, 2000. ISBN-13: 978-1840021165
Fields, Armond. Tony Pastor: Father of Vaudeville. McFarland & Company, 2007. ISBN-13: 9780786430543
Fields, Armond & Fields, L. Marc. From the Bowery to Broadway: Lew Fields and the Roots of
American Popular Theatre. Oxford University Press, New York, N.Y., 1993. ISBN: 0-19-505381-8
Fields, Armond. Lillian Russell: A Biography of "America's Beauty". MacFarland & Company, X, 1998.
ISBN-13: 978-0786405091
Bowbeer, Ane Aull. Lillian Russell: A Bio-Bibliography. Greenwood Press, 1997. ISBN-13: 9780313277641
Ganzl, Kurt. Lydia Thompson: Queen of Burlesque. Routledge, New York, N.Y., 2002. ISBN-13: 9780415937665
Mahar, William J. Behind the Bunt Cork Mask: Early Blackface Minstrelsy and Antebellum American
Popular Culture. Scholarly Book Services, Inc., 2002. ISBN-13: 978-0252066962
Nathan, Hans. Dan Emmett and the Rise of Early Negro Minstrelsy. University of Oklahoma Press, 1977.
ISBN-13: 978-0806105406
Slide, Anthony. The Encyclopedia of Vaudeville. Greenwood Publishing Group, 1994. ISBN-13: 9780313280274
Cullen, Frank; Hackman, Florence; McNeilly, Donald. Vaudeville, Old and New: An Encyclopedia of
Variety Performaers in America (2 Volume Set). Routledge, X, 2006. ISBN-13: 978-0415938532
167
Fields, Armond. Women Vaudeville Stars: Eighty Biographical Profiles. McFarland & Company, X,
2006. ISBN-13: 978-0786425830
Jasen, David A. Tin Pan Alley: The Composers, the Songs, the Performers, and their Times. Donald I.
Fine, Inc., New York, N.Y., 1988. ISBN: 1-55611-168-1
Ziegfeld, Richard & Ziegfeld, Paulette. The Ziegfeld Touch: The Life and Times of Florenz Ziegfeld, Jr..
Harry N. Abrahms, Inc., New York, N.Y., 1993. ISBN: 0-8109-3966-5
Higham, Charles. Ziegfeld. Henry Regnery Company, Chicago, Illinois, 1972. ISBN: 72-80928
Carter, Randolph. Ziegfeld: The Time of His Life (New and Revised Edition). Bernard Press, London,
England, 1988. ISBN: 0-9513557-0-8
Green, Stanley. The Great Clowns of Broadway. Oxford University Press, New York, N.Y., 1984. ISBN:
0-19-503471-6
Davis, Lee. Scandals and Follies: The Rise and Fall of the Great Broadway Revue. Limelight Editions,
New York, N.Y., 2000. ISBN: 0-87910-274-8
Minsky, Morton. Minsky's Burlesque. Arbor House Publishing Company, 1986. ISBN-13: 9780877957430
Woll, Allen. Black Musical Theatre from Coontown to Dreamgirls. Louisiana State University Press,
Baton Rouge, Louisiana, 1989. ISBN: 0-306-80454-9
Lundskaer-neilsen, Mirand. Directors and the New Musical Drama. Palgrave, 2008. ISBN-13: 9780230601291
Engel, Lehman. Words and Music: Creating the Broadway Musical Libretto. Applause Theatre and
Cinema Books, 2006. ISBN-13: 978-1557835543
Atkey, Mel. Broadway North: The Dream of a Canadian Musical Theatre. Natural Heritage Books, 2006.
ISBN-13: 978-1897045084
Reid, John Howard. Hollywood Movie Musicals. Lulu Press, 2006. ISBN-13: 978-1411697621
Hischak, Thomas S. Through the Screen Door: What Happened to the Broadway Musical When It Went
to Hollywood. Scarecrow Press, 2004. ISBN-13: 978-0810850187
Most, Andrea. Making Americans: Jews and the Broadway Musical. Harvard University Press, 2004.
ISBN-13: 978-0674011656
Miller, D.A. Place for Us: Essay on the Broadway Musical. Harvard University Press, 1998. ISBN-13:
978-0674669901
Mandelbaum, Ken. Not Since Carrie: 40 Years of Broadway Musical Flops. St. Martin's Press, New
York, N.Y., 1991. ISBN-13: 978-0312064280
Shows
Kreuger, Miles. Show Boat: The Story of a Classic American Musical. (Revised & Expanded Edition).
Applause Theatre & Cinema Books, New York, N.Y. 1995. ISBN-13: 978-1557832108
Wilk, Max. OK! The Story of Oklahoma! Grove Press, New York, N.Y., 1993. ISBN: 0-8021-1432-6
Garebian, Keith. The Making of My Fair Lady. ECW Press, Toronto, Ontario, 1993. ISBN-13: 9781550221619
Garebian, Keith. The Making of Gypsy. ECW Press, Toronto, Ontario, 1994. ISBN-13: 978-1550221923
Wolf, Matt. The Guys and Dolls Book. Hushion House, New York, N.Y., 1997. ISBN-13: 9781854593818
Johnston, Jonathan. Good Hair Days: A Personal Journey with the American Tribal Love-Rock Musical
Hair. iUniverse, 2004. ISBN-13: 978-0595312977
Wasserman, Dale. The Impossible Musical: The Man of La Mancha Story. Hal Leonard Music Books,
New York, N.Y. 2003. ISBN-13: 978-1557835154
168
Chapin, Ted. Everything Was Possible: The Birth of the Musical Follies. Arthur Knopf, New York, N.Y.
2003. ISBN-13: 978-0375413285
Stevens, Gary & George, Alan. The Longest Line: Broadway's Most Singular Sensation: A Chorus Line.
Hall Leonard Books, New York, N.Y., 1997. ISBN-13: 978-1557832214
Viagas, Robert; Lee, Baayork; Walsh, Thommie. On the Line: The Creation of A Chorus Line. William
Morrow and Co., New York, N.Y., 1990. ISBN-13: 978-0688084295
Rapp, Anthony. Without You: A Memoir of Love, Loss, and the Musical Rent. Simon & Schuster, New
York, N.Y. 2006. ISBN-13: 978-0743269766
Cote, David. Spring Awakening: In the Flesh. Simon Spotlight Entertainment, 2008. ISBN-13: 9781416587828
Maslon, Laurence. The South Pacific Companion. Fireside, 2008. ISBN-13: 978-1416573135
Farber, Donald & Viagas, Robert. The Amazing Story of The Fantasticks: America's Longest-Running
Play. Amadeus Press, 2005. ISBN-13: 978-0879103132
Frantz, Donald. Beauty and the Beast: A Celebration of the Broadway Musical. Disney Editions, 1995.
ISBN-13: 978-0786861798
Larson, Jonathan. Rent: The Complete Book and Lyrics of the Broadway Musical. Applause Theatre and
Cinema Book Publishers, 2008. ISBN-13: 978-1557837370
Disney. The Little Mermaid: A Broadway Musical. Hal Leonard, 2008. ISBN-13: 978-1423437949
Wright, Doug. Grey Gardens: The Complete Book and Lyrics of the Broadway Musical. Applause
Theatre & Cinema Books, 2007. ISBN-13: 978-1557837349
Carter, Tim. Oklahoma!: The Making of an American Musical. Yale University Press, 2007. ISBN-13:
978-0300106190
Lassell, Michael. Tarzan: The Broadway Adventure. Disney Editions, 2007. ISBN-13: 978-1423100850
Kreiger, Henry. Dreamgirls. Hall Leonard Music Books, 2006. ISBN-13: 978-1423416166
Funderberg, Lise. The Color Purple: A Memory Book of the Broadway Musical. Carroll & Graf, 2006.
ISBN-13: 978-0786718443
Hyperion. Avenue Q. Hyperion, 2006. ISBN-13: 978-1401302986
Isenberg, Barbara. Making It Big: The Diary of a Broadway Musical. Limelight Editions, 2006. ISBN-13:
978-0879100889
Cote, David. Wicked: A Behind-the-Scenes Look at the Hit Broadway Musical. Hyperion, 2005. ISBN13: 978-1401308209
Leonard, Hall. Avenue Q - The Musical, Hal Leonard Musica Books, ISBN-13: 978-0634079191
Comden, Betty & Green, Adolph. The New York Musicals of Comden and Green: On the Town,
Wonderful Town, Bell Are Ringing. Applause Theatre & Cinema Books, 1997. ISBN-13: 9781557832429
Garebian, Keith. The Making of West Side Story. ECW Press, Toronto, Ontario, 1995. ISBN-13: 9781550222111
Biographies – Composers, Lyricists & Book Writers:
Wren, Gayden. A Most Ingenious Paradox: The Art of Gilbert and Sullivan. Oxford University Press,
2006. ISBN-13: 978-0195301724
Glinert, Ed (Editor). The Complete Gilbert and Sullivan. Penguin Books, London, England, 2006. ISBN13: 978-0713998603
Gilbert, W.S. & Sullivan, Arthur. The Complete Gilbert and Sullivan: Librettos from All Fourteen
Operettas - Complete and Unabridged. Black Dog & Leventhal Publishers, 2002. ISBN-13: 9781579120375
169
Ainger, Michael. Gilbert and Sullivan: A Dual Biography. Oxford University Press, New York, N.Y.,
2002. ISBN-13: 978-0195147698
Gould, Neil. Victor Herbert: A Theatrical Life. Fordham University Press, 2008. ISBN-13: 9780823228713
Howard, John Tasker. Stephen Foster: America's Troubadour. Arden Library, 1982. ISBN-13: 9780849524363
Milligan, Harold Vincent. Stephen Collins Foster: A Biography of America's Folk-Song Composer.
University Press of the Pacific, 2004. ISBN-13: 978-1410214713
Suskin, Steven. Show Tunes: The Songs, Shows, and Careers of Broadway's Major Composers (Revised
and Expanded Edition). Oxford University Press, 1999. ISBN-13: 978-0195125993
McCabe, John. George M. Cohan: The Man Who Owned Broadway. Doubleday, 1973. ISBN-13: 9780385015783
Cohan, George M. Twenty Years on Broadway, and the Years It Took To Get There: The True Story of a
Trouper's Life from the Cradle to the "Closed Shop". Greenwood Publishing Group, 1971. ISBN-13: 9780837156828
Hischak, Thomas S. Broadway Lyricists from Cohan to Sondheim. Praeger Publishers, New York, N.Y.,
1991. ISBN-13: 978-0275938499
Hischak, Thomas S. Boy Loses Girl: Broadway's Librettists. Scarecrow Press, 2002. ISBN-13: 9780810844407
Lees, Gene. The Musical Worlds of Lerner and Loewe. University of Nebraska Press, 2005. ISBN-13:
978-0803280403
Vermette, Margaret. The Musical World of Boublil and Schonberg: The Creators of Les Miserables, Miss
Saigon, Martin Guerre, and The Pirate Queen. Applause Theatre & Cinema Books, 2007. ISBN-13: 9781557837158
Bierley, Paul E. The Incredible Band of John Philip Sousa. University of Illinois Press, 2006. ISBN-13:
978-0252031474
Gould, Neil. Victor Herbert: A Theatrical Life. Forham University Press, 2008. ISBN-13: 9780823228713
Morehouse, Ward. George M. Cohan: Prince of the American Theater. Greenwood Press, X, CT, 1972.
ISBN-13: 978-0837162256
Bergreen, Laurence. As Thousands Cheer: The Life of Irving Berlin. Penguin Books, New York, N.Y.,
1990. ISBN: 0-670-81874-7
Leopold, David. Irving Berlin’s Show Business: Broadway, Hollywood, America. Harry N. Abrams, Inc,
New York, N.Y., 2005. ISBN: 0-8109-5891-0
Bordman, Gerald. Jerome Kern: His Life and Times. Oxford University Press, New York, N.Y., 1980.
ISBN: 0-19-502649-7
Wodehouse, P.G. & Bolton, Guy. Bring on the Girls: The Improbable Story of Our Life in Musical
Comedy, with Pictures To Prove It. Limelight Editions, New York, N.Y., 1953. ISBN: 0-87910-011-7
Stagg, Jerry. The Brothers Shubert. Random House, 1968. ISBN-13: 978-0394417929
Hirsch, Foster. The Boys from Syracuse: The Shuberts' Theatrical Empire. Southern Illinois University
Press, 1998. ISBN-13: 978-0809321568
McNamara, Brooks. The Shuberts of Broadway: A History Drawn from the Collections of the Shubert
Archive. Oxford University Press, New Yor, N.Y.,
Bordman, Geraldc. Days To Be Happy, Years To Be Sad: The Life and Music of Vincent Youmans.
Oxford University Press, 1982. ISBN-13: 978-0195030266
170
Rosenberg, Deena. Fascinating Rhythm: The Collaboration of George and Ira Gershwin. Penguin Books,
New York, N.Y., 1991. ISBN: 0-525-93356-5
Peyser, Joan. The Memory of All That: The Life of George Gershwin. Billboard Books, New York, N.Y.,
1998. ISBN: 0-8230-8332-2
Kendall, Alan. George Gershwin: A Biography. Harrap, Ltd., London, England, 1987. ISBN: 0-24554332-5
Nolan, Frederick. Lorenz Hart: A Poet on Broadway. Oxford University Press, New York, N.Y., 1994.
ISBN: 0-19-506837-8
Hart, Dorothy. Thou Swell, Thou Witty: The Life and Lyrics of Lorenz Hart. Harper & Row, New York,
N.Y., 1976. ISBN: 0-06-011776-1
William McBrien. Cole Porter: A Biography. Alfred A. Knopf, Inc., New York, N.Y., 1998. ISBN: 0394-58235-7
Gill, Brendan. Cole: A Biographical Essay. Dell Publishing, New York, N.Y., 1971. ISBN: 0-385-308159
Schwarz, Charles. Cole Porter: A Biography. Da Capo Press, Inc., New York, N.Y., 1977. ISBN: 0-30680097-7
Morella, Joseph & Mazzei, George. Genius and Lust: The Creativity and Sexuality of Cole Porter and
Noel Coward. Carroll & Graf Publishers, Inc., New York, N.Y., 1995. ISBN: 0-7867-0237-0
Sanders, Ronald. The Days Grow Short: The Life and Music of Kurt Weill. Silman-James Press, Los
Angeles, California. 1980. ISBN: 1-879505-06-1
Hirsch, Foster. Kurt Weill on Stage from Berlin to Broadway. Proscenium Publishers, New York, N.Y.,
2002. ISBN: 0-87910-990-4
Farneth, David (with Juchem, Elmar & Stein, David). Kurt Weill: A Life in Pictures and Documents. The
Overlook Press, New York, N.Y., 2000. ISBN: 0-87951-721-2
Rodgers, Richard. Musical Stages: An Autobiography. Da Capo Press, New York, N.Y., 1975. ISBN-13:
978-0306811340
Block, Geoffrey. Richard Rodgers. Yale University Press, New York, N.Y.2003. ISBN-13: 9780300097474
Secrest, Meryle. Somewhere for Me: A Biography of Richard Rodgers. Hal Leonard Music Books, New
York, N.Y., 1003. ISBN-13: 978-1557835819
Fordin, Hugh. Getting To Know Him: A Biography of Oscar Hammerstein II. Da Capo Press, Inc., New
York, N.Y., 1977. ISBN: 0-306-80668-1
Morden, Ethan. Rodgers and Hammerstein. Harry N. Abrams, Inc., 1992. ISBN: 0-8109-8144-0
Burton, Humphrey. Leonard Bernstein. Anchor Books, New York, N.Y., 1994. ISBN: 0-385-42352-7
Myers, Paul. Leonard Bernstein. Phaidon, New York, N.Y., 1998. ISBN-13: 978-0714837017
Comden, Betty. Off Stage. Simon & Schuster, Inc., 1995. ISBN-13: 978-067170579
Lees, Gene. Inventing Champagne: The Worlds of Lerner and Loewe. St. Martin’s Press, New York,
N.Y., 1990. ISBN: 0-312-05136-0
Lerner, Alan Jay. The Street Where I Live. W. W. Norton & Co., New York, N.Y., 1978. ISBN: 0-39307532-X
Loewe, Frederick. Almost Like Being in Love. Alfred Publishing Co., New York, N.Y., 1994. ISBN-13:
978-0757934681
Jablonski, Edward. Harold Arlen: Happy with the Blues. Da Capo Press, New York, N.Y., 1961. ISBN:
0-306-80274-0
171
Jablonski, Edward. Harold Arlen: Rhythm, Rainbows, and Blues. Northeastern University Press, Boston,
Massachusetts, 1996.
Loesser, Susan. A Most Remarkable Fella: Frank Loesser and the Guys and Dolls in His Life: a Portrait
by His Daughter. Hal Leonard Corporation, Milwaukee, Wisconsin, 1993. ISBN: 0-634-00927-3
Burrows, Abe. Honest Abe: Is There Really No Business Like Show Business!. Little, Brown, and
Company, Boston, Massachusetts, 1980. ISBN: 0-316-11771-4
Winer, Deborah Grace. On the Sunny Side of the Street: The Life and Lyrics of Dorothy Fields. Schirmer
Trade Books, XNew York, N.Y., 1997. ISBN-13: 978-0825672040
Taylor, Theodore. Jule: The Story of Composer Jule Styne: A Revue in Many Acts and Scenes. Random
House, New York, N.Y., 1979. ISBN-13: 978-0394412962
Oates, Bill. Meredith Willson: America's Music Man: The Whole Broadway-Symphonic-Radio-Motion
Picture Story . Authorhouse, Bloomington, Indiana, 2005. ISBN-13: 978-1420835236
Strouse, Charles. Put on a Happy Face: A Broadway Memoir. Union Square Press, New York, N.Y.,
2008. ISBN-13: 978-1402758898
Herman, Jerry. Showtune: A Memoir. Donald I. Fine Books, New York, N.Y., 1996. ISBN: 1-55611-5024
Simon, Neil. Re-Writes: A Memoir. Touchstone New York, N.Y., 1998. ISBN-13: 978-0684835624
Simon, Neil. The Play Goes On: A Memoir. Simon & Schuster, New York, N.Y., 1999. ISBN-13: 9780684846918
Kander, John & Ebb, Fred (as told to Laurence, Greg). Colored Lights: Forty Years of Words, Music,
Show Biz, Collaboration, and All That Jazz. Faber and Faber, New York, N.Y., 2003. ISBN-13: 9780571211333.
Laurents, Arthur. Original Story By: A Memoir of Broadway and Hollywood. Alfred A. Knopf, New
York, N.Y., 2000. ISBN:0-375-40055-9
Secrest, Meryle. Stephen Sondheim: A Life. Alfred A. Knopf, New York, N.Y., 1998. ISBN: 0-67944817-9
Horowitz, Mark Eden. Sondheim on Music: Minor Details and Major Decisions. Scarecrow Press,
Lanham, MD, 2003. ISBN-13: 978-0810844377
Gordon, Joanne. Art Isn't Easy: The Achievement of Stephen Sondheim. Southern Illinois University
Press, Carbondale, IL, 1990. ISBN-13: 978-0809314072
Swayne, Steve. How Sondheim Found His Sound. University of Michigan Press, Ann Arbor, MI, 2005.
ISBN-13: 978-0472114979
Gottfried, Martin. Sondheim (Revised and Updated Edition). Harry N. Abrams, New York, N.Y., 2002.
ISBN-13: 978-0810941793
Gordon, Joanne (Editor). Stephen Sondheim: A Casebook. Garland Publishing, Inc., New York, N.Y.,
1999. ISBN-13: 978-0815335863
de Giere, Carol. Defying Gravity: The Creative Career of Stephen Schwartz, From Godspell to Wicked.
Applause Books, New York, N.Y., 2008. ISBN-13: 978-1557837455
Hamlisch, Marvin (with Gardner, Gerald C.). The Way I Was. Scribner, New York, N.Y., 1992. ISBN13: 978-0684193274
Snelson, John. Andrew Lloyd Webber. Yale University Press, New Haven CT, 2004. ISBN-13: 9780300104592
Walsh, Michael. Andrew Lloyd Webber: His Life and Works (Expanded and Updated Edition). Harry N.
Abrams, New York, N.Y., 1997. ISBN-13: 978-0810912755
Coveney, Michael. The Andrew Lloyd Webber Story. Random House UK, London, England, 2000.
ISBN-13: 978-0099257196
172
Biographies – Directors & Choreographers
Hischak, Thomas S. Enter the Playmakers: Directors and Choreographers on the New York Stage.
Scarecrow Press, 2006. ISBN-13: 078-0810857476
Maslon, Laurence. Kaufman and Co. Library of America, 2004. ISBN-13: 978-1931082679
Spergel, Mark J. Reinventing Reality: The Art and Life of Rouben Mamoulian. Scarecrow Press, New
York, N.Y., 1993. ISBN-13: 978-0810827219
Hart, Moss. Act One: An Autobiography. Random House, New York, N.Y., 2002. ISBN-13: 9780375508608
Brown, Jared. Moss Hart: A Prince of the Theatre. Back Stage Books, New York, N.Y., 2006. ISBN: 08230-7890-6
Logan, Joshua. Josh: My Up and Down, In and Out Life. Delacorte Press, New York, N.Y., 1976. ISBN13: 978-0440042358
Hirsch, Foster. Harold Prince and the American Musical Theater (Expanded Edition). Hal Leonard
Books, New York, N.Y., 2005. ISBN-13: 978-1557836175
Ilson, Carol. Harold Prince: A Director's Journey from Pajama Game to Phantom of the Opera. UMI
Research Press, Ann Arbor, MI, 1989. ISBN-13: 978-0835719353.
Teachout, Terry. All in the Dances: A Brief Life of George Balanchine. Harcourt, Inc., Orlando, FL,
2004. ISBN-13: 978-0151010882
Taper, Bernard. Balanchine (New Edition). Crown Publishing Group, 1984. ISBN-13: 978-0812911369
Loney, Glenn. Unsung Genius: The Passion of Dancer-Choreographer Jack Cole. Olympic Marketing
Corp., 1984. ISBN-13: 978-0531097656
Easton, Carol. No Intermissions: The Life of Agnes de Mille. Little Brown, USA, 1997. ISBN-13: 9780316199704
Gilvey, John Anthony. Before the Parade Passes By: Gower Champion and the Glorious American
Musical. St. Martin's Press, New York, N.Y., 2005. ISBN-13: 978-0312337766
Lawrence, Greg. Dance with Demons: The Life of Jerome Robbins. G.P. Putnam’s Sons, New York,
N.Y., 2001. ISBN: 0-399-14652-0
Vaill, Amanda. Somewhere: The Life of Jerome Robbins. Broadway Books, New York, N.Y., 2006.
ISBN-13: 978-0-7679-0420-9
Jowitt, Deborah. Jerome Robbins: His Life, His Theater, His Dance. Simon & Schuster, New York, N.Y.,
2004. ISBN-13: 978-0684869858
Conrad, Christine. Jerome Robbins: That Broadway Man. Harry N. Abrams, New York, N.Y.., 2002.
ISBN-13: 978-1861541734
Grubb, Kevin Boyd. Razzle Dazzle: The Life and Works of Bob Fosse. St. Martin's Press, New York,
N.Y., 1991. ISBN-13: 978-0312055028
Gottfried, Martin. All His Jazz: The Life and Death of Bob Fosse. Bantam, New York, N.Y., 1990. ISBN13: 978-0553070385
Kelly, Kevin. One Singular Sensation: The Michael Bennett Story. Doubleday, New York, N.Y., 1990.
ISBN: 0-385-26125-X
Biographies – Producers & Designers:
Moore, James Ross. Andre Charlot: The Genius of Intimate Musical Revue. MacFarland & Co., 2004.
ISBN-13: 978=0786417742
Greene, Alexis. Lucille Lortel: The Queen of Off Broadway. Limelight Editions, 2006. ISBN-13: 9780879103026
173
Kissel, Howard. David Merrick: The Abominable Showman, The Unauthorized Biography. Applause
Books, New York, N.Y., 1993. ISBN: 1-55783-172-6
Feuer, Cy (with Gross, Ken). I Got the Show Right Here: The Amazing, True Story of How an Obscure
Brooklyn Horn Player Became the Last Great Broadway Showman. Simon & Schuster, New York, N.Y.,
2003. ISBN-13: 978-0743236119
Ostrow, Stuart. A Producer's Broadway Journey. Praeger Publishers, Westport, CT, 1999. ISBN-13: 9780275958664
Epstein, Helen. Joe Papp: An American Life. Little, Brown, and Company, New York, N.Y. 1994. ISBN:
0-316-24604-2
Adler, Steven. On Broadway: Art and Commerce on the Great White Way. Southern Illinois University
Press, 2004. ISBN-13: 978-0809325924
Henderson, Mary C. Mielziner: Master of Modern Stage Design. Back Stage Books, New York, N.Y.,
2001. ISBN: 0-8230-8823-5
Mikotowicz, Tom. Oliver Smith: A Bio-Bibliography. Greenwood Press, Westport, CT, 1993. ISBN-13:
978-0313287091
Morley, Sheridan & Leon, Ruth. Hey Mr. Producer! The Musical World of Cameron Mackintosh.
Weidenfeld & Nicolson, London, England, 1998. ISBN: 0297823469
Harris, Andrew B. The Performing Set: The Broadway Designs of William and Jean Eckart. University of
North Texas Press, 2006. ISBN-13: 978-1574412123
Owen, Bobbi. Scenic Design on Broadway: Designers and Their Credits, 1915-1990. Greenwood Press,
1991. ISBN-13: 978-0313265341
Owen, Bobbi. Lighting Design on Broadway: Designers and Their Credits, 1915-1990. Greenwood Press,
1991. ISBN-13: 978-0313265334
Biographies – Broadway Stars & Personalities
Forbes, Camille. Introducing Bert Williams: Burnt Cork, Broadway, and the Story of America's First
Black Star. Basic Civitas, 2008. ISBN-13: 978-0465024797
Chude-Sokei, Louis. The Last "Darky": Bert Williams, Black-on-Black Minstrelsy, and the African
Diaspora. Duke University Press, TX, 2006. ISBN-13: 978-0822336051
Goldman, Herbert G. Jolson: The Legend Comes To Life. Oxford University Press, New York, N.Y.,
1988. ISBN: 0-19-505505-5
Golden, Eve. Anna Held and the Birth of Ziegfeld's Broadway. University Press of Kentucky, 2000.
ISBN-13: 978-08131211536
Viagas, Robert. I'm the Greatest Star: Broadway's Top Musical Legends from 1900 to Today. Applause
Books, 2008. ISBN-13: 978-1557837271
Schwartz, Daniel R. Broadway Boogie Woogie: Damon Runyon and the Making of New York City
Culture. Palgrave MacMillan, New York, N.Y., 2003. ISBN-13: 978-1403967312
Flinn, Caryl. Brass Diva: The Life and Legends of Ethel Merman. University of California Press,
Berkeley, CA, 2007. ISBN-13: 978-0520229426
Kellow, Brian. Ethel Merman: A Life (Large Edition). Thorndike Press, Waterville, ME, 2008. ISBN-13:
978-0410405087
Mark, Geoffrey. Ethel Merman: The Biggest Star on Broadway. Barricade Books, Inc., Fort Lee, NJ,
2005. ISBN-13: 978-1569802939
Davis, Ronald L. Mary Martin: Broadway Legend. University of Oklahoma Press, Norman, OK, 2008.
ISBN-13: 978-0806139050
174
Sagolla, Lisa Jo. The Girl Who Fell Down: A Biography of Joan McCracken. Northeastern University
Press, 2003. ISBN-13: 978-1555535735
Channing, Carol. Just Lucky I Guess: A Memoir of Sorts. Simon & Schuster, New York, N.Y., 2002.
ISBN-13: 978-0743216067
Andrews, Julie. Home: A Memoir of My Early Years. Hyperion Books, New York, N.Y., 2008. ISBN-13:
978-0786865659
Recommended Drama Studies Book Acquisitions
Shakespeare
Shakespeare, William. The Arden Shakespeare: Complete Works (Revised Edition). Cenage Learning,
2002. ISBN-13: 978-1904271031
Shakespeare, William. The Riverside Shakespeare (Second Edition). Houghton Miffen Co., 1997. ISBN13: 978-0395754900
Ackroyd, Peter. Shakespeare: The Biography. Chatto & Windus, 2005. ISBN-13: 978-1856197263
Holden, Anthony. William Shakespeare: An Illustrated Biography. Little Brown, 2004. ISBN-13: 9780316851590
Wells, Stanley. For All Time: The Story of Shakespeare. Macmillan, 2002. ISBN-13: 978-0333904992
Duncan-Jones, Katherine. Ungentle Shakespeare: Scenes from his Life. Arden, 2001. ISBN-13: 9781903436264
Bloom, Harold. Shakespeare: The Invention of the Human. Riverhead Trade, 1999.
Tillyard, E.M. W. (1959). The Elizabethan World Picture. Vintage.
Tennessee Williams
Williams, Tennessee. (Gussow, Mel. Editor). 01 Tennessee Williams: Plays 1957 to 1980. Library of
America, 2000. ISBN-13: 978-1883011864
Williams, Tennessee. (Gussow, Mel. Editor). 02 Tennessee Williams: Plays 1957 to 1980. Library of
America, 2000. ISBN-13: 978-1883011876
Williams, Tennessee. Memoirs. Doubleday, 1975. ISBN-13: 978-0385005739
Kolin, Philip C. The Tennessee Williams Encyclopedia. Greenwood Publishing Group, 2005. ISBN-13:
978-0313321016
Bloom, Harold. Tennessee Williams (Updated Edition). Bloom's Literary Criticism, 2007. ISBN-13: 9780791094303
Leverich, Lyle. Tom: The Unknown Tennessee Williams. Crown, 1995. ISBN-13: 978-0517702253
Hayman, Ronald. Tennessee Williams: Everyone Else Is an Audience. Yale University Press, 1994.
ISBN-13: 0300054149
Williams, Tennessee (Devlin, Albert J. & Tischler, Nancy M. Editors). The Selected Letters of Tennessee
Williams: Volume I 1920-1945. New Directions Publishing, 2000. ISBN-13: 978-0811214452
Williams, Tennessee (Devlin, Albert J. & Tischler, Nancy M. Editors). The Selected Letters of Tennessee
Williams: Volume II 1945-1957. New Directions Publishing, 2004. ISBN-13: 978-0811216005
Williams, Tennessee (Thornton, Margaret Bradham. Editor). Notebooks. Yale University Press, 2007.
ISBN-13: 978-0300116823
Arthur Miller
Miller, Arthur. (Kushner, Tony. Editor). Arthur Miller: Collected Plays 1944 to 1961. Library of
America, 2006. ISBN-13: 978-1931082914
175
Miller, Arthur. (Martin, Robert A. Editor). The Theatre Essays of Arthur Miller. Methuen, 1994. ISBN13: 978-0413669209
Bigsby, Christopher. Arthur Miller: A Critical Study. Cambridge University Press, 2005. ISBN-13: 9780521844161
Bigsby, Christopher. The Cambridge Companion to Arthur Miller. Cambridge University Press, 2000.
ISBN-13: 978-0521559928
Gottfried, Martin. Arthur Miller: A Life. Faber and Faber, 2003. ISBN-13: 0571219469
Anton Chekhov
Gottleib, Vera. (Editor) Anton Chekhov at the Moscow Art Theatre: Archive Illustrations of the Original
Productions. Routledge, 2005. ISBN-13: 978-0415344401
Chekhov, Anton. (A New Translation by Pevear, Richard & Volokhonsky, Larissa.) The Complete Short
Novels. Everyman's Library, 2004. ISBN-13: 978-1400040490
Chekhov, Anton. (Senelick, Laurenc. Translator) The Complete Plays. W.W. Norton, 2007. ISBN-13:
978-0393330694
Chekhov, Anton. (Wilks, Ronald. Translator) The Steppe and Other Stories: 1887-1891. Penguin
Classics, London, England, 2005. ISBN-13: 978-0140447859
Chekhov, Anton. (Wilks, Ronald. Translator) Ward No. 6 and Other Stories: 1892-1895. Penguin
Classics, London, England, 2004. ISBN-13: 978-0140447866
Chekhov, Anton. (Wilks, Ronald. Translator) The Lady with the Little Dog and Other Stories: 1896-1904.
Penguin Classics, London, England, 2004. ISBN-13: 978-0140447873
Chekhov, Anton. (Carson, Peter. Translator) Plays. Penguin Classics, London, England, 2004. ISBN-13:
978-0140447330
Chekhov, Anton. (Phillips, Anthony. Translator) Chekhov: A Life in Letters. Penguin Classics, London,
England, 2004. ISBN-13: 978-0140449228
Henrik Ibsen
McFarlane, James. (Editor) The Cambridge Companion to Ibsen. Cambridge University Press, 1994.
ISBN-13: 978-0521411661
Ibsen, Henrick. Complete Major Prose Plays. Faber and Faber, Ltd. ISBN-13: 978-0571120079
George Bernard Shaw
Holroyd, Michael. Bernard Shaw: Volume 1: The Search for Love 1856-1898. Random House, UK,
1988. ISBN-13: 978-0701133320
Holroyd, Michael. Bernard Shaw: Volume 2: The Pursuit of Power 1898-1918. Random House, UK,
1989. ISBN-13: 978-0701133504
Eugene O'neill
Manheim, Michael. (Editor) The Cambridge Companion to Eugene O'Neill. Cambridge University Press,
1998. ISBN-13: 978-0521553896
O'Neill, Eugene. Collected Plays of Eugene O'Neill. Trafalgar Square Publishing. ISBN-13: 9780224025355
Acting Theories
Shurtleff, Michael. Audition (Revised Edition). Bantam Books, 1979. ISBN-13: 978-0553272956
Hagen, Uta. Respect for Acting. Wiley Publishing, 1973. ISBN-13: 978-0025473904
Spolin, Viola. Improvisation for the Theatre. Northwestern University Press, 1983. ISBN-13: 9780810110007
176
Johnstone, Keith. Impro: Improvisation and the Theatre. Methuen Drama, 2008. ISBN-13: 9780713687019
Brook, Peter. The Empty Space. Penguin Classics, 2008. ISBN-13: 978-0141189222
Hagen, Uta. A Challenge for the Actor. Scribner, 1991. ISBN-13: 978-0684190402
Rolfe, Bari. Behind the Mask. Personabooks, 1977. ISBN-13: 978-0932456014
LeCoq, Jacques. The Moving Body: Le Corps Poetique. Methuen Drama, 2002.
Linklater, Kristin. Freeing the Natural Voice (Revised 2nd Edition). Nick Hern Books, 2006.
Berry, Cicely. Voice and the Actor - New Edition. John Wiley & Sons, 1991. ISBN-13: 978-0020415558
Atkinson, Rita L.; Atkinson, Richard C.; Smith, Edward E.; Bem, Daryl J.; Nolen-Hoeksema, Susan.
Hilgard's Introduction to Psychology - Thirteenth Edition. Harcourt, 1999. ISBN-13: 978-0155080447
Callow, Simon. Acting in Restoration Comedy. Hal Leonard Music Books, 1997. ISBN-13: 9781557831194
Campbell, Joseph. The Hero with a Thousand Faces. Princeton University Press, 1972. ISBN-13: 9780691017846
Rudlin, John. Commedia dell’Arte: An Actor’s Handbook. Routledge, London, 1994. ISBN-13: 9780415047708
Artaud, Antonin. (Translated by Corti, Victor) Theatre and Its Double. Oneworld Classics, 2009. ISBN13: 978-1847490780
Plunka, Gene A,, Editor. Antonin Artaud and the Modern Theater. Fairleigh Dickinson University Press,
1994. ISBN-13: 978-0838635505
Bogart, Ann and Landau, Tina. The Viewpoints Book: A Practical Guide to Viewpoints and Composition.
Theatre Communications Group, 2005. ISBN-13: 978-1559362412
Caux, Patrick and Gilbert, Bernard. Ex Machina: Chantiers D’Ecriture Scenique. Septentrion, 2007.
ISBN-13: 978-289445286
Chekhov, Michael. To the Actor On the Technique of Acting. Routledge, 2002. ISBN-13: 9780415258760
Leeper, Janet. Edward Gordon Craig: Designs for the Theatre. Ams Press, Inc., 1983. ISBN-13: 9780404201555
Grotowski, Jerzy Towards a Poor Theatre. Heinemann, 1976. ISBN-13: 978-0413349101
LeCoq, Jacques. The Moving Body: Le Corps Poetique. Methuen Drama, 2002. ISBN-13: 9780413752607
Esslin, Martin. Theatre of the Absurd. Vintage, 2004.ISBN-13: 978-0140552286
Cameron, Julia. (2002) The Artist's Way: A Spiritual Path to Higher Creativity. Jeremy P.
Tarcher/Putnam
Edwards, Betty (1999) Drawing on the right Side of the Brain. Tarcher; Rev Exp edition.
Styles
Congreve, William. The Way Of The World
Goldsmith, Oliver. She Stoops To Conquer
Sheridan, Richard Brinsley. School For Scandal
Wycherley, William. The Country Wife
Molière. Tartuffe
Feydeau, Georges. The Lady From Maxim's
Orton, Joe. What The Butler Saw
Frayn, Michael. Noises Off
Wood, Mrs. Henry. East Lynne
177
W.W. Pratt. Ten Nights In A Barroom
Pitt, George Dibdin. Sweeney Todd, The Demon Barber Of Fleet Street
Aiken, George. Uncle Tom's Cabin (The dramatization of Harriet Beecher Stowe's novel.)
Recommended Musical Soundtracks (CDs)
Ain’t Misbehavin’ (1978 Original Broadway Cast) CD. RCA Victor Broadway, 1978. ASIN:
B000002W45
Allegro (First Complete Recording) CD. Sony Classics, 2009. ASIN: B001L5DSP2
Annie (1977 Original Broadway Cast) CD. Sony, 1977. ASIN: B00000AG6Z
Annie Get Your Gun (1946 Original Broadway Cast) CD. Decca U.S., 1946. ASIN: B00004VVZX
Annie Get Your Gun (1999 Broadway Revival Cast) CD. Angel Records, 1999. ASIN: B00000ID42
Anyone Can Whistle (1964 Original Broadway Cast) CD. Sony, 2003. ASIN: B0000996G0
Anything Goes – The New Broadway Cast Recording CD. RCA Victor Broadway, 1999. ASIN:
B000002WBK
Applause CD. Decca U.S., 1970. ASIN: B00004ZDV0
The Apple Tree CD. Sony, 1966. ASIN: B0000027WD
As Thousands Cheer: The Hit Musical Comedy Revue! CD. Varese Sarabande, 1998. ASIN:
B00000IKV0
Aspects of Love CD. Decca Broadway, 1989. ASIN: B000BT7I78
Avenue Q CD. RCA Victor Broadway, 2003. ASIN: B0000BZK1R
Babes in Arms CD. DRG, 1999. ASIN: B00002EQ6J
The Baker’s Wife CD. Take Home Tunes!, 1976. ASIN: B00006AWJM
Barnum CD. Sony, 1980. ASIN: B000067AS2
Bells Are Ringing (1956 Original Broadway Cast) CD. Sony, 1957. ASIN: B00005ARE0
Bells Are Ringing (2001 Revival Broadway Cast) CD. Varese Sarabande, 2001. ASIN: B00005LNGT
Bernarda Alba (2006 Original Off-Broadway Cast) CD. Ghostlight, 2006. ASIN: B000FJA9Y8
The Best Little Whorehouse in Texas CD. Varese Sarabande, 2001. ASIN: B00005LZSJ
Big River: The Adventures of Huckleberry Finn (1985 Original Broadway Cast) CD. Decca U.S., 1985.
ASIN: B000002O4T
Bloomer Girl (1944 Original Broadway Cast) CD. Decca U.S., 1944. ASIN: B00005A8KD
The Boy Friend (1954 Original Broadway Cast) CD. RCA Victor Broadway, 1954. ASIN: B000003EV4
The Boys From Syracuse (1997 Studio Cast) CD. Drg, 1997. ASIN: B000000PL8
Brigadoon (1991 London Studio Cast) CD. Angel Records, 1992. ASIN: B000002SK0
Brigadoon (1947 Original Broadway Cast) CD. RCA Victor Broadway, 1947. ASIN: B000002W1D
By Jupiter (1967 Off-Broadway Cast) CD. Drg, 2007. ASIN: B000U1ZIQU
Bye Bye Birdie (1960 Original Broadway Cast) CD. Sony, 1960. ASIN: B00004THM0
Cabaret (Original Broadway Cast) CD. Sony, 1998. ASIN: B000007OHR
Cabaret: The New Broadway Cast Recording (1998 Broadway Revival) CD. RCA Victor Broadway,
1998. ASIN: B000007QGL
Call Me Madam (1995 Broadway Concert Cast) CD. Drg, 1995. ASIN: B000000PKX
Camelot (Original Broadway Cast) CD. Sony, 1960. ASIN: B000007OHW
Candide (1974 Broadway Revival Cast) CD. Sony, 2006. ASIN: B000GRTQR0
178
Carnival (1961 Original Broadway Cast) CD. Decca Broadway, 1989. ASIN: B000001FPZ
Carousel (Original Cast Album) CD. MCA Classics, 1945. ASIN: B00000DWC3
Carousel (1994 Broadway Revival Cast) CD. Angel Records, 1994. ASIN: B000002SL0
Carousel (1993 London Cast Recording) CD. RCA Victor Broadway, 1994. ASIN: B000003FO6
A Catered Affair (Original Broadway Cast Recording) CD. P.S. Classics, 2008. ASIN: B00170LCOA
Cats: Complete Original Broadway Cast Recording (1982 Original Broadway Cast) CD. Decca
Broadway, 2006. ASIN: B000BSM28E
Chess CD. Decca Broadway, 1996. ASIN: B000002GLR
Chicago – A Musical Vaudeville (1975 Original Broadway Cast) CD. Arista, 1996. ASIN: B000002VSP
Chicago – The Musical (1996 Broadway Revival Cast) CD. RCA Victor Broadway, 1996. ASIN:
B000003G7W
A Chorus Line (1975 Original Broadway Cast) CD. Sony, 1998. ASIN: B000007OHY
A Chorus Line – The New Broadway Cast Recording (2006 Broadway Cast Revival) CD. Sony, 2006.
ASIN: B000HEZF8Q
City of Angels CD. Sbme Special Mkts., 2008. ASIN: B0012GMZ5Y
The Color Purple (2005 Original Broadway Cast) CD. Angel Records, 2006. ASIN: B000C1ZFA2
Company (1970 Original Broadway Cast) CD. Sony, 1998. ASIN: B00000DHSN
Company (2006 Broadway Revival Cast) CD. Nonesuch, 2007. ASIN: B000LV6R4G
A Connecticut Yankee CD. Decca, 2001. ASIN: B00005A8KC
The Cradle Will Rock: Original 1985 Cast Recording CD. Jay Records, 1999. ASIN: B00000IXJH
Crazy For You – Original London Cast Recording CD. RCA Victor Broadway, 1993. ASIN:
B000003FNY
Curtains (2007 Original Broadway Cast) CD. Manhattan Records, 2007. ASIN: B000PC1QKQ
Dames at Sea (1968 Original Off-Broadway Cast) CD. Sony, 1992. ASIN: B0000027WI
Damn Yankees (1955 Original Broadway Cast) CD. RCA Victor Broadway, 1990. ASIN: B000002W65
Damn Yankees: 1994 Original Broadway Cast Recording CD. Decca Broadway, 1994. ASIN:
B000001E4U
Debbie Does Dallas (2002 Off-Broadway Cast) CD. Ghostlight, 2003. ASIN: B00007MB7Y
Disney’s Beauty and the Beast CD. Walt Disney Records, 1994. ASIN: B00000DT8E
Disney’s The Little Mermaid CD. Disney, 2008. ASIN: B000Y0CYBE
Do I Hear a Waltz? (1965 Original Broadway Cast) CD. Sony, 1992. ASIN: B0000027WA
Do Re Mi (1999 Broadway Revival Cast) CD. Drg, 1999. ASIN: B00000K2CW
Dreamgirls CD. Decca Broadway, 2006. ASIN: B000JJRWQC
Dreamgirls in Concert (2001 Concert Cast) CD. Nonesuch, 2002. ASIN: B00005Y4P4
The Drowsy Chaperone (2006 Original Broadway Cast) CD. Ghostlight, 2006. ASIN: B000FJA9YI
Evita: An Opera Based On The Life Story Of Eva Peron 1919-1952 (1976 Studio Cast) CD. Decca U.S.,
1976. ASIN: B000002P4G
Fanny: A New Musical (1954 Original Broadway Cast) CD. RCA, 1996. ASIN: B000003FUB
The Fantasticks (Original 1960 Off-Off-Broadway Cast) CD. Decca Broadway, 1960. ASIN:
B00004STPR
Fiddler on the Roof (1964 Original Broadway Cast) CD. RCA Victor Broadway, 1964. ASIN:
B000002WB3
Fiddler on the Roof (2004 Broadway Revival Cast) CD. P.S. Classics, 2004. ASIN: B00023GFYK
179
Fifty Million Frenchmen (1991 Studio Cast) CD. New World Records, 1992. ASIN: B0000030H8
Finian’s Rainbow (2004 Off-Broadway Concert Cast) CD. Ghostlight, 2004. ASIN: B000641A7C
Fiorello! (1959 Original Broadway Cast) CD. Angel Records, 1993. ASIN: B000002SOJ
First Lady Suite – A Musical (Premiere Recording) CD. P.S. Classics, 2003. ASIN: B00008BL61
Five Guys Named Moe: 1992 Original Broadway Cast Recording CD. Sony, 1992. ASIN: B0000028SQ
Florodora (1899 Original London Cast) CD. Pearl, 1993. ASIN: B000000WYT
Flower Drum Song CD. Drg, 2003. ASIN: B00007G77A
Floyd Collins (1996 Original Off-Broadway Cast) CD. Nonesuch, 1997. ASIN: B000005J4F
Follies in Concert (1985 Live Performance) CD. RCA Victor Broadway, 1990. ASIN: B000002WB6
42nd Street (1980 Original Broadway Cast) CD. RCA Victor Broadway, 1980. ASIN: B000002W5Y
42nd Street (2001 Broadway Revival Cast) CD. Atlantic / Wea, 2001. ASIN: B00005K9KC
Funny Face CD. Phantom Sound & Vision, 2008. ASIN: B0019H9WCK
Funny Girl (1964 Original Broadway Cast) CD. Angel Records, 1992. ASIN: B000002SNJ
A Funny Thing Happened on the Way to the Forum (1962 Original Broadway Cast) CD. Angel Records,
1993. ASIN: B000002SOA
A Funny Thing Happened on the Way to the Forum (1996 Broadway Revival Cast) CD. Angel Records,
1996. ASIN: B000002SJO
Gentlemen Prefer Blondes (1949 Original Broadway Cast) CD. Sony, 1991. ASIN: B0000027TD
Godspell CD. Arista, 1971. ASIN: B000002VDC
Grand Hotel: The Musical – Broadway Cast Recording CD. RCA Victor Broadway, 1992. ASIN:
B000003FBP
Grease: A New 50's Rock 'N Roll Musical - The Original Broadway Cast Album CD. Polydor / Umgd,
1972. ASIN: B000001FG6
Grease - The New Broadway Cast Recording (1994 Revival) CD. RCA Victor Broadway, 1994. ASIN:
B000003FRJ
Greenwillow (1960 Original Broadway Cast) CD. Drg, 1960. ASIN: B000000PIL
Grey Gardens – The Musical CD. P.S. Classics, 2006. ASIN: B000G75A9I
Guys & Dolls: A Decca Broadway Original Cast Recording (1950 Original Broadway Cast) CD. Decca
Broadway, 2000. ASIN: B00004U0QI
Gypsy - A Musical Fable (1959 Original Broadway Cast) CD. Sony, 1999. ASIN: B00000J28I
Gypsy (1962 Film Soundtrack) CD. Rhino / Wea, 2003. ASIN: B0000DZ3CN
Gypsy (1989 New York Revival) CD. Nonesuch, 1990. ASIN: B000005J09
Gypsy (1993 TV Soundtrack) CD. Atlantic / Wea, 1993. ASIN: B000002IXD
Gypsy (1973 Original London Cast) CD. RCA Victor Broadway, 1974. ASIN: B000003F2A
Gypsy (2003 Broadway Revival Cast) CD. Angel Records, 2003. ASIN: B0000AKY5G
Gypsy (2008 Original Broadway Cast) CD. Time Life Entertainment, 2008. ASIN: B001CHFM12
Hair (Deluxe Edition) (1968 Original Broadway Cast and 1967 off Broadway Cast) CD. RCA Victor
Broadway, 2003. ASIN: B0000DZ3IC
Hairspray (2002 Original Broadway Cast) CD. Sony, 2002. ASIN: B00006AALQ
Hello Again (1994 Original Broadway Cast) CD. RCA Victor Broadway, 1994. ASIN: B000003FQP
Hello, Dolly! (1964 Original Broadway Cast) (Deluxe Edition) CD. RCA Victor Broadway, 2003. ASIN:
B000099SZ0
High Button Shoes (1947 Original Broadway Cast) CD. RCA, 1996. ASIN: B0000038OX
180
High School Musical CD. Walt Disney Records, 2006. ASIN: B000F8DT5A
How to Succeed in Business Without Really Trying: New Broadway Cast Recording CD. RCA, 1995.
ASIN: B000003FXB
I Do! I Do! (1966 Original Broadway Cast) CD. RCA Victor Broadway, 1966.
I Love You, You’re Perfect, Now Change! (1996 Original Off-Broadway Cast Recording) CD. Varese
Sarabande, 1996. ASIN: B000001508
I’m Getting My Act Together and Taking It on the Road (1978 Original off-Broadway Cast) CD.
Fynsworth Alley, 1979. ASIN: B000ERJEJ2
In the Heights (Original Broadway Cast) CD. Ghostlight, 2008. ASIN: B0016CGNZM
Into the Woods (1987 Original Broadway Cast) CD. RCA, 2007. ASIN: B0009A40MA
Into the Woods (2002 Broadway Revival Cast) CD. Nonesuch, 2002. ASIN: B000067G5Z
Irene (1973 Broadway Revival Cast) CD. Sony, 1992. ASIN: B00000250Q
Jelly’s Last Jam (1992 Original Broadway Cast) CD. Decca Broadway, 1992. ASIN: B000001DU2
Jerome Robbins’ Broadway: Original Broadway Cast Recording CD. RCA, 1989. ASIN: B000003EVP
Jersey Boys (2005 Original Broadway Cast Recording) CD. Rhino / Wea, 2005. ASIN: B000BFH2QY
Jesus Christ Superstar CD. MCA Records, 1970. ASIN: B000002OCS
Jumbo (1962 Film Soundtrack) CD. Collectables, 1962. ASIN: B00005KHFI
The King and I (1996 Broadway Revival Cast) CD. Varese Sarabande, 1996. ASIN: B0000014ZZ
Kismet (1953 Original Broadway Cast) CD. Sony, 1953. ASIN: B00004THLY
Kiss Me, Kate (1948 Original Broadway Cast) CD. Sony, 1998. ASIN: B000007OHT
Kiss Me, Kate (1999 Broadway Revival Cast) CD. Drg, 2000. ASIN: B00003OP0U
Kiss of the Spider Woman: The Musical - Original Cast Recording (Original London Cast) CD. RCA
Victor Broadway, 1993. ASIN: B000003FFR
Knickerbocker Holiday CD. Aei, 1995. ASIN: B000000N5I
La Cage aux Folles: The Broadway Musical (1983 Original Broadway Cast) CD. RCA Victor Broadway,
1983. ASIN: B000002W77
Lady in the Dark (1997 Original London Cast) CD. Jay Records, 1998. ASIN: B000006PVR
The Last 5 Years (2002 Off-Broadway Cast) CD. Ghostlight, 2002. ASIN: B000065CXP
Leave It to Jane (1958 Off-Broadway Revival) CD. Aei, 1997. ASIN: B000000N66
Legally Blonde (2007 Original Broadway Cast) CD. Ghostlight, 2007. ASIN: B000R7I3NW
Les Miserables Original London Cast CD. Red Ink, 1985. ASIN: B0002E5L5S
Les Miserables Complete Symphonic Recording CD. Red Ink, 2004. ASIN: B0002E5L62
Les Miserables (1987 Original Broadway Cast) CD. Decca U.S., 1990. ASIN: B000000OQI
Les Miserables 10th Anniversary Concert at Royal Albert Hall CD. Red Ink, 1996. ASIN: B0002E5O9G
The Light in the Piazza (2005 Original Broadway Cast) CD. Nonesuch, 2005. ASIN: B0009A1AQE
Li’l Abner (1956 Original Broadway Cast) CD. Sony, 2002. ASIN: B000067ARR
The Lion King (1997 Original Broadway Cast) CD. Walt Disney Records, 1997. ASIN: B000001M1B
Little Me: The New Broadway Cast Recording (1999 Revival) CD. Varese Sarabande, 1999. ASIN:
B00000I8KV
A Little Night Music (1973 Original Broadway Cast) CD. Sony, 1998. ASIN: B00000DHSO
Little Shop of Horrors: Original Cast Album (1982 Off-Broadway Cast) CD. Decca U.S., 1992. ASIN:
B000000OMF
181
Little Women The Musical (2005 Original Broadway Cast) CD. Ghostlight Records, 2005. ASIN:
B000929ABY
Lost in the Stars (1949 Original Broadway Cast) CD. Decca U.S., 2001. ASIN: B000002OGX
Mame (1966 Original Broadway Cast) CD. Sony, 1966. ASIN: B00000J28R
Mamma Mia! The Musical Based on the Songs of ABBA: A Decca Broadway Original Cast Recording
(1999 London Cast) CD. Decca Broadway, 2000. ASIN: B000031WEN
Man of La Mancha (2002 Broadway Revival Cast) CD. RCA Victor Broadway, 2003. ASIN:
B00007GZM1
March Of The Falsettos (1981 Original Off-Broadway Cast) / Falsettoland (1990 Off-Off-Broadway
Cast) CD. Drg, 1992. ASIN: B000000PIO
Marie Christine (1999 Broadway Cast) CD. RCA Victor Broadway, 2000. ASIN: B00004SBUT
Me and Juliet (1953 Original Broadway Cast) CD. RCA, 1953. ASIN: B000003FDT
Me and My Girl (1986 Original Broadway Cast) CD. Decca U.S., 1986. ASIN: B000002O57
Meredith Willson's The Music Man (2000 Broadway Revival Cast) CD. Q Records, 2000. ASIN:
B00004TJ9M
The Merry Widow CD. Deutsche Grammophon, 1995. ASIN: B000001GMA
Mexican Hayride (1944 Original Broadway Cast) CD. Decca Broadway, 2004. ASIN: B0002VESQY
Miss Saigon CD. Phantom Sound & Vision, 1998. ASIN: B000026YNN
Monty Python’s Spamalot (2005 Original Broadway Cast) CD. Decca Broadway, 2005. ASIN:
B0007OY2TE
The Most Happy Fella (1956 Original Broadway Cast) CD. Sony, 1991. ASIN: B0000027TC
The Music Man (1957 Original Broadway Records) CD. Angel Records, 1992. ASIN: B000002SNL
My Fair Lady (1956 Original Broadway Cast) CD. Sony, 2002. ASIN: B000067AS1
My One and Only (1983 Original Broadway Cast) CD. Atlantic / Wea, 1983. ASIN: B000002IGJ
The Mystery Of Edwin Drood: The Solve-It-Yourself Broadway Musical (1985 Original Broadway Cast)
CD. Varese Sarabande, 1985. ASIN: B0000014WF
Myths and Hymns (1998 Off-Broadway Cast, Originally Saturn Returns) CD. Nonesuch, 1999. ASIN:
B00000IQ5N
A New Brain (1998 Original Cast) CD. RCA Victor Broadway, 1998. ASIN: B00000ADLO
New Girl In Town (1957 Original Broadway Cast) CD. RCA, 1957. ASIN: B000003FO2
Nine (1982 Original Broadway Cast) CD. Sony, 2003. ASIN: B0000996FQ
Nine – The Musical (2003 Broadway Revival Cast) CD. P.S. Classics, 2003. ASIN: B00008Z1NB
No, No, Nanette - The New 1925 Musical (1971 Broadway Revival Cast) CD. Sony, 1999. ASIN:
B00000J28N
No Strings (1962 Original Broadway Cast) CD. Drg, 2004. ASIN: B0002739QS
Of Thee I Sing / 1952 O.C.R. CD. Drg, 1952. ASIN: B0000658H7
Oh, Kay! (1994 Studio Recording) CD. Nonesuch, 1995. ASIN: B000005J3C
Oklahoma! (Original 1943 Broadway Cast) CD. Mca, 1955. ASIN: B000002ONS
Oklahoma! (1955 Film Soundtrack) CD. Angel Records, 2001. ASIN: B00005A7XB
Oklahoma! (1998 London Cast) CD. First Night Records, 1999. ASIN: B00002EPLJ
Oliver! (Deluxe Edition) (1963 Original Broadway Cast) CD. RCA Victor Broadway, 2003. ASIN:
B0000996JO
182
On a Clear Day You Can See Forever: The Original Broadway Cast Recording CD. RCA Victor
Broadway, 1993. ASIN: B000003F50
On the Town (1995 Studio Cast) CD. Jay Records, 1996. ASIN: B000005BGI
On the Twentieth Century (1978 Original Broadway Cast) CD. Sony, 1991. ASIN: B0000025D2
On Your Toes (1983 Broadway Revival Cast) CD. Jay Records, 2002. ASIN: B000067ASW
Once on This Island (1990 Original Broadway Cast) CD. RCA Victor Broadway, 1990. ASIN:
B000003F2N
Once Upon a Mattress (1959 Original Broadway Cast) CD. Decca U.S. ASIN: B000002ONH
110 in the Shade (1963 Original Broadway Cast) CD. RCA, 1963. ASIN: B000002W1L
110 in the Shade (2007 Broadway Revival Cast) CD. P.S. Classics, 2007. ASIN: B000PMG9GW
One Touch of Venus (1943 Original Cast) / Lute Song (1946 Original Cast) [2 on 1] CD. MCA, 1996.
ASIN: B000002OYO
Pacific Overtures (1976 Original Broadway Cast) CD. RCA Victor Broadway, 1990. ASIN:
B000002W6P
Paint Your Wagon: Original Broadway Cast CD. RCA Victor Broadway, 1951. ASIN: B000003EWD
The Pajama Game (1954 Original Broadway Cast) CD. Sony, 2000. ASIN: B00004THLZ
Pal Joey (1950 Studio Cast) CD. Sony, 2003. ASIN: B0000996FF
Parade (1998 Original Broadway Cast) CD. RCA Victor Broadway, 1998. ASIN: B00000IMFL
Passion (1994 Original Broadway Cast) CD. Angel Records, 2002. ASIN: B000002SLC
Peter Pan: Original Broadway Cast Recording (1954 New York Cast) CD. RCA Victor Broadway, 1954.
ASIN: B000002W5G
The Phantom of the Opera (Original 1986 London Cast) CD. Decca Broadway, 2001. ASIN:
B00004YTY2
Pins and Needles CD. Sony, 1993. ASIN: B0000029BQ
Pippin (A Decca Broadway Cast Album) CD. Decca, 2000. ASIN: B00004YNGH
The Pirates of Penzance CD. Elektra / Wea, 1998. ASIN: B000002GXE
Porgy and Bess (With Members of the Original Cast) CD. Decca U.S., 1992. ASIN: B000002OJM
The Producers (2001 Original Broadway Cast) CD. Sony, 2001. ASIN: B00005AY6I
Promises, Promises (1968 Original Broadway Cast) CD. Varese Sarabande, 2005. ASIN: B00080EU7G
Raisin (1973 Original Broadway Cast) CD. Sony, 1992. ASIN: B00000252B
Redhead (1959 Original Broadway Cast) CD. Fynsworth Alley, 2003. ASIN: B00008QSC3
Rent (1996 Original Broadway Cast) CD. Dreamworks, 1996. ASIN: B000005ALT
The Roar of the Greasepaint – The Smell of the Crowd (1965 Original Broadway Cast) CD. RCA Victor
Broadway, 1990. ASIN: B000003EZ6
Roberta (1952 Studio Cast) CD. Dr, 2005. ASIN: B0007LXP5E
Rodgers and Hammerstein’s South Pacific (The New Broadway Cast) CD. Sony Classics, 2008. ASIN:
B0017I1G0W
The Secret Garden (1991 Original Broadway Cast) CD. Sony, 1991. ASIN: B000002862
Seussical: The Musical (Original Cast Recording) CD. Decca Broadway, 2001. ASIN: B000056QFG
1776 (1969 Original Broadway Cast) CD. Sony, 1992. ASIN: B0000027WJ
She Loves Me (1963 Original Broadway Cast) CD. Decca Broadway, 1990. ASIN: B000001FM8
She Loves Me: The New Broadway Cast Recording (1993 Revival) CD. Varese Sarabande, 1993. ASIN:
B0000014U0
183
Shenandoah (1975 Original Broadway Cast) CD. RCA Victor, 1975. ASIN: B000002W5I
The Ultimate Show Boat, 1928 - 1947 (Original, Revival and Studio Cast Anthology) CD.
Show Boat (1993 Toronto Revival Cast) CD. Quality Video, 1994. ASIN: B000001ZB9
Silk Stockings (1957 Film Soundtrack) CD. Rhino / Wea, 2002. ASIN: B000063NCI
Song and Dance: The Songs - Original Broadway Cast Recording CD. RCA Victor Broadway, 1985.
ASIN: B000003FY5
Song of Norway (1944 Original Cast) CD. Decca Broadway, 2004. ASIN: B00023GFS6
Songs For a New World (1996 Original New York Cast) CD. RCA Victor Broaday, 1997. ASIN:
B000003G5U
The Sound of Music (1959 Original Broadway Cast) CD. Sony, 1959. ASIN: B00000AG6Y
South Pacific (1949 Original Broadway Cast) CD. Sony, 1949. ASIN: B00000DHSL
Starlight Express CD. Decca Broadway, 2005. ASIN: B000BSM298
Stop the World – I Want to Get Off! (1995 London Cast) CD. Jay Records, 1995. ASIN: B000005BGN
Street Scene (1989 English National Opera Cast) CD. Jay Records, 1996. ASIN: B000005BGJ
Strike Up the Band (1990 Studio Cast) CD. Nonesuch, 1991. ASIN: B000005J11
Sunday in the Park with George (1984 Original Broadway Cast) CD. RCA, 2007. ASIN: B0009A40KW
Sunday in the Park with George (2006 London Revival Cast) CD. P.S. Classics, 2006. ASIN:
B000EZ9048
Sunset Boulevard (1993 Original London Cast) CD. Decca Broadway, 1996. ASIN: B000001E3D
Sunset Boulevard (Original Canadian Cast Recording) CD. Universal / Polygram, 1996. ASIN:
B000007603
Sunset Boulevard (1994 Los Angeles Cast) CD. Decca Broadway, 1994. ASIN: B000001E6V
Sweeney Todd, the Demon Barber of Fleet Street (1979 Original Broadway Cast) CD. RCA, 2007. ASIN:
B0009941IE
Sweeney Todd (2005 Broadway Revival Cast) CD. Nonesuch, 2006. ASIN: B000CRR3P6
They’re Playing Our Song – Original Broadway Cast CD. Decca Broadway, 1990. ASIN: B000001FEH
The Thing About Men (2003 Off-Broadway Cast) CD. Drg, 2004. ASIN: B0001JXPA2
This Is the Army (1943 Film) CD. Warner Bros. Pictures, 1943. ASIN: B000007PFG
The Threepenny Opera (1994 London Donmar Warehouse Cast) CD. Jay Records, 1997. ASIN:
B000005BGU
The Who’s Tommy: Original Cast Recording (1992 Broadway Revival) CD. RCA Victor Broadway,
1993. ASIN: B000003FLC
Thoroughly Modern Millie (2002 Original Broadway Cast) CD. RCA Victor Broadway, 2003. ASIN:
B000066B4Y
A Tree Grows in Brooklyn (1951 Original Broadway Cast) CD. Sony, 1991. ASIN: B0000027TE
The 25th Annual Putnam County Spelling Bee (2005 Original Broadway Cast) CD. Ghostlight Records,
2005. ASIN: B0009A1AMS
Two Gentlemen of Verona (1971 Original Broadway Cast) CD. Decca Broadway, 2002. ASIN:
B000066C1O
The Unsinkable Molly Brown (1960 Original Broadway Cast) CD. Angel Records, 1993. ASIN:
B000002SO6
Victor/Victoria (1995 Original Broadway Cast) CD. Decca Broadway, 1995. ASIN: B0000041E4
West Side Story CD. Sony, 2004. ASIN: B00023GGK8
184
Where’s Charley? (1958 Original London Cast) CD. Angel Records, 1958. ASIN: B000008M84
Whoopee CD. Jasmine Music, 2000. ASIN: B00004Z3S0
Wicked (2003 Original Broadway Cast) CD. Decca Broadway, 2003. ASIN: B0000TB01Y
The Wild Party (LaChiusa) (2000 Original Broadway Cast) CD. Decca Broadway, 2000. ASIN:
B00004T9VJ
The Wild Party (Original Off-Broadway Cast) CD. RCA Victor Broadway, 2000. ASIN: B00004TY8Y
The Will Rogers Follies: A Life In Revue (1991 Original Broadway Cast) CD. Sony, 1991. ASIN:
B00000283D
Wish You Were Here (1952 Original Broadway Cast) CD. RCA, 1996. ASIN: B000003FZ3
The Wiz - The Super Soul Musical: Original Cast Album (1975 Broadway Cast) CD. Atlantic / Wea,
1975. ASIN: B000002I8P
The Wizard of Oz (1988 London Cast) CD. Jay Records, 1988. ASIN: B00004SBPE
Woman of the Year (1981 Original Broadway Cast) CD. Razor and Tie, 1997. ASIN: B000002ZBL
Wonderful Town (Original 1953 Broadway Cast) CD. Decca U.S., 2001. ASIN: B00005O6KS
Xanadu on Broadway (Original Broadway Cast Recording 2007) CD. P.S. Classics, 2008. ASIN:
B000XUOLKW
You’re a Good Man, Charlie Brown (1999 Broadway Revival Cast) CD. RCA Victor Broadway, 1999.
ASIN: B00000I8B1
Young Frankenstein: The New Mel Brooks Musical CD. Decca Broadway, 2007. ASIN: B000XH7GHU
Zanna Don’t! – A Musical Fairy Tale CD. P.S. Classics, 2003. ASIN: B0000C23I7
Zorba (1968 Original Broadway Cast) CD. Angel Records, 1968. ASIN: B000002SNO
Recommended Movie Musicals (DVDs)
(Alphabetical by Show Title)
“Alexander’s Rag Time Band” DVD. 20th Century Fox, 1938. ASIN: B0002B15RE
“All That Jazz” DVD. 20th Century Fox, 1979. ASIN: B000MNOY0W
“An American In Paris” DVD. Warner Home Video, 1951. ASIN: B001BHI0JE
“Anchors Aweigh” DVD. Warner Home Video, 1945. ASIN: B00143XDYC
“Annie Get Your Gun” DVD. Warner Home Video, 1950. ASIN: B00003CWLI
“Annie” DVD. Sony Pictures, 1982. ASIN: B0000VCZKM
“Anything Goes” DVD. Paramount, 1956. ASIN: B000A6T1I6
“Astaire & Rogers Ultimate Collector's Edition (Flying Down to Rio / The Gay Divorcee / Roberta / Top
Hat / Follow the Fleet / Swing Time / Shall We Dance / Carefree / The Story of Vernon and Irene Castle /
The Barkleys of Broadway)” DVD. Warner Home Video, 1949. ASIN: B000H6SXME
“Babes in Toyland” DVD. Walt Disney Video, 1961. ASIN: B000065V3X
“The Band Wagon” DVD. Warner Home Video, 1953. ASIN: B0007YXPKQ
“The Beggar’s Opera” DVD. Image Entertainment, 1984. ASIN: B00004Y7I5 ASIN: B00004Y7I5
“Bells Are Ringing” DVD. Warner Home Video, 1960. ASIN: B000J40AK2
“Best Foot Forward” DVD. Warner Home Video, 1943. ASIN: B00005JN99
“The Best Little Whorehouse in Texas” DVD. Universal Studios, 1982. ASIN: B0000714BR
“Bird” DVD. Warner Home Video, 1988. ASIN: B0016OM3TA
“Blue Skies” / “Birth of the Blues” DVD. Universal Studios, 1941. ASIN: B00007J5VP
185
“Brigadoon” DVD. Warner Home Video, 1954. ASIN: B0007939NO
“The Buddy Holly Story” DVD. Sony Pictures, 1978. ASIN: B00000K3TX
“The Busby Berkeley Collection (Footlight Parade / Gold Diggers of 1933 / Dames / Gold Diggers of
1935 / 42nd Street)” DVD. Warner Home Video, 1935. ASIN: B000E0OE1M
“Bye Bye Birdie” DVD. Sony Pictures, 1963. ASIN: 0767827651
“Cabaret” DVD. Warner Home Video, 1972. ASIN: B00009Y3L4
“Cabin in the Sky” DVD. Warner Home Video, 1943. ASIN: B000BNTMAA
“Camelot” DVD. Warner Home Video, 1967. ASIN: 6304712944
“Camelot” DVD. Acorn Media, 1982. ASIN: B000NTM9ZM
“Can-Can” DVD. 20th Century Fox, 1960. ASIN: B000ND91YU
“Carefree” DVD. Turner Home Entertainment, 1938. ASIN: B000H6SXSS
“Carmen Jones” DVD. 20th Century Fox, 1954. ASIN: B00005RT38
“Carousel” DVD. 20th Century Fox, 1956. ASIN: B000HT3PFG
“Cat and the Fiddle” DVD. Classicline, 1934. ASIN: B000GERNWS
“Cats – The Musical (Commemorative Edition)” DVD. Universal Studios, 1998. ASIN: B00004XMTJ
“Chitty Chitty Bang Bang” DVD. MGM (Video & DVD), 1968. ASIN: 0792839749
“A Chorus Line” DVD. MGM (Video & DVD), 1985. ASIN: B00008973A
“Cinderella” DVD. Sony Pictures, 1965. ASIN: B00005RYKY
“Rodgers & Hammerstein’s Cinderella” DVD. Walt Disney Video, 1997. ASIN: B00004Z4SE
“Classic Musicals from the Dream Factory, Vol. 1 (Ziegfeld Follies / Till the Clouds Roll By / Three
Little Words / Summer Stock / It’s Always Fair Weather)” DVD. Warner Home Video, 1946. ASIN:
B000EBGE5U
“Classic Musicals from the Dream Factory, Vol. 2 (Hit the Deck / Deep in My Heart / Kismet / Nancy
Goes to Rio / Two Weeks with Love / Broadway Melody of 1938 / Broadway Melody of 1936 / Born to
Dance / Lady Be Good)” DVD. Warner Home Video, 1943. ASIN: B0011FDVEK
“Coal Miner’s Daughter” DVD. Universal Pictures, 1980. ASIN: B0009R1TJ0
“Company” DVD. Image Entertainment, 2007. ASIN: B0014IC31G
“The Cotton Club” DVD. MGM (Video & DVD), 1984. ASIN: B00005IA7Y
“The Country Girl” DVD. Paramount, 1955. ASIN: B0002ERWZ0
“The Court Jester” DVD. Paramount, 1956. ASIN: 079215519X
“Cover Girl” DVD. Sony Pictures, 1944. ASIN: B00009ZPU1
“Daddy Long Legs” DVD. 20th Century Fox, 1955. ASIN: B000BZISTY
“Damn Yankees” DVD. Warner Home Video, 1958. ASIN: B0002Y4TII
“Damsel in Distress” DVD. Warner Home Video, 1937. ASIN: B00005JO2M
“Dancing Lady” DVD. Metro-Goldwyn-Mayer, 1933. ASIN: B000F7CMPO
“Darling Lili” DVD. Paramount, 1970. ASIN: B000ANVPT2
“Dirty Dancing” DVD. Lions Gate, 1987. ASIN: B0000DIXDR
“The Dolly Sisters” DVD. 20th Century Fox, 1945. ASIN: B000EXDS9S
“Down Argentine Way” DVD. 20th Century Fox, 1940. ASIN: B000EXDSA2
“Dubarry Was a Lady” DVD. Warner Home Video, 1943. ASIN: B000O76ZRQ
“Easter Parade” DVD. Warner Home Video, 1948. ASIN: B0007939MU
186
“Eclipse Series 8 - Lubitsch Musicals (The Love Parade / The Smiling Lieutenant / One Hour with You /
Monte Carlo) (Criterion Collection)” DVD. Criterion Collection, 2008. ASIN: B000ZM1MJG
“Evita” DVD. Miramax, 1997. ASIN: 6304806418
“Fame” DVD. Warner Home Video, 1980. ASIN: B00008WJBF
“The Fantasticks” DVD. MGM Video & DVD. ASIN: B000056KE9
“Try to Remember: The Fantasticks” DVD. Zeitgeist Films, 2003. ASIN: B0006SSREC
“Fiddler on the Roof” DVD. MGM (Video & DVD), 1971. ASIN: B000KX0IQS
“Finian’s Rainbow” DVD. Warner Home Video, 1968. ASIN: B0007939M0
“Flower Drum Song” DVD. Universal Studios, 1961. ASIN: B000H1RFPA
“Footloose” DVD. Paramount, 1984. ASIN: B0002JP4L4
“For Me and My Gal” DVD. Warner Home Video, 1942. ASIN: B00005JLU7
“Fosse” DVD. Image Entertainment, 2002. ASIN: B00005UQ8F
“Funny Face” DVD. Paramount, 1957. ASIN: B000RZIGUO
“Funny Girl/Funny Lady” DVD. Sony Pictures, 1975. ASIN: B00070HK24
“A Funny Thing Happened on the Way to the Forum”, DVD. MGM (Video & DVD), 1966. ASIN:
0792844815
“The Gang’s All Here” DVD. 20th Century Fox, 1943. ASIN: B00158K1AA
“Gentlemen Prefer Blondes”, DVD. 20th Century Fox, 1953. ASIN: B000FG65RQ
“Gigi” DVD. Warner Home Video, 1958. ASIN: B001BHI0JY
“The Glenn Miller Story” DVD. Universal Studios, 1954. ASIN: B00008DDRT
“Godspell” DVD. Sony Pictures, 1973. ASIN: 0767827929
“Going My Way” DVD. Universal Studios, 1947. ASIN: B000KJTGHO
“Gold Diggers of Broadway” DVD. Warner Home Video, 1936. ASIN: B001A5ES7K
“The Goldwyn Follies” DVD. MGM Video & DVD, 1938. ASIN: B001PPLINC
“Good News” DVD. Warner Home Video, 1947. ASIN: B00004TZRZ
“Grease / Grease 2 We Go Together 2-pack” DVD. Paramount, 1982. ASIN: B000MX7V6Q
“The Great Caruso” DVD. Castaway Nw UK, 1951. ASIN: B00113902O
“The Great Waltz” DVD. Video Artists Int’l, 1955. ASIN: B0000E1WJ7
“The Great Ziegfeld” DVD. Warner home Video, 1936. ASIN: B00012FXJ0
“Guys and Dolls” DVD. MGM (Video & DVD), 1955. ASIN: 0792844823
“Gypsy” DVD. Warner Home Video, 1962. ASIN: B00004RF86
“Gypsy” DVD. Lions Gate, 1993. ASIN: B00079HZTS
“Hair” DVD. MGM (Video & DVD), 1979. ASIN: 0792841638
“Hallelujah, I’m a Bum” DVD. MGM (Video & DVD), 1933. ASIN: B00005S8KT
“Hans Christian Anderson” DVD. MGM (Video & DVD), 1952. ASIN: B000056H2A
“A Hard Day’s Night” DVD. Miramax Entertainment, 1964. ASIN: B0000542D2
“The Harvey Girls” DVD. Turner Home Entertainment, 1946. ASIN: B00005Y71M
“Hello, Dolly” DVD. 20th Century Fox, 1969. ASIN: B00005JL1P
“High Society” DVD. Warner Home Video, 1956. ASIN: B0015FGCI8
“Hollywood Hotel” DVD. Warner Home Video, 1937. ASIN: B001A5ES7U
“How to Succeed in Business Without Really Trying” DVD. MGM (Video & DVD), 1967. ASIN:
079284484X
187
“The Stephen Sondheim Collection (Into the Woods / Sunday in the Park with George / Follies in Concert
/ Passion / Sweeney Todd in Concert / A Celebration at Carnegie Hall” DVD. Image Entertainment,
1991. ASIN: B0000AKY5I
“I’ll Cry Tomorrow” DVD. Warner Home Video, 1955. ASIN: B000UPMZ30
“In The Good Old Summertime” DVD. Warner Home Video, 1949. ASIN: B0001DCYU0
“Invitation to the Dance” DVD. Metro-Goldwyn-Mayer. ASIN: B001B8QASQ
“It’s Always Fair Weather” DVD. Warner Home Video, 1955. ASIN: B000EBD9RG
“The Jazz Singer (Three-Disc Deluxe Edition)” DVD. Warner Home Video, 1927. ASIN: B00005JKSC
“Jesus Christ Superstar” DVD. Universal Studios, 1973. ASIN: B00028HBIO
“Jolson Sings Again” DVD. Sony Pictures, 1949. ASIN: B00000F5O1
“The Jolson Story” DVD. Sony Pictures, 1946. ASIN: B0000C23T2
“Joseph and the Amazing Technicolor Dreamcoat” DVD. Universal Studios, 2000. ASIN: 0783240287
“Billy Rose’s Jumbo” DVD. Warner Home Video, 1962. ASIN: B0007QS2YI
“Kid Millions” DVD. MGM (Video & DVD), 1934. ASIN: B000BITV0G
“The King & I (50th Anniversary Edition)” DVD. 20th Century Fox, 1956. ASIN: B000HT3PGA
“Lady Sings the Blues” DVD. Paramount, 1973. ASIN: B000B5XOT8
“Les Girls” DVD. Warner Home Video, 1954. ASIN: B00008AOWL
“Les Miserables - The 10th Anniversary Dream Cast in Concert at London's Royal Albert Hall” DVD.
BBC Warner, 1995. ASIN: B00110K62U
“Lillian Russell” DVD. 20th Century Fox, 1940. ASIN: B000K7VHNC
“Li’l Abner” DVD. Paramount, 1959. ASIN: B0007TKGXK
“Little Shop of Horrors” DVD. Warner Home Video, 1986. ASIN: B00004RF8J
“Love Me or Leave Me” DVD. Warner Home Video, 1955. ASIN: B0007QS2ZM
“Love Me Tonight” DVD. Kino Video, 1932. ASIN: B0000UX4V2
“Mame” DVD. Warner Home Video, 1974. ASIN: B000O76ZR6
“Man of La Mancha” DVD. MGM (Video & DVD), 1973. ASIN: B0001AW11A
“Mary Poppins” DVD. Walt Disney Video, 1964. ASIN: B001JRB16U
“Maytime” DVD. 1937. ASIN: B001OIKD3G
“Meet Me In St. Louis” DVD. Warner Home Video, 1945. ASIN: B00005JKGZ
“The Mickey Rooney & Judy Garland Collection (Babes In Arms / Babes on Broadway / Girl Crazy /
Strike Up the Band)” DVD. Warner Home Video, 2007. ASIN: B000RT99FG
“The Mikado” DVD. Acorn Media, 1982. ASIN: 1569383464
“Moon Over Miami” DVD. 20th Century Fox, 1941. ASIN: B000EXDSAC
“The Music Man” DVD. Warner Home Video, 1962. ASIN: B00000F14B
“Meredith Willson’s The Music Man” DVD. ASIN: B0000BWVMQ
“My Favorite Blonde / Star Spangled Rhythm Double Feature” DVD. Paramount Pictures, 1943. ASIN:
B00005UMFB
“Naughty Marietta” DVD. Video Artists Int’l, 1955. ASIN: B0000E1WJ4
“Neptune’s Daughter” DVD. MGM (Video & DVD), 1949. ASIN: B001OIO2TC
“Night and Day” DVD. Warner Home Video, 1946. ASIN: B0001WTWXS
“The Night They Raided Minsky’s” DVD. United Artists, 1968. ASIN: B0014BJ1AY
188
“Rodgers & Hammerstein’s Oklahoma! (London Stage Revival)” DVD. Image Entertainment, 1999.
ASIN: B0000C23HY
“Oliver!” DVD. Sony Pictures, 1968. ASIN: 076781326X
“On A Clear Day You Can See Forever” DVD. Paramount, 1970. ASIN: B0006VXMLM
“On the Avenue” DVD. 20th Century Fox, 1937. ASIN: B0019APR6M
“On the Riviera” DVD. 20th Century Fox, 1951. ASIN: B000ND91Z4
“On the Town” DVD. Warner Home Video, 1949. ASIN: B00143XE1E
“Orchestra Wives” DVD. 20th Century Fox, 1942. ASIN: B000AP04LK
“Paint Your Wagon” DVD. Paramount, 1969. ASIN: B00003CXBX
“The Pajama Game” DVD. Warner Home Video, 1957. ASIN: B0007QS306
“Pal Joey” DVD. Sony Pictures, 1957. ASIN: 0767821807
“Pennies From Heaven” DVD. Columbia Pictures, 1936. ASIN: B00007JMEC
“Pete Kelly’s Blues” DVD. Warner Home Video, 1955. ASIN: B00005JL2Y
“Peter Pan” DVD. GoodTimes, 1960. ASIN: B00000JZHL
“The Pirate” DVD. Warner Home Video, 1948. ASIN: B00005JNA9
“The Pirates of Penzance” DVD. Kultur Video, 1980. ASIN: B00006RCMW
“Poor Little Rich Girl” DVD. 20th Century Fox, 1936. ASIN: 6303095011
“Porgy & Bess” DVD. EMI Classics, 1993. ASIN: B00005LIN0
“Putting It Together: A Musical Review” DVD. Image Entertainment, 2006. ASIN: B000IOM0S8
“Rent: Filmed Live on Broadway” DVD. Sony Pictures, 2009. ASIN: B001LMAKAG
“Rhapsody in Blue” DVD. MGM (Video & DVD), 1945. ASIN: 6302120543
“Rio Rita” DVD. MGM (Warner), 1942. ASIN: 6302265800
“Road to Bali” DVD. Good Times Video, 1952. ASIN: B00005O5J4
“The Road to Hong Kong” DVD. MGM (Video & DVD), 1962. ASIN: 6301978188
“Roberta” DVD. MGM (Video & DVD), 1935. ASIN: 6301978528
“Robin and the 7 Hoods” DVD. Warner Home Video, 1964. ASIN: B00005NVHV
“Roman Scandals” DVD. MGM Entertainment, 1933. ASIN: 0792844785
“Rosalie” DVD. MGM (Warner), 1937. ASIN: 6301978404
“The Rose” DVD. 20th Century Fox, 1979. ASIN: 6303354742
“Rose-Marie” DVD. ClassicLine Brazil, 1936. ASIN: B000XPVHC2
“Rose-Marie” DVD. ClassicLine Brazil, 1954. ASIN: B000Y8UGDY
“Royal Wedding / The Belle of New York” DVD. Good Times Video, 1952. ASIN: B000PAAK4Q
“San Fransisco” DVD. MGM (Warner), 1936. ASIN: 6303354742
“Saturday Night Fever” DVD. Warner Home Video, 1977. ASIN: 0792100085
“Scrooge” DVD. Paramount, 1970. ASIN: B00005NBBJ
“Second Fiddle” DVD. 20th Century Fox, 1939. ASIN: 6302985943
“Seven Brides For Seven Brothers” DVD. MGM (Video & DVD), 1954. ASIN: 630197736X
“She Done Him Wrong” DVD. Universal Studios, 1933. ASIN: 6300186016
“Show Boat” DVD. Warner Home Video, 1951. ASIN: B00004RF9K
“Silk Stockings” DVD. Warner Home Video, 1957. ASIN: B00008AOWJ
“Singin’ in the Rain” DVD. Warner Home Video, 1952. ASIN: B00006DEF9
189
“Star!” DVD. 20th Century Fox, 1968. ASIN: B0001FR54I
“State Fair” DVD. 20th Century Fox, 1945. ASIN: B000AP04O2
“Stormy Weather” DVD. 20th Century Fox, 1943. ASIN: B000BOH922
“The Student Prince” DVD. YDM DVDVideo, 1954. ASIN: B0016BCD7U
“Sun Valley Serenade” DVD. 20th Century Fox, 1941. ASIN: B00005JNFK
“Sweet Charity” DVD. Universal Studios, 1969. ASIN: B00007J5VN
“Sweethearts” DVD. 1938. ASIN: B001OIPZWK
“Take Me Out to the Ballgame” DVD. Warner Home Video, 1949. ASIN: B00143XE28
“Thank Your Lucky Stars” DVD. Warner Home Video, 1943. ASIN: B001KY8JHG
“That Night in Rio” DVD. 20th Century Fox, 1941. ASIN: B000K7VHNM
“There’s No Business Like Show Business” DVD. 20th Century Fox, 1954. ASIN: B000059GEI
“This is the Army” DVD. Echo Bridge Home Entertainment, 2000. ASIN: B000059GEI
“Thoroughly Modern Millie” DVD. Universal Studios, 1967. ASIN: B00005JLIU
“Three Little Words” DVD. MGM (Video & DVD), 1950. ASIN: B000EBD9S0
“Too Many Girls” DVD. RKO Pictures Inc., 1940. ASIN: B000FKU37A
“The Unsinkable Molly Brown” DVD. Warner Home Video, 1964. ASIN: B00004TZS5
“Varsity Show” DVD. Warner Home Video, 1937. ASIN: B001A5ES8O
“Victor/Victoria” DVD. Turner Home Entertainment, 1982. ASIN: B00003CXD9
“Victor/Victoria” DVD. Image Entertainment, 1999. ASIN: B00004RFEZ
“Viva Las Vegas” DVD. Warner Home Video, 1964. ASIN: B000QUUD56
“Weekend in Havana” DVD. 20th Century Fox, 1941. ASIN: B000BZISUI
“Where’s Charley” DVD. ASIN: B00005JO5M
“White Christmas” DVD. Paramount, 1954. ASIN: B000TGJ8BW
“With a Song in My Heart” DVD. 20th Century Fox, 1952. ASIN: B000UZDO3K
“The Wizard of Oz (Two-Disc Special Edition)” DVD. Warner Home Video, 1939. ASIN: B000ADS63K
“Words and Music” DVD. Warner Home Video, 1948. ASIN: B000PAAK5A
“Yankee Doodle Dandy” DVD. Warner Home Video, 1942. ASIN: B00005JKS8
“Yentl” DVD. MGM Entertainment, 1983. ASIN: B001P5HI4A
“You Were Never Lovelier” DVD. Sony Pictures, 1942. ASIN: B0001LJCRA
“You’ll Never Get Rich” DVD. Sony Pictures, 1941. ASIN: B00000F9GK
“Young Man With a Horn” DVD. Warner Home Video, 1950. ASIN: B0007QS30Q
“Ziegfeld Follies” DVD. Warner Home Video, 1946. ASIN: B000EBD9SK
“Ziegfeld Girl” DVD. Warner Home Video, 1941. ASIN: B0001DCYUK
Reference (Alphabetical):
“Andrew Lloyd Webber - The Royal Albert Hall Celebration” DVD. Universal Studios, 1999. ASIN:
B00005NGAE
“The Best of Broadway Musicals – Original Cast Performances from The Ed Sullivan Show” DVD. Sofa,
2003. ASIN: B00009XN5R
“Biography – William Shakespeare: Life of Drama” DVD. A&E Home Video, 2004. ASIN:
B0002V7KTQ
190
“Broadway & Hollywood Legends - The Songwriters Collection (Kander & Ebb / Alan Jay Lerner / E.Y.
Yip Harburg / Sheldon Harnick / Burton Lane / Mitchell Parish / Arthur Schwartz / Charles Strouse)”
DVD. Sunset Home Visual Entertainment / Lance Entertainment, 2004. ASIN: B0001JXPKC
“Broadway's Lost Treasures Collection (Broadway's Lost Treasures 1-3 & The Best of the Tony Awards The Plays)” DVD. Acorn Media, 2006. ASIN: B000EDWLU0
“Charlie Rose with Ann Reinking, Walter Bobbie, Joel Grey & James Naughton (January 9, 1997)”
DVD. Charlie Rose, 1997. ASIN: B000IU35X6
“Gene Kelly: Anatomy of a Dancer” DVD. Warner Home Video, 2002. ASIN: B00006FDCQ
“Hey Mr. Producer!: The Musical World of Cameron Mackintosh” DVD. Well Go Asia, 1999. ASIN:
B000JMKK7W
“The Judy Garland Collection (The Judy Garland, Robert Goulet & Phil Silvers Special / Live at the
London Palladium with Liza Minnelli / The Concert Years / Judy, Frank & Dean Once in a Lifetime)
(2002)” DVD. White Star, 2002. ASIN: B0000714BA
“MGM: When the Lion Roars” DVD. Warner Home Video, 2009. ASIN: B001I2EQUO
“The Making of ‘Miss Saigon’” DVD. A&E (Video & DVD), 1987. ASIN: B000H5U5S0
“Mary Martin and Ethel Merman - Their Legendary Appearance on the Ford 50th Anniversary Show”
DVD. Video Artists Int’l, 1953. ASIN: B0002ERWZA
“Paul Robeson: Here I Stand” DVD. Winstar, 1999. ASIN: B00000JLTO
“P.T. Barnum – The Greatest Showman on Earth” DVD. A&E Home Video, 1999. ASIN: B000E373DU
“Show Business: The Road to Broadway” DVD. Liberation Entertainment, 2007. ASIN: B000UAE7N
“Sondheim: A Celebration at Carnegie Hall / Liza Minnelli, Patti LuPone, Bernadette Peters, Glenn
Close” DVD. Kultur Video, 1993. ASIN: B000JGWD32
“That’s Dancing!” DVD. Warner Home Video, 1985. ASIN: B00005JNIU
“That’s Entertainment! Complete Collection” DVD. Warner Home Video, 1976. ASIN: B0002OXVDW
“The Unknown Marx Brothers” DVD. Winstar, 1993. ASIN: 1572522097
“W.C. Fields: 6 Short Films” DVD. Criterion Films, 1933. ASIN: 1559409053
“You’re The Top: The Cole Porter Story” DVD. Winstar, 1990. ASIN: 1572522399
Recommended Vocal Scores & Vocal Selections
Vocal Selections (Alphabetical by Show Title)
Edwards, Sherman, & Stone, Peter. 1776. ISBN 978-0634082276
John, Elton, & Rice, Tim, Woolverton, Linda, Falls, Robert, & Hwang, David Henry. Aida. ISBN 9780634054204
Berlin, Irving, Fields, Herbert, & Fields, Dorothy. Annie Get Your Gun. ISBN 978-0793508556
Strouse, Charles M, Adams, Lee, Comden, Betty, & Green, Adolph. Applause. ISBN 978-0634057809
Bock, Jerry, & Harnick, Sheldon. The Apple Tree. ASIN: B000JDMRNQ
Wilson, Sandy. The Boyfriend. ASIN: B000S8CNX6
Merrill, Bob, & Stewart, Michael. Carnival. ISBN 978-0769202440
Kuschner, Tony, & Tesori, Jeanine. Caroline, Or Change.
Schwartz, Stephen. Children of Eden. ISBN 978-1423411048
Wildhorn, Frank, Murphy, Jack, & Boyd, Gregory. The Civil War. ISBN 978-1575603537
Sondheim, Stephen, & Furth, George. Company. ISBN 978-0793567638
Gershwin, George, Gershwin, Ira, & Ludwig, Ken. Crazy For You. ISBN 978-1576238677
191
Lambert, Lisa, Morrison, Greg, McKellar, Don, Martin, Bob. The Drowsy Chaperone. ISBN 9781423425656
Schmidt, Harvey, & Jones, Tom. The Fantasticks. ISBN 978-0757900969
Bock, Jerry, Harnick, Sheldon, Weidman, Jerome, & Abbott, George. Fiorello. ASIN: B000OHNYSE
Frankel, Scott, Korie, Michael, & Wright, Doug. Grey Gardens. ISBN 978-1423427025
La Chiusa, Michael John. Hello, Again. ISBN 978-0769280875
Roberts, Jimmy, & DiPietro, Joe. I Love You, You’re Perfect, Now Change!. ISBN 978-0634009334
Porter, Cole, Spewack, Bella, & Spewack, Sam. Kiss Me, Kate. ISBN 978-0881880298
Guettel, Adam, & Lucas, Craig. The Light in the Piazza. ISBN 978-1559362672
Coleman, Cy, Leigh, Carolyn, & Simon, Neil. Little Me. ISBN 978-0769275529
Sondheim, Stephen, & Wheeler, Hugh. A Little Night Music. ISBN 978-1576238400
Flaherty, Stephen, & Ahrens, Lynn. Lucky Stiff. ISBN 978-0769253947
Herman, Jerry, & Stewart, Michael. Mack and Mabel. ISBN 978-0881880946
Flaherty, Stephen, & Ahrens, Lynn. A Man of No Importance. ISBN 978-0757913464
Sondheim, Stephen, & Furth, George. Merrily We Roll Along. ISBN 978-0769259512
Schoenberg, Claude-Michel, Boublil, Alain, & Jr. Maltby, Richard. Miss Saigon. ISBN 9780793519781
Finn, William, & Lapine, James. A New Brain. ISBN 978-0769267302
Rodgers, Mary, Barer, Marshall, & Thompson, Jay. Once Upon A Mattress. ISBN 978-0881881011
Brown, Jason Robert, & Uhry, Alfred. Parade. ISBN 978-0634011757
Bacharach, Burt, David, Hal, & Simon, Neil. Promises, Promises!. ISBN 978-0769209159
Flaherty, Stephen, Ahrens, Lynn, & McNally, Terrence. Ragtime. ISBN 978-1576239551
Newley, Anthony, & Bricusse, Anthony. The Roar of the Greasepaint, the Smell of the Crowd. ISBN
978-0634016974
Simon, Lucy, & Norman, Marsha. The Secret Garden. ISBN 978-0943351681
Flaherty, Stephen, & Ahrens, Lynn. Seussical: The Musical. ISBN 978-0757900914
Brown, Jason Robert. Songs For A New World. ISBN 978-0634035784
Idle, Eric, & DuPrez, John. Spamalot. ISBN 978-1423400042
Shiek, Duncan, & Sater, Stephen. Spring Awakening. ISBN 978-1423431336
Bricusse, Leslie, & Newley, Anthony. Stop the World! I Want To Get Off!. ISBN 978-0634023965
Coleman, Cy, Simon, Neil, & Fields, Dorothy. Sweet Charity. ISBN 978-1423429678
Tesori, Jeanine, Scanlan, Dick, & Morris, Richard. Thoroughly Modern Millie. ISBN 978-1575606163
Weill, Kurt, & Brecht, Bertolt. The Threepenny Opera. ASIN: B000JJMA5A
McDermott, Galt, Guare, John, & Shapiro, Mel. Two Gentlemen of Verona. ASIN: B000J4KBBK
Lippa, Andrew. The Wild Party. ISBN 978-0634021886
Dempsey, John, & Rowe, Dana. The Witches of Eastwick. ISBN 978-0571529971
Vocal Scores (Alphabetical by Show Title)
Finn, William, & Lapine, James. Falsettos. ASIN: B000KD5JOO
Bock, Jerry, Harnick, Sheldon, & Stein, Joseph. Fiddler on the Roof. ISBN 978-0897241090
Guettel, Adam. Floyd Collins. ISBN 978-0634010057
192
Sondheim, Stephen, Shevelov, Burt, & Gelbart, Larry. A Funny Thing Happened on the Way to the
Forum. ISBN 978-0396085997
Loesser, Frank, Burrows, Abe, & Swerling, Jo. Guys and Dolls. 978-0793528721
Kander, John, Ebb, Fred, & Nash, N. Richard. The Happy Time. ASIN: B000F9PY8O
Rome, Harold, & Weidman, Jerome. I Can Get It For You Wholesale. ISBN 978-0370306841
Sondheim, Stephen. Into the Woods. ISBN 978-0897242080
Adler, Richard, Ross, Jerry, Abbott, George, & Bissell, Henry. The Pajama Game. ISBN 9780769263694
Hague, Albert, Fields, Dorothy, & Fields, Herbert. Redhead. ASIN: B0000CWVD3
Sondheim, Stephen, & Lapine, James. Sunday in the Park with George. ISBN 978-0769275505
Sondheim, Stephen, & Wheeler, Hugh. Sweeney Todd. ISBN 978-1576238554
Bernstein, Leonard, Comden, Betty, & Green, Adolph. Wonderful Town. ISBN 978-0634073977
Gesner, Clark, & Gordon, John. You’re A Good Man, Charlie Brown. ISBN 978-0793549702
193
8.2.2 Computer Access
Please note: Sheridan has the largest provincial educational installation of mobile computing with over
50% of the daytime student population (now in excess of 15,000 daytime students) being in possession of
personal laptop computers. Therefore virtually every classroom and every desk across the institution is
furbished with inter and intranet capabilities. The remaining open computer labs, with each desk fully
computer equipped, facilitate the programs that are not considered mobile programs.
The BAA, Music Theatre Performance program is not a program that requires that all students have a
personal laptop computer however; both the open labs as well as all classrooms can be utilized by any
Sheridan student with their own laptop computer. In addition to current open computer laboratories at the
Brampton (Davis), Oakville (Trafalgar) and Oakville (STC) campuses, a further $3,000,000 was spent in
2007-2008 for the first phase of a major expansion to open access computing – a 7,500 square foot, fully
equipped Learning Commons (LC). A further $5,000,000 will be spent in 2008-2009 with the
construction of a similar Learning Commons at Davis Campus, Brampton.
Sheridan practice is to ensure a standard ratio of open access computers for non-mobile students and
adjusts this annually for increased enrollment. Additionally, there are specialized computer labs that are
dedicated to students in specific programs such as English as a Second Language (ELS), CAD labs, MAC
computer labs, etc.
Year
Number of
students
(cumulative)
Number of computers
available to students in
proposed program
Number of computers with
Internet access available to
students in proposed
program
Location of
computers
OnOther
site
(specify)
√
10-11
45
90 Program specific plus
Learning Commons (LC
30 Mac, 200 PC)
Learning Commons (LC 30
Mac, 200 PC)
√
11-12
88
30 Mac, 200 PC)
Mac, 200 PC)
√
12-13
129
30 Mac, 200 PC)
Mac, 200 PC)
√
13-14
166
30 Mac, 200 PC)
Mac, 200 PC)
√
194
8.2.3 Classroom Space
Year
Year 1
Year 2
Year 3
Year 4
Number of students
(cumulative)
45
88
129
166
Number of classrooms
(include seating capacity)
1 recording studio for 8
5 acting and vocal tutorial
rooms for 15
5 acting and vocal studios
for 15
1 technical classroom for 32
3 dance studios for 15
1 lecture hall for 160
3 lecture halls for 120
1 performance theatre for
220
1 black box theatre for 80
rooms for 15
for 15
220
rooms for 15
for 15
220
rooms for 15
for 15
220
New rehearsal /
performance space
Location of Classrooms
On-site √
Other (specify)
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
195
8.2.4 Laboratories/Equipment (where applicable)
Year
#
stud
ents
2010
45
2011
88
2012
129
2013
166
Type and number of labs
6 acting & vocal tutorial room
5 acting & vocal studio
1 technical classroom
2 rehearsal studio
3 dance studio
1 recording studio
1 music technology lab
1 lecture hall
3 lecture hall
1 performance theatre
1 black box theatre
2 rehearsal studio
3 dance studio
1 recording studio
1 lecture hall
3 lecture hall
1 black box theatre
2 rehearsal studio
3 dance studio
1 recording studio
1 lecture hall
3 lecture hall
1 black box theatre
2 rehearsal studio
3 dance studio
1 recording studio
1 lecture hall
3 lecture hall
1 black box theatre
Specifically equipped
workstations and/or
specialized equipment*
#
Ratio of students to
equipment
15
Since every cohort
15
year is broken into
30
sections of 15, ratio of
15
1:1 can be
15
maintained
15
throughout all
20
technology /
160
workstation scenarios
120
through proper
200
timetabling
80
15
15
30
15
15
15
20
160
120
200
80
15
15
30
15
15
15
20
160
120
200
80
15
15
30
15
15
15
20
160
120
200
80
Location of
labs/equipment
Onsite √
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
Other
(specify)
196
Music Technology Lab
197
198
199
200
8.3 Resource Renewal and Upgrading
An annual budget for capital investment to programs on a priority ranking decided by Deans/Vice
President, Academic is established each budget year. These funds are used to provide program specific
special equipment needs, information technology hardware enhancements and classroom technology.
In the budget year 2008-09 Sheridan invested $2.5 million in furniture, fixtures and capital equipment at
the college. $110,000 was invested in providing computing technology for the learning environment in
close to 100 classrooms across all three campuses. A new expanded open access Learning Commons was
opened in September 2008 at the Trafalgar campus. $3.6 million was spent on construction, renovation
and furniture involved in creating the new Learning Commons space. An additional $250,000 was
devoted to adding state of the art equipment and resources directly to the learning environment at the
college. A new Learning Commons is scheduled for September 2009 for the Davis campus in Brampton.
The Learning Commons are in addition to the open computer laboratories at the Brampton and Oakville
(STC) campuses.
Sheridan also maintains a three-year greening schedule for technology in both academic and
administrative areas. Sheridan campuses are fully wireless including dedicated student study rooms and
wireless seating in casual areas at both major campuses. Classroom teaching and learning equipment is
refreshed on a priority need basis. Virtually all classrooms, studios and labs at Sheridan are equipped with
standardized teaching podiums, VCR/DVD combos, data projectors, document cameras and where
necessary, sound systems. Approximately 100 classrooms are full mobile learning facilities with data and
power connections at each student seat in addition to the standard teaching equipment.
The Sheridan library resource has an annual budget allocation of $300,000 for renewal of research
resources, both for text-based and on-line materials. In addition, Sheridan Baccalaureate Degree programs
contribute $150 per year per student to the library funds.
Sheridan is the leader in mobile computing within its curriculum with over 4,500 students possessing
personal laptop computers.
201
8.4 Support Services
Support Service
Academic Advising
Career Counseling
Personal Counseling
Placement
Services for Students with
Disabilities
Tutoring
Other(s) (please specify)
Brief Description of Service (attach additional information as
necessary)
The Student Advisement Center helps with Program Change
Advisement, College Form Completion, College Policy and Procedure
Explanation, General Education and Program Elective Selection,
Orientation and Student Success Programs, Course/Program
Withdrawal Consultation and Transfer Information for Other Programs
and Institutions.
Each program at Sheridan includes faculty release time for academic
advising.
The Career Center is one-stop shopping for academic and career
success, offering tutoring, career planning, and employment services.
Counseling: Sheridan’s professional counselors work with students on
a confidential basis to help them achieve their personal goals.
Consultation is available to any student seeking advice on nonacademic issues on a drop-in or appointment basis.
Co-operative Education: The Co-op Office administers the internships
that are required for successful completion of degree programs.
Disability Services: Staff work in collaboration with students with
disabilities, faculty and support staff to ensure that fair, equitable and
appropriate accommodations are developed and implemented.
The Career Center offers English and Math tutoring free and available
on either a drop-in basis or by appointment.
The International Center provides assistance with processing
international student applications, advice on housing, residence, offcampus housing or home stay, Health Insurance Coverage/claims and
medical referrals, advice on student authorization/visas and extensions,
visa and travel information, immigration regulations regarding co-op
terms, internships or field placements, personal concerns or emergency
situations.
Alumni Association: programs and services for Alumni include
Insurance & Credit Card Affinity Benefit Programs; access to Athletic
Centers, Libraries & Career Services; free parking when visiting
Sheridan; Traditions Magazine twice a year.
Bookstore provides textbooks – new and used, stationary and
professional grade fine art and paper supplies, Sheridan logo clothing,
gifts and backpacks, software, general interest books & magazines,
personal care items.
Cafeteria: Full service cafeteria facilities and vending machines.
Child Care/Preschool: Full-day early childhood programs are available
for children 18 mos. to 5 years of age at Trafalgar Road Campus in
Oakville, the Mississauga Civic Center and on the Davis Campus in
Brampton.
202
Support Service
Brief Description of Service (attach additional information as
necessary)
The Financial Aid Office can assist with Ontario Student Assistance
Program (OSAP), Part-time Canada Student Loan, Canada Study Grant
funding for students with Dependent Children, Ontario Special Bursary
Program Funding, Bursary for Students with Disabilities Funding,
Child-care Bursary Funding, Sheridan Tuition Reinvestment Bursaries,
Ontario Student Opportunity Trust Fund Assistance (OSOTF)
Computing Skills Center provides computer workstations, network
access for mobile computing students, software access, self-serve
username lookup, telephone technical support.
Athletic Therapy Center provides treatments for recreational/sports
injuries.
Athletics and Recreation: Membership to the Athletic Centers is
included with tuition fees.
Sheridan’s Health Centers offer professional health care, lifestyle and
health counseling, and referrals for students.
Sheridan has two Residence buildings, one in Oakville and one at the
Davis Campus in Brampton. Students enjoy the comforts of home with
easy access to all College services and facilities. Both residences are
conveniently located close to many sports and entertainment
opportunities in the Greater Toronto area.
Facilities Management supports and enhances the quality of the
teaching and learning environment by providing a service oriented
approach to maintaining the integrity and efficiency of college
facilities, in a cost effective manner.
203
8.5 Policies on Faculty
Teacher Education Policy for New Faculty approved by Sheridan’s Board of Governors February 16,
2005
Faculty Credentials Policy approved by Sheridan’s Board of Governors January 22, 2003
Evidence of Academic/Professional Credentials approved by Sheridan’s Board of Governors February 27,
2002
Currency of Faculty Knowledge Policy approved by Sheridan’s Board of Governors February 27, 2002
All approved by Ministry with the BAHSc. (Exercise Science & Health Promotion) December 31, 2007
204
Tuition Reimbursement: Advanced Credentials for Faculty
205
206
207
208
8.6 Curriculum Vitae of Faculty Assigned to This Degree Program
8.6.1 CV Release
The college has on file and available for inspection, from all faculty and staff whose CVs are included in
this submission, signatures that attest to the truthfulness and completeness of the information contained in
their CV and agreeing to the inclusion of their curriculum vitae in any documents/web sites associated
with the submission, review and final status of the program application.
209
8.7 Enrolment Projections and Staffing Implications
Staffing Requirements – Projected
Cumulative
Enrolment*
Yr. 1
Yr. 2
Yr. 3
Yr. 4
•
•
•
Full-time
45
88
129
166
Cumulative full-time
faculty equivalents
(F.T.E.)
@18 TCH each
Cumulative parttime faculty
equivalents (P.T.E.)
@ 12 TCH
Add columns for
technical support,
TA’s, etc.
@ 24 hrs / wk
Ratio of
full-time
students/
full-time
faculty
3
5
8
10
1.85
4.16
6.5 + *1
8.8 + *1
2.7 + **.6 = 3.3
2.9 7 + **.6 = 3.57
4.9 7 + **.6 = 5.57
2.9 7 + **.6 = 3.57
15:1
17.6:1
16.1:1
16.6:1
Part-time
Show the method used to calculate cumulative enrolment
*Add 1 PTE @ 12 hrs / week for managing internship
**Add new performance technologist 24hrs / 40 hrs = .6
271
9. Credential Recognition Standard
9.1 Program Design and Credential Recognition
The design of the proposed program has addressed both the theoretical and performance aspect of each of
the disciplines of Acting, Voice and Dance. In order to ensure a holistic approach to learning, for each
discipline students will study theory and history in a lecture format as well as the practical application in a
studio setting. Furthermore, in their first year, students will study research methodology in order to
prepare them for critical inquiry and scholarly writing as they move through the curriculum.
To ensure that student performance and progress are at the appropriate level, the curriculum design
reflects a rigorous approach to evaluation. Student learning is evaluated in a variety of products and
performances that demonstrate their ability to integrate and incorporate theoretical constructs to solve
visual, communication, performance and production problems. Their work must also reflect an
understanding and application of technical and mechanical elements critical to the field.
Current faculty engage in significant professional development processes tied to their work in program
and course development. Degree-level indicators and the theories and tools that address them are the
framework within which all work is generated. New faculty (full- and part-time) engage in formal
professional development processes designed to hone their skills in development and delivery of quality
programs.
The confirmation of relevance and validity from both industry and academic perspectives is addressed in
the annual program self-assessment process, and will be part of a formal review when the program has
completed its first full cycle of implementation.
No graduate programs in Music Theatre Performance of Music Theatre exist in Canada. Of the handful of
such graduate programs that do exist in the United States, the following institutions have confirmed that
they would recognize graduates of Sheridan’s proposed BAA in Music Theatre Performance.
In Canada, the Graduate Program in Creative Arts Therapies (drama) at Concordia University has
confirmed that they would recognize our graduates as candidates for their program.
272
273
274
10. Regulation and Accreditation Standard
10.1 Current Regulatory or Licensing Requirements
275
10.2 Letters of Support from Regulatory/Licensing Bodies
276
11. Program Evaluation Standard
11.1 Periodic Review Policy and Schedule
SHERIDAN
COLLEGE POLICY
NO OF PAGES:
POLICY NO.
TITLE:
Program Review
APPROVED BY:
Academic Council: May 2007
Board of Governors: June 2007
REPLACES POLICY:
Program Review
EFFECTIVE DATE:
September 2007
REVIEW DATE:
September 2010
Policy Statement
Program review is an organized process of collecting and disseminating information to assist the Board,
the administrators and faculty in making judgements about the effectiveness and quality of academic
programs. Sheridan is committed to reviewing its programs regularly to ensure quality and effectiveness.
It is, therefore, the policy of Sheridan College that all Ontario College Certificates, Ontario College
Diplomas, Ontario College Advanced Diplomas, Ontario College Graduate Certificates and Baccalaureate
Degrees granted by Sheridan will conduct an annual self-assessment and a comprehensive formal
program review every five to seven years.
Principles
The purpose of program review is to:
• assist the college with the improvement of academic programs;
• provide assurance to the program clientele, the public, and the ministry, that quality control
procedures are in place;
• provide accumulative results which may indicate trends;
• assess past and recent innovations or changes;
• clarify the role of the program within the institution;
• confirm interest and awareness about the program;
• provide information to other groups as appropriate, e.g. programs and departments affected by the
reviewed area and interested external agencies;
• confirm, promote and improve quality.
This process enables academic programs to make adjustments in response to factors such as industry
needs and feedback from stakeholder groups associated with the program. It also confirms that the
program is aligned with Sheridan’s strategic direction.
Scope
The Program Review Policy applies to all Ontario College Certificates, Ontario College Diplomas,
Ontario College Advanced Diplomas, Ontario College Graduate Certificates and Baccalaureate Degrees
granted by Sheridan.
277
Information And Compliance Plans
Students and faculty members are informed about College policies in a number of ways. By the time a
policy is developed, it has been reviewed by a number of internal operational committees and councils,
Contact:
Department:
Telephone:
905-845-9430, ext. 4061
Related Policies: n/a
Degree: official document of the College issued to students who satisfactorily complete the requirements
of the program, which is normally eight academic semesters and a work placement of no less than four
months. An Ontario College Degree must conform to guidelines determined by the Ministry of Training
Colleges and Universities.
Sheridan Certificate: official document of the College issued to students who satisfactorily complete the
requirements of the program. The requirements of a Sheridan Certificate are determined locally.
Ontario College Certificate: official document of the College issued to students who satisfactorily
complete the requirements of the program, which is normally two academic semesters. An Ontario
College Certificate must conform to guidelines determined by the Ministry of Training Colleges and
Universities.
Ontario College Diploma: official document of the College issued to students who satisfactorily
complete the requirements of the program, which is normally four academic semesters. An Ontario
College Diploma must conform to guidelines determined by the Ministry of Training Colleges and
Universities.
Ontario College Advanced Diploma: official document of the College issued to students who
satisfactorily complete the requirements of the program, which is normally six academic semesters. An
Ontario College Advanced Diploma must conform to guidelines determined by the Ministry of Training
Ontario College Graduate Certificate: official document of the College issued to students who
satisfactorily complete the requirements of the program, which is normally two academic semesters. An
Ontario College Graduate Certificate must conform to guidelines determined by the Ministry of Training
Procedures:
Appendix 1: Program Review Procedure
278
Appendix 1
Program Quality Assurance Review
Procedure
In keeping with the Program Review Policy of Sheridan College Institute of Technology and
Advanced Learning, and to fulfill, in part, the requirements of the Provincial Program Quality
Assurance Process Audit (PQAPA), the following procedure is recommended.
1. Review Teams
a) The Associate Dean for each program will establish a review team for program quality
assurance. Composition will depend on the scope and size of the program; the team will
include:
o a professor external to the School to be the Lead Reviewer
o two or more professors from the program, including the Program Coordinator
and may include
o a professor from English or General Education
b) . The responsibilities of the Lead Reviewer will include the following:
o coordinate team activities
o coordinate data collection
o coordinate communication, including scheduling team meetings as required
o compile data and write the report.
c) Schedule meeting # 1 to orient the team to the Quality Assurance Review process and
initiate document acquisition (see list). Orientation to the process will be conducted by
Professional Development.
Note: Centralized support for the acquisition of data and documentation
throughout the review process will be provided by Institutional Research, the
Office of the Registrar, Human Resources, and others that may be identified by
the Office of Academic Planning & Development.
d) The team will establish a communication plan to ensure that all stakeholders are
informed on an ongoing basis.
e) The team will add elements and key questions to the Data Collection Template as they
deem appropriate.
2
Data Collection
The Data Collection Template lists the elements and key questions to be addressed by the
collected qualitative and quantitative data. Some of these have cross-reference notations to
the PQAPA1 Requirements.
Note: As one of the initial steps, additional elements and key questions should be added
as deemed appropriate by the review team.
Potential sources of aggregate quantitative data and qualitative data include, but are not
limited to:
1
Program Quality Assurance Process Audit (PQAPA), the Provincial audit conducted by Ontario College Credentials Validation
Service (CVS)
279
a) annual performance indicators (KPI’s, application/enrolment data, graduation data)
b) comments and recommendations from program faculty, staff, students, graduates,
members of the program advisory committee, employers
Note: Focus groups or interviews may be identified by the review team as
effective means to gather input (beyond the KPI data) from students, graduates
and employers. PQAPA requires that the review process involve “a variety of
stakeholders, including faculty, students, industry representatives, and others as
appropriate for the purpose of continual quality improvement.”
c) data collected using tools such as questionnaires or surveys provided by Institutional
Research.
d) with the written approval of the students, samples of student work that are presented
with all identifying information eliminated. (Approval forms are available the Office of
Academic Planning & Development.)
e) updated faculty qualifications and experience through Human Resources
f)
course mapping that shows learning outcomes across the curriculum
g) consultation with library staff.
3
The Report
The Report presents the collected information and data in a succinct, objective narrative. The
template assists the report writer (Lead Reviewer) in organizing the information. The key
questions in the document, Elements and Key Question suggest the focus of each section of the
report; the writer will provide appropriate detail on each item as suggested by the key questions
and any other elements and questions that have been added to the review.
Recommendations for improvement and their Implementation form an essential section of the
report. The recommendations should be realistic and achievable, with timelines and
accountability for implementation noted. This final section of the Report will be presented by the
Vice-President Academic to the Board of Governors
See Report Template: Table of Contents for an outline of the Report.
4
Follow-up to the Report
a) Recommendations in the report will steer program planning. Priorities for implementation
will influence budget preparation for future academic years.
b) The next annual review will result in a follow-up report to the Vice-President Academic
detailing the implementation of program modifications/improvements.
280
5
Suggested Timeframe for a Typical Program Quality Assurance Review 2
Month
Action
1. Send notice to programs identified
for full PQA Review (based on
Schedule established by Deans &
Associate Deans)
2. Notify IR, Registrar, HR of programs
scheduled for review
Responsibility
1. Dean, Academic
Planning &
Development
1. Identify Review Teams and Lead
Reviewer prior to SWF preparation
2. Prepare data that will be required
May/June
o Upload data to appropriate team
access site
May/June
1. Provide Review Teams with
orientation to the review process and
typical documents
2. Establish approach
3. Confirm additional elements, key
questions and sources as they deem
appropriate
4. Confirm a schedule of critical dates,
including meeting dates
5. Gather data from central resources
September/December 1. Gather qualitative data (e.g., via
focus groups,
interviews/consultations, surveys)
2. Summarize findings and record
recommendations
January/April
1. Draft report
2. Review draft and provide feedback
1. Associate Deans
March
April
3. Write final report and present to
Dean
4. Send Report to VPA
2. Dean, Academic
Planning &
Development
2. IR, HR, Registrar
IR, HR, Registrar
1. PD
2.- 5. Lead Reviewer &
team members
Review Team
1. Lead Reviewer
2. Review Team &
Associate Dean
3. Lead Reviewer
4. Dean
(Dates edited by AP, May 2007)
2
The 2007 Pilot Reviews will operate over a different timeframe.
281
Appendix 2
Elements for Program Quality Assurance Review with Key Questionsi
Data Collection Template
Program under review _____________________________________________________________
School:
_____________________________________________________________
Date:
_____________________________________________________________
Lead Reviewer:
_____________________________________________________________
Rating Scale
4 = exceeds expectations
3 = meets expectations
2 = below expectations
1 = significantly below expectations
N/A = not applicable
1. Program Context
Elements
Key Questions
Potential Data
Sources
1.1 Congruence with
the mission and
strategic plan of
Sheridan College
1.2 Relation to other
Sheridan programs
How does this program
contribute to fulfilling the
mission & the Priority Goals
of Sheridan’s strategic plan?
How does the program fit
with the mix of programs in
the school or program
cluster? Is there overlap or
are there gaps in the
program mix?
o
o
School
Program
o
o
School
Program
What opportunities are there
for collaboration/ crossdisciplinary delivery with
other programs? What
would be the benefits of
collaboration?
o
o
School
Program
o
Program
Advisory
Committee
Minutes
Environmental
Scan through
IR
School &
Program
1.3 Relevance to
field of practice
requirements and
key trends
Is there potential for
developing a Centre of
Excellence?
What are the key trends,
including job opportunities,
affecting the program and its
graduates? How well is the
program responding to
these?
If there is there a co-op,
internship or field placement
experience in the program?
what is the rate of student
placement?
o
o
o
Rating for
the
Element
Comments &
Recommendations
w Timelines
Co-op office
282
What is the level of success
in these experiences?
(pass/failure rate)
1.4 Credential
recognition
Is the program recognized
by relevant professional
organizations and
accrediting bodies?
What are the implications for
graduates?
o
School &
Program
o
Program
Advisory
Committee
Does the program have
partnerships with colleges or
universities that provide
further educational
opportunities? What
recognition does the
Sheridan credential receive?
o
Joint or
collaborative
program
agreements
College
Ontario
College
University
Transfer Guide
www.ocutg.on.
ca)
Transfer
examples
o
o
o
Other (Add as appropriate)
283
2. The Learner
Elements
Key Questions
Potential Data
Sources
2.1 Student
interest/demand
What is the ratio of
applicants to spaces
available?
(Consider first choice
applicants as well as total
applicants)
What factors influence the
conversion of applications
to registrations?
o
College
application &
admissions data
for past 5 years
from Registrar
o
Institutional
Research
How does the program
rank in terms of its
attractiveness to students?
What programs (public &
private) are the main
competitors for the
program?
What similar programs in
other institutions should
Sheridan’s program be
compared with? What
areas of strength or
improvement does this
comparison suggest?
What is the program
demographic? Should other
groups be targeted?
How is the program
promoted/ marketed?
Is the program represented
at career days, college
fairs?
o
o
o
OCAS data via
Institutional
Research
School
Program Cluster
o
o
o
School
Program
Faculty
o
o
o
School
Program
Brochures &
Flyers
Marketing
Department
Are admission criteria
consistent with College
policy and prescribed
vocational standards?
How effectively are they
communicated?
o
Do admission requirements
facilitate student success?
If there are programspecific selection
procedures, are they
reliable predictors of
student success?
o
Do students entering the
program have the
appropriate core skills
(English & math) and
discipline-specific skills? If
not, how will this be
o
2.2 Competition for
students
2.3 Recruitment
strategies
2.4 Student selection
& admission
o
o
o
o
Rating for
the
Element
Comments &
Recommendations
w Timelines
Academic
Policy
MTCU
Credentials
Framework
Calendar/
Website
KPI graduation
rates via
Institutional
Research
PeopleSoft re
aggregate
placement test
results
Institutional
Research
284
addressed?
2.5 Early leavers
How does the attrition rate
in each semester compare
to other programs in the
College?
What are the principal
reasons for students
leaving the program prior to
completion?
o
o
o
Registrar’s
office
Program
Institutional
Research
(Attrition
reports?)
285
3. Curriculum Quality & Effectiveness
Elements
Key Questions
Potential Data
Sources
3.1 Program
Standards and
Learning
Outcomes
Does the program meet
provincial titling &
nomenclature standards?
o
Are learning outcomes
defined at both the program
and subject level?
o
o
Are the vocational learning
outcomes consistent with
MTCU program standards,
where they exist?
3.2 Program
Advisory Committee
(PAC)
MTCU Program
Standards
http://www.edu.
gov.on.ca/eng/g
eneral/college/p
rogstan/index.ht
m
Program
mapping
o
Are the learning outcomes
for essential
employability skills
consistent with the levels
defined in MTCU’s
Framework for Programs of
Instruction?
o
How active is the Program
Advisory Committee?
o
PAC Minutes
How well do employers rate
the preparedness and
capability of the graduates?
What shortcomings are
noted and how will they be
addressed?
o
KPI Employer
Satisfaction
IR
Do students graduate with
the essential employability
skills? What areas need
improvement? How will
that be achieved?
o
KPI Employer
Satisfaction
Do students experience a
strong English, general
education and essential
employability skills
component in their
program?
o
Program
mapping
o
Comments &
Recommendations
w Timelines
MTCU’s
Framework for
Programs of
Instruction)
Course outlines
Are the vocational learning
outcomes consistent with
current workplace
requirements?
o
Rating for
the
Element
KPI employer
feedback
Program
Advisory
Committee
MTCU’s
Framework for
Programs of
Instruction
How effective is the PAC
as a source of information
and advice that ensures the
program is meeting
workplace requirements?
How is PAC advice
implemented?
3.3 Curriculum
Quality
o
286
Do students recognize the
contribution of English and
general education studies
to their personal growth
and understanding of
social, cultural and
economic issues?
Does the program
effectively integrate English
oral and written
communication skills?
How do graduating
students and graduates
evaluate the program?
What need for
improvement do they
identify? How will this be
addressed?
o
o
Student
feedback
surveys
KPI Graduate
Student
Surveys
Program mapping
o
KPI Grad
Student Survey
o
Grad interviews
or focus groups
Other (add as appropriate)
287
4. The Learning Environment
Elements
Key Questions
4.1 Faculty (teaching staff)
Qualifications
What are the qualifications
benchmarks
benchmarks for teaching in
the program?
Potential Data
Sources
o
o
o
How effective are the
recruitment strategies for
attracting qualified faculty?
How are new faculty
oriented to the program
and to teaching in the
college?
Rating for
the
Element
Comments &
Recommendations
w Timelines
College Policy
Associate Dean
Program
Proposal
Documents
Faculty
qualifications/
preparedness
Are faculty current in their
knowledge and skills?
Are there gaps or
weaknesses in the
collective expertise
required to deliver the
curriculum effectively?
How are faculty evaluated?
Updated summary of
faculty
credentials/profile of
related education&
experience via
Human Resources
(see Appendix D
template)
Professional
development
How are faculty supported
in maintaining currency:
1) in the field they
teach?
2) in teaching
techniques?
o
o
o
School
Program Cluster
PD
Does the program have
appropriate studios, labs,
workshops and/or
equipment?
o
o
School
PAC Minutes
Is the program
appropriately staffed for
effective operation and
maintenance of the studios,
labs, workshops&
equipment
Does the program ensure
safe, effective and efficient
operating procedures in
these areas?
What are the priorities for
improvement?
Is the school appropriately
staffed in the clerical/
administrative areas to
ensure student and
o
School
o
School
o
School
o
o
School
Staffing ratios
Other ( Add as appropriate)
4.2 School Facilities
o Efficient &
effective
technical
facilities &
equipment
o
Efficient and
effective office
support
288
o
Budget
program needs are
efficiently met? If not, how
will shortcomings be
addressed?
Does the program operate
effectively within its
operating budget? If not,
how will this be addressed?
o
o
School
Program Cluster
o
Program
o
Library Staff
o
o
School
Program Cluster
o
Program staff &
faculty
What further development
in this area would benefit
the program?
o
IT
Are the college’s
organizational/infrastructur
e IT resources used
effectively by the program?
Do students , faculty and
staff have adequate access
to IT services &
equipment? If not how will
this be remedied?
o
Is academic advising
readily available to
students? How do they
learn about its availability?
o
o
o
Student
satisfaction
survey
Faculty & staff
survey through
Institutional
Research
School
Student survey
Academic
Advising Centre
Are program needs for
capital budget funds
adequately addressed?
4.3 Institutional Learning Resources
o Library
Are the learning resources
of the library adequate and
appropriate to the learning
needs of the students in the
program?
How well do the students
use the resources of the
library?
How is effective
communication assured
between the program and
the library?
o
o
Information
Technology
Academic
Advising
What educational
technologies (IT learning
resources) does the
program use?
o
289
How does this service
facilitate the achievement
of the program learning
outcomes?
o
Counselling
What counselling services
are available to students?
How does this service
facilitate the achievement
of the program learning
outcomes?
o
o
o
School
Student survey
Counselling
Centre
How are special needs
accommodations
identified?
o
College Policy
o
Student survey
Are they appropriately
accommodated?
290
5. Student Success
Elements
Key Questions
Potential Data
Sources
5.1 Student
achievement
What opportunities are
provided for recognition of
prior learning when
students enrol? e.g.,
o accelerated modes
o transfer credit awarded
for related postsecondary
achievement
o prior learning
assessment &
recognition (PLAR)
o
o
Program
Registrar
Are the methods of
evaluating student
achievement clearly stated,
fair and regular?
o
o
Subject outlines
Sample
assessments of
student work at
a range of
levels
Sample marking
schemes or
rubrics
Are they linked to learning
outcomes and level of skill
required?
5.2 Quality of
learning experience
5.3 Graduation rates
5.4 Graduate
Employment
o
How does the program
provide flexibility in time
and place where the
student can learn?
Are there alternative
modes? (e.g., part-time
study, accelerated modes,
e-learning)
If there is a formalized
practicum such as a co-op
option, internship, field
placement, or practical/lab
component, how does it
help students achieve their
learning objectives?
What other support
strategies assist students in
their learning? (e.g., peer
tutoring, mentoring)
What is the graduation
rate? What factors affect
this rate? Is it consistent
with the context of Ontario
and GTA colleges?
o
o
School
Program
o
o
o
o
o
School
Continuing
Education
Calendar
School
Program
Student surveys
o
Program
o
What is the employment
rate? What factors affect
this rate?
What jobs do graduates
move into?
What further education do
graduates pursue?
o
KPI graduation
rates for
program
KPI graduation
rates for other
colleges
KPI Grad
Student Survey
o
o
Rating for
the
Element
Comments &
Recommendations w
Timelines
KPI Grad
Student Survey
291
292
12. Academic Freedom and Integrity Standard
12.1 Policy on Academic Freedom and Academic Honesty
12.1.1 Academic Freedom Policy
Approved by Sheridan’s Board of Governors October 25, 2006
293
12.1.2 Academic Honesty Policy
294
12.1.3 Academic Honesty Procedure
295
12.2 Policy on Intellectual Products
Copyright Ownership Policy approved by Sheridan’s Board of Governors March 21, 2001
Applied Research Policy approved by Sheridan’s Board of Governors June 15, 2005
296
12.3 Policy on Ethical Research Practices
Research Integrity Policy approved by Sheridan’s Board of Governors June 15, 2005
Human Subjects Policy approved by Sheridan’s Board of Governors June 15, 2005
297
13. Student Protection Standard
13.1 Academic Calendar Information
Current
Academic
Calendar Page
Information
Mission: To provide applied learning opportunities for life, enhanced by applied research, and taught by
outstanding faculty in a student-centered environment.
34, 36, 38, 79,
101, 102, 62-65,
40, 21, 31
If the organization currently offers degree programs a general description (e.g.
purpose length) of each degree program.
N/A
If the organization does not currently offer degree programs a general description
(e.g. purpose length) of each diploma program.
165-169
The academic credentials of faculty and senior administration (Dean and above)
See Calendar
Individual descriptions of all subjects in these programs and their credit value.
298
13.2 Students Protection Policies
13.2.1 Dispute Resolution
299
13.2.2 Fees and Charges
Payment due dates for new students is June before the start of the September semester and for
returning students the due date is late July. Students receive a fee invoice that itemizes the fees
charged for the program. Students with outstanding charges or other indebtedness will not be eligible
to return to Sheridan until all amounts owed have been paid. Payment by the deadline will reserve the
student’s seat in a program and allow the student to continue in class, write examinations, receive
reports and maintain academic evaluation.
Administration charges are mandatory fees for all full-time and part-time students which include:
Athletics, Athletic Building Fund, Career Center, Peer Mentoring, Sheridan Student Union Inc.
(SSUI) fund, Student Center Building fund, Student Center Capital Fund, SSUI Health and Dental
plan, College Student Alliance (CSA) Membership, Health Centre, Information Technology fees.
New students only (first term, one time fee): Graduation, Alumni, First Three Official Transcript
requests.
300
13.2.3 Student Dismissal
Code of Conduct for Sheridan Citizens Policy approved by Sheridan’s Board of Governors October
25, 2006
301
13.2.4 Withdrawals and Refunds
All fees are subject to a non-refundable registration charge in accordance with policy set by the
Ministry of Training, Colleges and Universities.
All refundable fees, except the late fee, will be refunded to a student who completes and submits an
application for a Complete Program Withdrawal to the Office of the Registrar on or before the tenth
day of scheduled classes. Dropping courses may not necessarily result in an adjustment of fees.
Refunds will be paid by cheque to the registered student only, four to six weeks from receipt of the
Complete Program Withdrawal application.
Students who pay for two or more consecutive terms in advance will receive a full refund of
subsequent term fees providing the withdrawal is received prior to the fee payment deadline date of
the subsequent term, (on or before the tenth day of scheduled classes).
302
13.3 Student Protection Information
Information regarding Sheridan’s policies pertaining to student protection is available in the
Academic Policies and Procedures for Bachelor’s programs. These policies and procedures are
referenced in the Sheridan letter of acceptance sent to each student and are available on the Sheridan
web site.
A number of the policies and procedures regarding student protection are also found in the Sheridan
Student Handbook and the Sheridan full-time postsecondary calendar. The following letter is intended
to be sent to all students requiring that they confirm in writing their awareness of the Sheridan polices
and procedures, with full compliance by September 2007.
303
Date
Name
Address 1
Address 2
Postal code
Dear student name
On behalf of Sheridan College, I extend to you a warm welcome. Sheridan faculty and staff are excited
that you have chosen Sheridan to continue your education and pursue your future career and we are
looking forward to having you with us at the start of the semester.
A copy of the Academic Policies and Procedures for students at Sheridan pertaining to degree level
programs is available on Sheridan’s website at
http://capella.sheridaninstitute.ca:9085/polpro/enduserpolicylist.jsp. In addition, please be advised that all
degree programs are reviewed on a regular basis by the Ministry of Training, Colleges and Universities
under a Minister appointed Postsecondary Education Quality Assessment Board. This review must
include samples of student work (essays, test and projects) and samples of your work may be kept on file
for review by program assessors.
The Ministry of Training, Colleges and Universities, has mandated that we retain signed documentation
indicating that you have been advised of the Academic Policies and Procedures, any transfer
arrangements and that you have knowledge that copies of your work may be kept on file for program
review purposes. Accordingly, please sign this letter in the space indicated below and return it to
Sheridan’s Registration Office in the enclosed envelope before the start of the semester.
If you have any questions about your program or about Sheridan in general, please do not hesitate to
contact
Once again, welcome. We wish you a very successful and rewarding year.
Sincerely,
Registrar
Confirmation of Receipt
The college is committed to actively pursuing credit transfer and credential recognition opportunities for
our students and graduates and to ensuring that students have access to current information regarding
arrangements with other postsecondary institutions.
As a student at Sheridan, I have been advised that the Academic Polices and Procedures are available on
Sheridan’s website and that samples of my work may be kept on file for program review purposes.
Date___________________________ Signature___________________________________
304
14. Evidence of Economic Need
14.1 Evidence of Economic Need
Introduction
The Value of our Creative Economy
The timing of this proposed program coincides with the global transition to a creative economy, an
international phenomenon that is drawing attention to the economic importance of the world’s cultural
sectors. Discussions and research papers from the 2008 International Forum on the Creative Economy
indicate that the increasing complexity of the cultural sector has facilitated the demand for new skills,
new business models and a new global perspective.1
Central to discussions of a global creative economy is a heightened interest in the creativity attributes of
originality, innovation, inventiveness, imagination, artistic ability and resourcefulness, all of which are
expected to provide business with a competitive edge. Having a degree that integrates creativity, business
and entrepreneurship with exceptional acting, vocal and dance skills and a strong academic base will
increase the marketability, employability and adaptability of graduates across a range of economic
possibilities.
The Value of Canada’s Performing Arts Industry
The Conference Board of Canada estimates that the “economic footprint” (the direct, indirect and induced
contributions) of Canada’s cultural sector is currently valued at $84.6 billion, constituting 7.4% of the
country’s real gross domestic product.2 In recognition of the critical role it plays in the attraction and
retention of talent and investment, the sector has now been elevated to a place of greater prominence,
taking centre stage in the new creative economy discussions.3
Art and culture are the cornerstones of Canada’s creative economy which help to strengthen the fabric of
our society.4 Integral to this, the performing arts industry does much to enhance our well being. For
example, results from a recent survey reveal that live music, dance, or theatre performance has an
intrinsic impact on audiences that can actually be measured5 in terms of captivation, intellectual
stimulation, emotional resonance, spiritual value, aesthetic growth and social bonding.6
Sheridan’s Contribution to the Performing Arts Industry
Sheridan College has been integral to building Ontario’s performing artist talent pool. Implemented in
1984, the Advanced Diploma Music Theatre-Performance program has graduated an average of 33
students each year for the past nine years. Based on the nature of the industry it would seem that
graduates have been successful in the field. The KPI data analyzed by an independent company confirms
the satisfaction of students, graduates and employers in this field.
Many work part-time or temporary full-time, gaining employment in local theatres, on cruise lines and
with events promotion companies.7 A few are fortunate enough to achieve varying levels of fame and
1
Conference Board of Canada (August 2008) Valuing Culture: Measuring and Understanding Canada’s Creative Economy –
Economic Performance and Trends
Conference Board of Canada (August 2008) Valuing Culture: Measuring and Understanding Canada’s Creative Economy –
Economic Performance and Trends
3
Ibid.
4
Ibid.
5
Wolf Brown (2007) Assessing the Intrinsic Impacts of a Live Performance, Hill Strategies Research Inc.
6
Ibid.
7
Ibid.
2
305
fortune, in terms of full-time employment in high profile Canadian and Broadway productions. In the
absence of a clear definition one could conclude that “success” within this context is defined as a
performer’s ability to secure diverse roles across a broad range of performance genres and production
types.
Based on this definition, it can be concluded that to date, Sheridan’s graduates of the Music TheatrePerformance Advanced Diploma program have been successful. Some of the most recent successes
include the following:
• Eight of our graduates performed this past season (2008) with the Stratford Festival Company.
• An additional graduate was cast as Maria in Stratford’s forthcoming (2009) production of West
Side Story.
• Three of Sheridan’s graduates wrote and produced the hit musical Funny Business which won the
2007 Toronto Fringe Festival Patron’s Pick Award.
In addition, graduates recently appeared in:
• The Shaw Festival’s Wonderful Town
• The Charlottetown Festival’s Anne of Green Gables
• CBC prime time soap MVP
• Spring Awakening on Broadway
• The TV reality show How do you solve a problem like Maria?
• Disney stage musical Toy Story8
Broadening the Capacity of the Graduate’s Career
Performing artists are typically self-employed and have relatively short-lived careers that consist of parttime and/or temporary performing roles.
Having a degree will enhance and extend their career in four ways:
1. Since the general practice for entering the performing arts industry across Canada, Australia and
the United States is to have a minimum of a Bachelor’s degree, Sheridan graduates will be able to
compete more effectively with the international candidate pool.
2.
It will prepare them to eventually assume leadership positions and administrative roles with the
performing arts industry, which is currently experiencing a skills gap in Canada and a pending
shortage in the United States.
3. A degree that combines creativity with business and entrepreneurship will better prepare
graduates to develop their own production company, providing a contribution to the industry.
4. Global discussions on the creative economy have underscored the importance of creativity in
helping to make businesses more competitive. Having this degree with some understanding of
business, should make graduates more employable across a broader range of industries.
1. Competing in the International Arena
The global performing arts industry is changing and there are indications that talent alone is no longer
sufficient for successful performance auditions. Major performing arts companies in Australia who are
looking for more highly specialized and advanced skills, are having difficulty finding this combination of
talents and skills in today’s performers.
8
Peterson, Greg (June 2008) 2007-2008 Music Theatre Performance Program Annual Report
306
The goal of this proposed program is to ensure the continued success of Sheridan’s Music Theatre
Performance graduates, by preparing them to become more effective competitors in an industry that
continually seeks multi-skilled and multi-talented performers with a high caliber of singing, dancing and
acting, known as the “triple threat skills”. While it is true that Sheridan’s students already graduate with a
strong portfolio of well-honed triple threat skills, having a degree will increase their capacity to compete
more effectively where the baccalaureate is increasingly the norm or requirement.
Talent is critical to audition success but it is not always the sole criteria for performance assessment. The
2008 Australia Council for the Arts’ report highlights the difficulty major performing arts companies
(MPA’s) are having in finding the talent they need.9 When it comes to main stage productions for
example, larger MPA’s in Australia require more highly specialized and advanced skills than the small to
mid size companies.10 Evaluative criteria used for performance auditions in Australia’s television, film
and multi-media industry include an assessment of the knowledge and skill underpinnings used in
developing and realizing the “creative concept”.11 As part of their selection process, the Open Channel
Television Network looks for an understanding of the techniques used in story and character
development, an ability to identify authentic and appropriate behavior, as well as a comprehension of the
various narrative forms. Also included in this evaluation is the extent to which performers have
knowledge of the different theories of communication.12 These are all areas that have been targeted in the
design of the proposed program.
General Practices – Australia, Canada and the United States
The world’s creative and performing arts sectors are typically comprised of people with education levels
that are higher than the average.13 A quick review of the Government websites for Australia, Canada and
the United States reveals that the general practice for entering the performing arts industry is to do so with
a minimum of a bachelor’s degree (Table 1).
Table 1: Entrance Requirements for the Performing Arts – Australia, Canada and United States
Country
Entrance Requirements as Noted by
Government Websites
Source
Australia
ʻEntrance into performing arts careers is
generally through a bachelorʼs degree or higherʼ
Australian Government
(www.jobsearch.gov.au/joboutlook/)
ʻThe majority of recent entrants to the
performing arts have an undergraduate
University degreeʼ
Canadaʼs Job Futures
(www.jobfutures.ca)
Canada
United States
ʻThe best to prepare for a career as an actor,
producer/director is through formal education,
preferably obtained as a bachelorʼs degree.
Many stage actors continue their education and
receive a Master of Fine Arts degree.ʼ
According to the Unified Professional Theatre
Auditions (UPTA), ʻall actors auditioning for
performances must have an undergraduate
theatre degreeʼ.
US Bureau of Labour Statistics
(www.bls.gov/oco/)
http://www.upta.org/criteria.html
9
Australian Council for the Arts (2008) Anticipating Change in the Major Performing Arts
Ibid.
11
Open Channel “Conduct Selection of the Performers” (www.openchannel.org.au)
12
Ibid.
13
United Nations (2008) Creative Economy Report, Conference Board of Canada (August 2008) Valuing Culture: Measuring and
Understanding Canada’s Creative Economy and the Australian Council for the Arts (2008) Anticipating Change in the Major
Performing Arts
10
307
The Specific Education Levels of Performing Artists in Canada and the United States:
On average 52% of independent artists within the CMA (Census Metropolitan Area of Toronto) had a
Bachelor’s Degree between 1997 and 2007 (Table 2). This is higher than the average for people employed
within the “civilian” occupations and comparable to the average for people employed in the “professions”
that include engineers, lawyers and doctors (56%).
Table 2: Bachelor’s Degree by Occupation (City of Toronto) 1997-2007
YEAR
1997
2002
2003
2004
2005
2006
2007
Average
19972007)
26%
30%
31%
31%
32%
33%
35%
31%
51%
56%
58%
58%
56%
57%
59%
56%
53%
51%
56%
48%
58%
47%
51%
52%
Occupation
All (Civilian
Occupations)
Professional
Occupations
Independent
Artists, Writers
and Performers
(Source: Department of Economic Development, 2007)
Similarly within the United States, actors, fine artists/art directors, producers/directors and writers/authors
all have education levels that are higher than the average for the civilian labor force and comparable to the
“professions” (Table 3).
Table 3: Percentage of the Workforce with a Bachelor’s Degree – US (2005)
Occupation
% with a Bachelorʼs Degree
Civilian Labour Force:
28%
Professional Occupations:
65%
Actors (Theatre and Television)
62%
Announcers
33%
Fine Artists/Art Directors
58%
Dancers and Choreographers
22%
Music Directors/Composers
52%
Photographers
40%
Producers and Directors
74%
Writers and Authors
84%
Note: Professional occupations include doctors, lawyers, teachers, scientists, engineers
and health professionals.
(Source: National Endowment for the Arts, 2006)
It is not surprising that the people employed in the professions have higher education levels than the
civilian labor force since they are often represented by an association that mandates education
requirements, which in the case of the professions, is usually a degree or higher. Although there are
several professional associations representing the occupations involved in the performing arts (i.e. The
Alliance of Canadian Cinema, Television and Radio Artists or the Canadian Actors Equity Association),
these associations do not dictate the educational requirements of their members.
308
2. Contributing to Leadership in the Canadian Performing Arts Industry
The renewed focus on the creative economy has generated awareness concerning the conditions of the
market that employs creative and performing artists. The majority of performers are more likely to hold
multiple jobs in order to sustain themselves, particularly since the type of work they do is often
temporary. As well, despite having higher than average education levels artists also earn less than those in
occupations with comparable levels (Table 4).
Table 4: Average Earnings by Education– All Occupations vs. Creative and Performing Artists (2001)
<High School
Average Salary
for All
Occupations
$21,713
Average Salary for
Creative and
Performing Artists
$17,049
High School
$25,807
$22,815
Trades Certificate or Diploma
$33,868
$23,731
College Certificate or Diploma
$33,531
$29,153
University Certificate, Diploma or Degree
$48,287
$32,634
Highest Level of Education:
(2001 Census Data, Statistics Canada)
Seeing these conditions as an impediment to the future growth of the sector, the International Labor
Organization (ILO) in conjunction with UNESCO is currently in the process of developing an
international framework that will provide governments with information on the labor market dynamics of
these industries. Within Canada, a report prepared for the Canadian Conference of the Arts in March 2008
recommends that a comprehensive analysis of the sector be undertaken to map out more clearly who our
artists are, exactly how much they contribute to the economy, and who the specific target groups are, in
order for future initiatives to address the issues.
It is believed that this data will help make the case to help creative and performing arts organizations
advocate to their local governments to change the current employment conditions. “Leaders” of the
industry are identified in the Conference Board of Canada’s latest report as key to Canada’s creative
economy since they can effectively harness creativity and bring about positive change.14 The proposed
program’s ad hoc PAC collectively expressed an interest in having graduates in leadership roles working
with funding organizations at both the provincial and federal level, to strengthen and promote the
industry.15 As well, in her report to the University of Calgary, Susan Bennett (special advisor to the
president of the university) notes that academic institutions have a fundamental role to play in the training
of workers for the creative industries.16 Their responsibility now and in the future, she notes, will be to
produce graduates who have the capability of creating opportunities for the skilled creative workers the
sector is hoping to attract.17
Pending Leadership Shortage
Exacerbating this need is a pending leadership shortage within both the Canadian and American
performing arts industries. Identified as a key issue for discussion at the June 2008 National Performing
Arts Convention, high leadership turnover across the performing arts industry is being compounded by an
insufficient pool of qualified candidates across North America.18 Canada’s own industry analysis
14
Conference Board of Canada (August 2008) “Valuing Culture: Measuring and Understanding Canada’s Creative Economy”
Based on discussions with the Ad Hoc PAC in May/June 2008
16
Bennett, Susan (2006) “Creative Industries – The Foundation of Calgary’s Economic Success”, University of Calgary
17
Ibid.
18
National Performing Arts Convention (June 2008)
15
309
attributes its presenter gap (“presenters” in this study refers to artistic directors, cultural and artistic
program coordinators, theatre managers, directors of programming etc.) to a lack of suitable
training/education programs.19 Analysis from Canada and the USA imply a need to provide adequate
education and training programs for current administrators. Further information from the June 2008
National Performing Arts Convention suggests that administrators who receive training may have a strong
understanding of systems, but their understanding of the performing arts is often limited.20 Sheridan’s own
ad hoc PAC also notes that it is the experienced artists themselves who can fully appreciate the urgent
need for immediate and unconditional support.21
According to the 2007 “Next Generation Dialogues” the majority of Canadian creative and performing
artists who have just entered the industry, have a strong ambition to pursue artistic creation and
administration as part of their long term career.22 Despite these ambitions however, results of the survey
reveal that these same artists feel that they are lacking appropriate business skills.23
Leadership Positions and Education Qualifications
The scope of theatre production includes a broad range of potential opportunities for performing artists.
While academic credentials are not formally specified for performers themselves, the career trajectory
includes positions that are. With a global agenda to strengthen the creative sector, it would make sense to
have leaders with the highest caliber of skills and experience. Tables 5 and 6 provide an overview of both
the current job postings for leadership positions in Canada and the United States, as well as the skills gaps
that have been identified among the current leaders in Canada.
Table 5: Profile of some of the Director Jobs in the Performing Arts and their Educational Requirements
Employer
Job Title
Massey Hall and
Roy Thomson Hall
(Toronto, ON)
Flint Youth Theatre
(USA)
Director Operations
and Administration
Performing Arts
Center, University
of Texas
(USA)
Director, Performing
Arts Center
The Kennedy
Center for the
Performing Arts
(USA)
Program
Development
Coordinator
Manager, National
Advancement
Artistic Director
Education
Requirements
University Degree with
10 years experience
Date Posted
MA/MFA Preferred
BA/BFA with
experience considered
Minimum of a Masterʼs
degree and five years
experience or a
Bachelorʼs Degree and
seven years experience
Bachelorʼs Degree
May 14 2008
Bachelorʼs or
Advanced Degree in a
Related Field
Source of
Job Posting
July 15, 2008
June 2008
Intʼl Society for
the Performing
Arts
Foundation
July 2008
July 2008
Kennedy
Center for the
Performing
Arts
19
Cultural Human Resource Council (2008) Presenters: Training Gaps Analysis Final Report
National Performing Arts Convention (June 2008)
21
Based on discussions with the Ad Hoc PAC in May/June 2008
20
22
23
Canada Council for the Arts (2007) “Next Generation of Artistic Leaders and Arts Audience Dialogues”
Ibid.
310
Although the gaps analysis of Canada’s presenters does not identify current education levels, it does
identify some of the current trends that are reshaping the industry and subsequently impacting required
skills. While many of the directors in this sample could have a degree or higher the program from which
they earned their degree may not have been conducive to the types of skills currently being sought in the
industry for leadership positions.
Table 6: Skills Gaps as Identified by Presenters in Canada
Skill Category
Artistic
Definition
Ability to cultivate artistic vision
Financial Management
HR Management
Event Planning
Project Management
Management
Marketing
Board Management
Negotiate Contracts
Skills
Develop a birdʼs eye view of the breadth of genres
and performances offered.
Nurture an appreciation for diverse and multidisciplinary art forms.
Hone intuition to ensure that performances are in
tune with audience demand.
Plan, forecast, budget, secure financing and
manage the accounting.
Manage a large range of venue staff from ticket
sales to security and hospitality staff.
Booking, Scheduling and Organizing.
Projects range from one off shows to weekend
festivals to season long concerts/plays.
To ensure ticket sales and that attendance will
maximize profitability.
May be involved in helping determine the broad
strategic direction of the organization.
Understanding of legal contracts and the ability to
negotiate contracts.
Office Management
Technical
Interpersonal
General
Personal
Ability to assess the technical feasibility of a
performance they plan to book and determine if
their facility can meet the technical requirements
of the show.
Adept at developing and maintaining relationships
as well as networking with colleagues and artists.
Able to negotiate and work effectively with diverse
personalities.
Creative, organized, problem solvers who are able
to multi task , take risks and work under pressure.
(Source: Presenters: Training Gaps Analysis Final Report, Cultural Human Resource Council, 2007)
3. Teaching Entrepreneurship and Developing Capacity to Produce Material for the
Performing Arts Industry
A discernable gap in the business and entrepreneurship capacity of performing artists has been identified
by Canada, the United Kingdom and the United States. Having exposure to business strategies and
entrepreneurship in the curriculum will help Sheridan graduates succeed as self-employed entrepreneurs
capable of growing production companies which will ultimately help strengthen the sector.
311
Whether graduates choose to pursue a long term career as a leader in the performing arts industry, or
whether they want to be self-sustaining as a performer, their success will largely depend on their business
and entrepreneurship capabilities. Having such capabilities will help graduates of the proposed program to
succeed in the industry, and also will help strengthen the creative sector.
Currently the creative and performing arts industries have a larger share of self employment than the
average for all industries (Table 7), as well as a preponderance of micro businesses.24 Organizations are
also becoming polarized by size as opposed to genre, while the market continues to experience an
increase in the number of small non-profit and amateur organizations.25 While large commercial and nonprofit organizations are increasingly relying on massive advertising and marketing campaigns, small
organizations by contrast, are becoming increasingly diffuse and focusing more on low-budget live
performances for niche markets.26
Table 7: Self Employment by Occupation (City of Toronto and United States)
Occupation
City of Toronto
US
Civilian Labor Force
15%
10%
Professional Occupations
33%
9%
Creative and Performing Artists
46%
38%
(Source: Statistics Canada Census Data and the US Department of Labor Statistics)
One way of helping to strengthen the creative sector will be for graduates to effectively grow their own
production company. An overview of the Canadian data in Table 8 reveals that the largest percent change
in employment for the performing arts industries between 2001 and 2006 was in the performing
arts/events promotions companies (20%). It should be noted that companies differ from performing arts
companies in that they are primarily engaged in organizing and promoting but not producing such
presentations.27 At the same time the largest share of employment in the industry in 2001 and again in
2006 was in self employment where the “independent artists, writers and performers” represented close to
60% of the total employment.
Table 8: Employment Growth of Performing Arts Industries in Canada (2001-2006)
NAICS (North American
Industry Classification
System)
Performing Arts Companies
Performing Arts/Events
Promotion Companies
Independent, Artists, Writers
and Performers
TOTAL:
2001
2006
22,280
% Change
in Growth
(2001-2006)
6.4%
% Share
of Total
(2001)
26%
% Share of
Total
(2006)
24%
20,940
11,655
13,985
20%
14%
15%
46,215
81,575
51,860
90,865
12%
57%
57%
(Source 2001 and 2006 Census Data, Statistics Canada)
24
First Research Inc., (2006) The North American Performing Arts Industry,
Ibid.
26
Ibid.
27
Statistics Canada North American Industry Classification (NAICS) 2007 (Definitions, Data Sources and Methods)
25
312
United States data reveals that despite higher past and projected employment growth for creative and
performing artists (Table 9 and Table 10), an increasing share of that employment growth is/will be with
performing arts/events promotion companies, the companies that do not produce presentations.
Table 9: Employment Growth for Performing Artists, US (2006-2016)
Employment
Change
Occupation
All
Actors
Dancers
Choreographers
Entertainers/Performers
Music Directors
/Composers
Musicians/Singers
Job
Openings
due to
Growth
(000ʼs)
Net
Replacement
Needs
(000ʼs)
Average
Annual Job
Openings Due
to Growth and
Replacement
Needs (000ʼs)
10.4%
11.6%
9.5%
2.4%
15.8%
12.9%
8,000
2,000
0
12,000
9,000
14,000
11,000
11,000
25,000
14,000
2,000
1,000
1,000
4,000
2,000
10.1%
20,000
40,000
6,000
(Source: US Bureau of Labor Statistics, 2008)
Table 10: Projected Employment Growth for US Performing Artists by Industry (2006-2016)
Total Growth for All Occupations
All Industries
Total
2006-2016
11.3%
Broadcasting
8.3%
Events Promotion
31%
Independent Artists
37%
Motion Picture/Video
Performing Arts Companies
16%
-1.8%
(Source: US Bureau of Labor Statistics, 2008)
This demonstrates a tremendous need and opportunity for graduates of performance programs to develop
production companies generating original content.
In addition, there is presently a discernable gap in the business and entrepreneurship capacity of our
current performing artists and it is believed that many are unprepared for the realities of selfemployment.28 Discussions at the recent National Performing Arts Convention revealed that while
professional training may have prepared performers for their roles as artists, many have little or no
readiness to deal with education and community, administrative, committee or governance work, all of
which are roles within the larger community they may be expected to play within the larger community.
This gap has been identified within the Province of Ontario, the United States and the United Kingdom.
28
Ibid.
313
The Province of Ontario
A recent survey conducted by Cultural Careers Council Ontario reveals that 84% of professional artists
(creative and performing) within the Province participated in professional development within the last
year.29 Key reasons for doing so include the need to upgrade their artistic skills as well as learn new
techniques. Respondents indicated a discernable need for administration and management skills that
include proposal preparation, grant writing, marketing, promotion, contracts, negotiation and business
planning skills.30 The ad hoc PAC adds to this by saying that our graduates should be engaged in a
curriculum that teaches promotional skills/self marketing, self producing, web design, as well as the
knowledge to apply for government grants.
United States
Within the United States, the Creative Campus report from the 104th American Assembly for education in
theatre, dance, art and design notes that the career realities encountered by graduates is changing. More
specifically, the report indicates that training in these fields does not promote the flexibility,
resourcefulness and entrepreneurial approaches that are required to be successful. Training for their
profession has neglected useful aspects of their career including learning about fundraising, budgeting,
production and marketing.31
United Kingdom
Within the United Kingdom, specific details from Brown’s study of Performing Arts graduates in
particular, reveals that most felt insufficiently prepared for employment noting that their education did not
adequately cover areas including IT, career management, industry links, how to run a small business, as
well as networking skills.32 Additional skills that were deemed important by employers included team
working, communication, research, self development, problem solving and business awareness.33
Evidence from the United States suggests that although the interest to incorporate business and
entrepreneurship into Theatre Arts curriculum is strong, widespread and rapidly growing, its integration
has been fraught with debate.34 Theatre Arts degree programs are divided over whether to use a contextbased model or a business or “venture creation” model of entrepreneurship. While the most popular
technique appears to be the latter, some feel that this model does not fit with the needs of the creative
sector.35 They note that the dynamics of the creative sector don’t always operate in the same way that
businesses across other sectors do and thus advocate for the context based model.
The context-based model is premised on the idea that curriculum should reflect the economic and cultural
environments that arts students will inhabit.36 Premised on a broader conception of entrepreneurship, it
teaches students new skill sets for both non-profit and for profit arts industries, while integrating
entrepreneurial theory and contextualizing the skill sets through an understanding of arts policy, arts
culture, arts management, and experiential opportunities.37
29
Cultural Careers Council Ontario (2008)
Cultural Careers Council Ontario (2008) Enriching our Work in Culture: professional Development in Ontario’s Cultural Sector
The 104th American Assembly (2004) The Creative Campus: The Training, Sustaining and Presenting of the Performing Arts in American
Higher Education
32
Brown, Ralph (2007) “Enhancing Student Employability? Current Practice and Student Experiences in the Performing Arts”, Arts and
Humanities in Higher Education, Vol 6(1) 28-49
33
Ibid.
34
Beckman, Gary D. (2007) “Adventuring” Arts Entrepreneurship Curricula in Higher Education: An Examination of Present Efforts,
Obstacles, and Best Practices”, The Journal of Arts Management, Law and Society Vol. 37. No.2
35
Ibid.
36
Ibid.
37
Ibid.
30
31
314
4. Preparation for Employment Across a Broader Range of Industries
Central to discussions of a global creative economy, is a heightened interest in the creativity attributes
that provide business with a competitive edge. Having a degree that combines graduates’ creativity with
business and entrepreneurship should also increase their employability across a broader range of
industries.
In this current era of globalization and change, it is predicted that the attributes that made organizations
successful in the 20th century will actually cripple them in the 21st C.38 Business people and scholars alike
are now acknowledging that successful economies come more from ideas as opposed to physical capital,
and that the creativity attributes of originality, innovation, inventiveness, imagination, artistic ability and
resourcefulness provide businesses with a strong competitive edge.39
Although the specifics of the global discussions vary, there is a general consensus that countries need to:
a. harness their creative talent as a means of strengthening all industries
b. strengthen their existing creative industries through effective leadership
Sheridan’s proposed Music Theatre Performance degree is timely given that there is an emerging demand
for people with creative attributes and a simultaneous demand for people with a bachelor’s degree. It is
predicted that employment for jobs in Canada requiring a degree will increase by 1.6% annually between
2006 and 2015, surpassing the average of 1% for all jobs during that time.40 Not all degree programs
however, provide the creative edge that employers seek.
There is evidence of a heightened interest in graduates from creative and performing arts degree
programs. In 2004 for example, the Harvard Business Review identified the fine arts and design degrees
as the hottest credentials in the world of business, noting that corporate recruiters have been visiting some
of the top arts and design schools in search of creative talent.41 Their goal is to recruit their future
innovators – the people whom they see as becoming increasingly engaged in strategic decision making
processes.42
MBA programs in the United States are also recognizing the value of the performing arts degree. Certain
aspects of the performing arts curriculum are helping to prepare business graduates for future managerial
positions. The Sloan School of Management, Carnegie Mellon and the University of Virginia are all
providing opportunities for students to participate in and write their own plays.43 It is believed that the
acting, writing and improvisation that have traditionally been integral to performing arts degrees provide
key elements that help MBA students to master qualities that recruiters seek and help them to become
more insightful leaders who are sensitive to the needs of those around them.44
38
Coy, Peter., Business Week Online “Creative Economy: Which Business will Thrive in the Coming Years?”
(http://www.businessweek.com/2000/00_35/b3696002.htm
39
Ibid.
40
HRSDC (2007) “Looking Ahead: A Ten Year Outlook for the Canadian Labour Market” Labour Market and Skills Forecasting Unit.
41
Cited from Design Industry Advisory Committee (DIAC) (2004) Design Matters: Design Industry Study
42
ibid.
43
Damast, Alison (2007) MBA’s Acting Out, Business Week Online
44
Ibid.
315
Student Interest
Primary Research
1. Survey of current students enrolled in Sheridan’s Music Theatre Program.
2. Survey of alumni from Sheridan’s Music Theatre Program.
Survey Methodology
In the summer of 2008 Sheridan College administered two online surveys to both students and alumni
(alumni who graduated between the year 2004 and 2008), from Sheridan’s Music Theatre-Performance
Advanced Diploma program. Although it would have been ideal to choose a sample representative of the
potential applicant population (i.e. high school students), the resources required to do so are beyond the
scope of this proposal.
The surveys were designed to effectively gauge student/alumni interest in Sheridan’s proposed Music
Theatre Performance Bachelor of Applied Arts Degree. Both were organized into four sections: 1)
Introduction, 2) Academic/Career Plans of Current Students and where Alumni are currently in their
Academic/Professional Career, 3) Sheridan’s Proposed Music Theatre Performance Bachelor of Applied
Arts Degree and 4) Demographic Profile.
Student interest, like satisfaction, is not a true variable but rather a complex “construct” that cannot be
measured as a one item indicator. A series of items (questions) are usually designed (and tested for
reliability) to ensure that the full scope of the construct is captured. For the purpose of this survey the
interest construct consists of four questions. Three of the four questions are retrospective in design, since
the respondents were asked to reflect back to the time when they first applied to Sheridan’s Music
Theatre-Performance Advanced Diploma program.
The first of these questions was designed to measure the respondents’ overall “interest” in the proposed
program, based on the description provided. The second question was designed to capture how much
more they would be willing to pay in tuition costs if the proposed program was available. Response
categories ranged from $2,000.00 to more than $5,000.00, and included a “no amount” category. The
third retrospective question was designed to capture the respondents’ interest more specifically, by having
them choose between three program options: Music Theatre Performance as a three year Advanced
Diploma or a four year Bachelor of Applied Arts Degree or an “other” program. The fourth and final
question in the section of the survey was designed to gauge the likelihood that they would transfer credits
from their advanced diploma to the proposed degree program. In this sense the respondents represent
potential applicants to the proposed program.
An email with a link to one of the two surveys was sent out to 138 Sheridan Music Theatre-Performance
alumni and all of the current students enrolled in the program (114). Although having a high response rate
to a survey is important, particularly in ensuring more balanced responses, (and thus a more realistic
picture of the true population), it is equally important to ensure that the survey is representative of that
population. Having a high response rate from a sample that does not reflect the characteristics of the
target population for example loses its value. Section four of the survey therefore includes questions
designed to generate information on the respondents’ age, gender, first language spoken, and in the case
of current student respondents, their GPA, semester level and their home postal code.
316
Survey Results
Of the 138 alumni that received the email, 43 or 31% responded. Of the 114 current students that were
sent the email, 72 or 63% responded. Results from the demographic profile section of the survey reflect
variation across the variables for age, gender, postal codes (geographic region of the respondents) and
GPA scores, thus eliminating the potential for response bias.
The following results are based on the responses to questions #1 through #4 from Section Four of the
survey.
Q. “Based on the description of this proposed program please indicate how interested you would have
been in applying to it if it had been available when you first came to Sheridan”.
Figure 1: Interest in Sheridan’s Proposed BAA Music Theatre Performance
(Current Students: N=67 and Sheridan Alumni: N=41).
Note: The data in this graph reflects raw numbers
(Source: Sheridan College Student Interest Survey, 2008)
Results from this question reveal that the majority of both current students and alumni of Sheridan’s
Music Theatre-Performance Advanced Diploma program indicate that they would have been “very
interested” in this program if it had been available to them when they applied to Sheridan. This translates
into 73% of the current students and 78% of the alumni surveyed. It is impossible to predict whether they
would have actually applied, but the statement of interest is clear and significant.
317
Q. “Given your financial circumstances at the time when you applied to Sheridan, please tell us your
best estimate of the most you would have been willing and able to pay in additional tuition for this
degree program”.
Figure 2: Tuition Students/Alumni would pay if the respondents had been accepted into Sheridan’s
Proposed Music Theatre Performance Bachelor of Applied Arts Degree
(Alumni: N=41, Current Students: N=67)
Responses to this question reveal that the majority of both current students (48%) and alumni (44%) were
willing to pay as much as $2,000 more for tuition. Fewer students and alumni were willing to pay more
than $2,000. This is in keeping with Sheridan’s prior assessment of tuition fees.
318
Q. “If you had the following programs to choose from when you first applied to Sheridan for Music
Theatre, which would have been your first choice?”
Figure 3: First Choice of Program if there had been two program options at the time of application of
application(Alumni: N=41, Current Students: N=61).
Results for this question reveal that the majority of current students and alumni would have selected the
Music Theatre Applied Degree over the current Advanced Diploma program. This translates into 96%
and 83% respectively.
319
Q. “If there is an option for you to transfer your credits from your current studies to the proposed
Bachelor of Applied Arts degree in Music Theatre Performance at Sheridan, what is the likelihood
that you will do this when the program launches in September 2010?”
Figure 4: Likelihood of Transferring Credits from Sheridan’s Music Theatre Advanced Diploma to the
Proposed BAA Music Theatre Performance Bachelor (Current Students: 67, Alumni: 41).
Results for this question reveal that the current Music Theatre-Performance students indicate a higher
likelihood of transferring credits to the proposed degree program, than the alumni, with 41 (61%) saying
that this would be “very likely” (compared to 14 or 34% of the alumni’s) intent to do so.
320
Secondary Research
Visual/Performing Arts Disciplines as a Percentage of the Total Bachelor’s Degrees Conferred in the
United States
Table 11 profiles the percentage of total bachelor degrees conferred by discipline in the US. As of 2006 a
total of 955,369 bachelor’s degrees were conferred. Of the thirty-three disciplines the visual and
performing arts discipline was in the top ten, with close to five percent of all degrees in this discipline
being conferred.
Table 11: Bachelor’s Degrees Conferred by Discipline in the US (2006)
Discipline
Business
Social Sciences/History
Education
Psychology
Health
Communications
Biological Sciences
Visual and Performing Arts
Liberal Arts
Security/Protective Services
% of Total Degrees
Conferred
19%
11%
8%
6%
6%
5.3%
4.9%
4.7%
3%
2%
(Source: National Centre for Education Statistics (2006) Table 267)
Institutional Offerings, Enrolment and Degrees Awarded for Music Theatre in the United States
The National Association of Schools of Theatre currently accredits seventy universities that offer degree
programs in the performing arts. The largest share of the degree program majors are in acting and musical
theatre (Table 12). As of 2007 the total enrolment for these programs was close to 7000 students. Of these
1,260 or 18% were in music theatre.
Table 12: Bachelor of Fine Arts Degree Program Enrolment and No. of Degrees Awarded by Program
Major for Institutions Accredited by the National Association of Schools of Theatre
Program Major
No. of Institutions
with Majors
Enrollment Fall
2007
Acting
Design
Directing
Musical Theatre
Performance
Playwriting
Production
TOTAL
41
24
4
32
9
3
7
2,535
391
51
1,260
633
12
131
6,977
Number of
Degrees Awarded
2006-2007
445
79
2
214
89
2
19
1,293
(Source: Higher Education Arts Data Services, National Association of Schools of Theatre, 2008)
Note: Not all Program Majors were included in this table therefore the totals do not correspond to the numbers in the
columns. There are 41 institutions that currently offer a degree major in music theatre, but the enrolment data
specifically gauges 32.
321
Applicant/Enrolment Trends for Music Theatre Degree Programs in the United States
Table 13 profiles the applicant/enrolment data for the University of Michigan, Baldwin Wallace College
and Cincinnati University in the USA. Although a representative number of the total institutions currently
offering music theatre degrees were contacted, only three responded with data. As well, only the
University of Michigan could provide data that speaks to trends over time. In summary:
•
Between 2000 and 2008 the number of applicants to Michigan’s Music Theatre degree program
increased by 164% (Note: I have asked the National Centre for Education Statistics what the total
applicant numbers for all disciplines, to place this in a broader context.)
•
The average applicant/registrant ratio for the University of Michigan is 16:1 (2000-2007) and the
ratio for Baldwin Wallace College and Cincinnati University is a comparable 15:1 (2006 and
2007).
•
Within the Ontario College system, the average applicant/enrollment ratio between 2000 and
2007 is 5:1. A program with a ratio of sixteen to one within this context would be considered a
high interest program.
Table 13: Applicants and Enrolments (freshman) for the Music Theatre Program, University of
Michigan, Baldwin Wallace College and Cincinnati University
1
2
3
2000
A
E
227 22
NA
NA
NA
NA
2001
A
E
248 18
NA
NA
NA
NA
.
2002
A
E
261 20
NA
NA
NA
NA
2003
A
E
335 29
NA
NA
NA
NA
2004
A
E
333 25
NA
NA
NA
NA
2005
A
E
408 21
NA
NA
NA
NA
2006
A
E
437 17
175 15
220 12
2007
A
E
553 19
200 15
230 14
2008
A
600
225
250
(Source: Office of the Registrar, University of Michigan Report No. 120,
Baldwin College and Cincinnati University)
1=University of Michigan (US)
2=Baldwin Wallace College (US)
3=Cincinnati University (US)
Applicant Trends for the Music Theatre Performance Advanced Diploma Program across
Ontario Colleges
•
The overall trend reveals that between the year 2000 and 2008, the total number of applicants to
this program increased by 99% from 307 in 2000, to 611 in 2008 (Table 14 and Figure 5).
•
To effectively assess what this overall trend implies, Figure 6 provides a comparative analysis of
the applicants to both the Music Theatre-Performance Advanced Diploma program and all
advanced diploma programs in the Ontario College system.
•
While Music Theatre experienced a 99% increase in the number of applicants (between 2000 and
2008), the number of applicants to all advanced diploma programs declined by 30% during this
time. Although a more in depth analysis of applicants by program title would yield additional
insights, it is beyond the scope of this report. What it does reveal is that when compared to
advanced diploma programs in general, music theatre performance reflects high applicant
interest.
•
A decline in the number of applicants to Sheridan’s program between 2004 and 2008 could be
attributed in part, to the introduction of the St. Clair and St. Lawrence programs.
322
Table 14: Applicant/Enrolment Numbers for the Music Theatre Advanced Diploma Program
in the Ontario College System (2000-2008)
1
2
3
T
2000
A
E
307 36
2001
A
E
398 46
2002
A
E
399 47
2003
A
E
449 43
2004
A
E
367 41
72
14
94
34
533 89
2005
A
E
371 44
112 15
114 16
597 75
2006
A
E
307 44
108 14
83
21
498 79
2007
A
E
342 46
110 14
120 36
572 96
2008
A
349
131
131
611
(Source: Ontario College Application Service, 2008)
1=Sheridan
2=St. Clair
3=St. Lawrence
Figure 5: Applicants to Music Theatre Performance Programs (Ontario College System)
(Source: Raw Data Extracted from the Ontario College Application Service, 2008)
Figure 6: Percentage Growth in the Number of Applicants to all Music Theatre Performance Advanced
Diploma Programs vs. All Advanced Diploma Programs
323
Number of Applicants/Admits/Waiting List/Declines for Sheridan’s Current Music Theatre Performance
Advanced Diploma Program
•
Despite the decline in the number of applicants to Sheridan’s program between 2004 and 2008,
the number of students admitted to the program and the number of students on waiting lists has
actually increased (Table 15).
Table 15: Applicants/Admits/Waiting List/Declines for Sheridan’s Music Theatre-Performance
Advanced Diploma Program
Year
No. of Applicants
No. of Admits
No. on waiting list
No. of declines
2000-2001
307
38
2
7
2001-2002
398
48
16
6
2002-2003
399
48
33
1
2003-2004
449
47
56
7
2004-2005
367
42
45
7
2005-2006
371
45
69
12
2006-2007
307
45
50
12
2007-2008
342
46
58
8
367
45
41
7.5
Average:
(Source: Peterson, Greg (2008) 2007-2008 Music Theatre Performance Program, Sheridan College)
•
Sheridan also continues to attract the largest share of applicants (Figure 7) to this program, which
on average is 62% of the total number of applicants each year.
Figure 7: A Comparison of Total Number of Applicants to Music Theatre Performance
Advanced Diploma Programs, by College
324
Potential Applicants
o
Graduates from High School.
o
Transfer Students:
Graduates from Sheridan’s Music Theatre-Performance Advanced Diploma program.
Graduates from other Music Theatre Performance Advanced Diploma programs.
o
Mature Students.
325
Employment Opportunities
According to the proposed BAA in Music Theatre Performance program ad hoc Program Advisory
Committee, graduates of this proposed program should be able to secure employment with high profile
theatre organizations that include the National Arts Centre, Stratford Festival Company, Shaw Festival
Company, Mirvish Productions and DanCap Productions.
Table 16 profiles the possible career trajectory for graduates of this proposed program. While many will
pursue performing roles, their degree should broaden the scope of opportunities available to them upon
entry into the field and/or later in their career.
Table 16: Career Trajectory for Theatre Performance/Production
Occupation
Career Level
Actor
Entry
Agent
Senior
Artistic Director
Senior
Assistant Director
Entry to Intermediate
Choreographer
Intermediate to Senior
Communications Director
Senior
Diction Coach
Director
Intermediate to Senior
Drama Advisor
General Manager
Entry to Senior
Playwright
Entry to Senior
Producer
Entry to Senior
Production Manager
Entry to Senior
(Source: Arts Alive, 2008)
326
Possible Job Placements
327
328
329
330
331
332
Sample Job Postings
Source:
Association of Performing Arts Presenters (www.artspresenters.org)
Date:
February 2009
Job Title: Program Associate
Organization: Association of Performing Arts Presenters
Contact: [email protected]
Job Location: Washington, DC
Website: www.artspresenters.org
Posting Date: 02/09/2009
Arts Presenters (APAP), the nation’s largest performing arts service organization, is seeking a program
associate. APAP’s services to the performing arts field include grant-making and professional
development (areas that this position works with on a regular basis), plus an annual members’ conference
featuring the world’s largest performing arts marketplace and advocacy/public affairs efforts. We are
looking for the right individual to join our team of capable, dedicated staff, who are committed to serving
the field of performing arts presenting.
The successful candidate will have a bachelor’s degree with at least two years of solid administrative
experience, including program and project coordination, grants administration, technical assistance and
other responsibilities associated with non-profit organizations. Additionally, the successful candidate
must be able to show the ability to: use problem-solving skills; manage and prioritize multiple projects;
work independently and as a team member; have a solid knowledge of MS Office suite (knowledge of
CRM/member databases a plus); and communicate effectively. Background in performing arts a definite
advantage.
Salary will be appropriate and competitive with associate-level positions in the nonprofit sector; full
benefits provided. Interested applicants should email cover letter outlining qualifications, resume,
references and salary requirements to [email protected]. No phone calls please.
Principals Only. APAP is an equal opportunity employer.
333
Job Title: Managerial Assistant, Vocal Division
Organization: IMG Artists
Contact: Stephanie Reiss
Job Location: New York, NY
Website: www.imgartists.com
Job Description:
IMG Artists, the global leader in the arts management business, seeks a Managerial Assistant to work in
its Vocal Division. The successful applicant will work with the Senior Vice President and Director of the
Vocal Division, providing client/project representation support and executive assistant support as
required. This person will work directly with a list of artists, servicing their performance engagements
with responsibilities including, but not limited to, arranging logistics such as travel and housing, issuing
and processing contracts, preparing itineraries, applying for work visas, maintaining press materials, and
organizing financial information. In addition, the managerial assistant will be the SVP’S “gatekeeper”, in
addition to performing some tasks such as expense reporting and travel arrangements.
Skills:
Ideal candidates should be self-motivated, with a strong knowledge of classical music, and interested in
arts management as a career. We are looking for bright, organized, detail-oriented individuals with
excellent communication skills, who possess a positive attitude and the ability to take direction and
follow through on multiple projects at once. Computer literacy and proficiency in Microsoft Office are a
must, and the knowledge of foreign languages is a plus. A bachelor’s degree and some experience in
the music industry are required.
334
Job Title: Director of Development
Organization: Annenberg Center / University of Pennsylvania
Contact: Olivia Lindquist
Job Location: Philadelphia, PA
Website: http://www.annenbergcenter.org
DUTIES: Reporting jointly to the Managing Director of the Annenberg Center and the Director of
Development for Arts and Culture, the Director of Development is responsible for the overall supervision
of fundraising activities for the Annenberg Center. Key responsibilities include: conceptualizing, planning
and executing a program of fundraising in support of productions, programs, special events, and capital
priorities; Board and Guild management, building an individual major gift program; incorporating Center
priorities within the University’s Making History campaign; and maintaining and building the existing
corporate, foundation and government funding streams.
The Director will be a member of the Center's leadership team and manage the Center's development staff
which comprises the Manager of Grants & Publications and Assistant for Administration & Development.
In addition, the Director will work with the Center's Board and Guild to promote their active involvement
in the fundraising process and with the University's Central Development and Alumni Relations
Department to maximally leverage University development and prospect resources.
Duties by Example:
Develop and implement a comprehensive fundraising plan; analyze data on potential funding sources
(individuals, government agencies, corporations, foundations); identify appropriate techniques for
obtaining major gifts, grants, and sponsorships; organize and oversee the work of volunteers and support
staff; evaluate an appeal to a particular donor in terms of size of gift, timing, and method of giving; solicit
gifts; write, prepare and supervise grant and sponsorship proposals and oversee associated grant contracts
and interim/final reports; coordinate fundraising efforts with leadership of the Annenberg Center Board
and Guild; and establish effective procedures for sustaining donor interest and cultivating new gift and
sponsorship opportunities; prepare monthly funding activities reports and revised financial projections;
and represent the Annenberg Center at central Development meetings and Major University Presenters
conferences.
Qualifications:
Education: B.A. or B.S. degree
Training and Experience: Five or more years of fundraising experience with a focus on individual giving,
preferably within an arts related institution or in a University setting.
335
Job Title: Sangamon Auditorium Associate Director of Stage Services (Technical Director)
Organization: University of Illinois-Springfield
Contact: Robert Vaughn
Job Location: Springfield, IL
Website: www.sangamonauditorium.org
Under the general supervision of the Director of Sangamon Auditorium the Associate Director of Stage
Services (aka: Technical Director) supervises, schedules and coordinates the use of stages, stage systems
and ancillary facilities, dressing rooms and related equipment for Sangamon Auditorium, the Studio
Theatre, and other venues as required by the unit. Set design and building skills, along with collegial and
collaborative skills are necessary. Qualifications/Minimum Education and Work Experience: Bachelors
Degree (Theatre Arts preferred) and five years experience in supervising professional theatrical stage
operations required; MFA preferred. Demonstrated knowledge of stagecraft safety procedures.
For more information about this position, please visit http://www.sangamonauditorium.org.
Please send letter of application, resume and contact information for three professional references to:
Alice Bettis, Chair, Associate Director of Stage Services Search Committee, Sangamon Auditorium, One
University Plaza, MS PAC 397, Springfield, Illinois 62703-5407 or email to [email protected]. Screening
of applicants begins February 27, 2009 and will continue until the position is filled.
UIS is an affirmative action/equal opportunity employer with a strong institutional commitment to
recruitment and retention of a diverse and inclusive campus community. Persons with disabilities,
women, and minorities are encouraged to apply.
336
Job Title: Ticketing Services Manager
Organization: Austin Theatre Alliance
Contact: [email protected]
Job Location: Austin, TX
Website: www.austintheatre.org
Established performing arts center in Austin, Texas is seeking a skilled Ticket Services Manager. The
successful candidate must exhibit strong management, communication and organizational expertise as
well as display a self-motivated, positive, can-do attitude combined with exemplary customer service
skills. He/She must be capable of hiring, training and maintaining a staff to exhibit the same qualities.
Ticket Services Manager oversees all single and subscription ticket sales and will develop and oversee an
in-house telemarketing campaign. TSM will reconcile daily activity and oversee ticket sales staff as well
as assist development and marketing departments with audience development. Qualifications include a
Bachelor's degree, computer literacy (MS Word, Excel), 5 years box office leadership experience and
knowledge of basic accounting procedures; knowledge of Paciolan-based ticketing system preferred.
Subscription and experience managing an in-house phone room are a must. Must be able to work a
flexible schedule including evenings and weekends. Competitive salary/benefits package. Please respond
to: [email protected] No phone calls.
337
Source:
International Society for the Performing Arts Foundation
Date:
February 2009
____________________________________________________________
POSITION: Director of Development/Major Gifts - The Performing Arts Center, Purchase
College, SUNY
Contact --Human Resources, Purchase College
Posted on November 26, 2008 at 04:43:36:
The Performing Arts Center, Purchase College, SUNY seeks an experienced development professional to
fill the position of Director of Development for Major Gifts.
The successful candidate will provide leadership in all aspects of fundraising for this dynamic cultural
institution, the leading arts presenter in Southeastern New York and Southwestern Connecticut. In
addition to the major gift area, responsibilities include oversight of annual fund campaigns, corporate
sponsorship, special events and planned giving. The successful candidate will develop and manage a
significant portfolio of major gift prospects, planned endowment and annual gifts in support of artistic
initiatives, educational programs, and capital needs. The position works closely with Wiley Hausam, the
new Executive Director, the Board of The Performing Arts Center Foundation and the College’s Office of
External Affairs and Development.
Bachelor’s degree and a minimum of five years of senior development experience with specialization in
major gift cultivation, solicitation and stewardship. Candidates should have superior communication and
writing skills along with a high level of personal motivation and creativity. A proven track record in
major gifts, capital and endowment campaigns, and annual fund development is essential, as well as
knowledge of prospect research, experience in raising funds for the performing arts, and working
knowledge of Tessitura software.
338
Criteria for UPTA (Unified Professional Theatre Auditions)
Interviews and Auditions (www.upta.org) (Go to “criteria”).
Pre-Professional Auditions
•
Actor must receive UNDERGRADUATE THEATRE degree (BA,
BFA, etc.) by 9/1/09, AND
•
Actor must be available for work year-round (in other words,
not going back to school in the Fall or Spring), AND
•
Actor must have registration signed by the department head
of their theatre program.
Regular Auditions
•
Actor must be available for work year-round (in other words,
not going back to school in the Fall or Spring), AND
•
Actor must have a post-graduate THEATRE degree (MA, MFA,
PhD, etc.) by 9/1/09, OR
•
Have registration signed by a registered 2008 or 2009 UPTA
theatre, OR
•
Have registration signed by a current Theatre
Communications Group (TCG) member theatre, OR
•
Have attended previous UPTAs, OR
•
Be a member of Equity or EMC program.
•
Production personnel must be available for work year-round
Production Interviews
(in other words, not going back to school in the Fall or Spring),
AND
339
•
Production personnel must have an undergraduate THEATRE
degree degree (BA, BFA, etc.) in their respective technical,
administrative, or artistic field by 9/1/09, OR
•
Have registration signed by a registered 2008 or 2009 UPTA
theatre, OR
•
Have registration signed by a Theatre Communications Group
(TCG) member theatre, OR
•
Have attended previous UPTAs, OR
•
Be an Equity stage manager.
•
Paid year-round employment, OR
•
Paid job-in employment, OR
•
Paid internships
Criteria for UPTA Registered Companies
Registered Companies must be hiring for:
340
Comparable Programs
At present there are more than 30 universities across the United States that have a bachelor’s degree
program in Music Theatre. Of these, 29 are accredited by the National Schools of Theatre and are profiled
in Table 17. The Boston Conservatory of Music and Carnegie Mellon also offer degree programs in music
theatre but are accredited by the National Association of Schools of Music.
Table 17: Universities in the USA that offer a Music/Musical Theatre Bachelor’s Degree program and
are accredited by the National Schools of Theatre or the National Association of Schools of Music
Institution
Program Title and Credential
Date
Implemented
1987
Auburn University
Bachelor of Fine Arts Musical Theatre
Ball State University
Bachelor of Arts Musical Theatre
1996
Boston Conservatory of Music
Bachelor of Fine Arts in Musical Theatre
1951
Brigham Young University
Bachelor of Fine Arts Music Dance Theatre
1982
Carnegie Mellon University
Bachelor of Fine Arts Music Theatre
1951
California State University, Fullerton
California State University, San
Bernardino
Christopher Newport University
Bachelor of Arts in Music Theatre
1974
2004
2008
Florida State University
1982
Howard University
1987
Indiana University
1989
Indiana University of Pennsylvania
Bachelor of Arts Musical Theatre
1995
James Madison University
1984
Kennesaw State University
Bachelor of Arts Music Theatre
2001
Kent State University
2003
Missouri State University
1998
Montclair State University
1986
Northwestern State University
Bachelor of Science Musical Theatre Performance
1999
Oakland University
2001
Pennsylvania State University
1990
San Diego State University
Master of Fine Arts Musical Theatre
1975
State University of New York, Fredonia
Bachelor of Fine Arts in Musical Theatre
1992
State University of New York, Oswego
2005
University of Alabama
1986
University of Arizona
1990
University of Cincinnati
1992
University of Florida
1987
University of Mississippi
2005
University of Wisconsin
1989
Valdosta State University
Bachelor of Fine Arts
1999
Western Michigan University
1990
(Source: National Association of Schools of Theatre and National Association of Schools of Music, 2008)
341
References
AEA Consulting (2008) Anticipating Change in the Major Performing Arts, Australia Council for the
Arts
Alison, Damast (2007) MBA’s Acting Out: Theatre Classes are a Growing Trend in Business Schools,
Business Week Online
The American Assembly (2004) The Creative Campus: The Training, Sustaining and Presenting of the
Performing Arts in Higher Education, Arden House, Harriman, Hew York, The American Assembly,
Columbia New York
Beckman, Gary D. (2007) Adventuring Arts Entrepreneurship Curricula in Higher Education: An
Examination of Present Efforts, Obstacles and Best Practices, University of South Carolina
The Broadway League (2007) Broadway Statistics (www.broadwayleague.com)
The Conference Board of Canada (August 2008) Valuing Culture: Measuring and Understanding
Canada’s Creative Economy – Economic Performance and Trends, Conference Board of Canada in
collaboration with Canadian Heritage
Cultural Human Resource Council (2008) Presenters – Training Gaps Analysis Final Report
Department for Culture, Media and Sport – Creative Industries Division (2008) Developing
Entrepreneurship for the Creative Industries: The Role of Higher and Further Education
Department of Economic Development (2007) Toronto CMA Industry Profiles, City of Toronto
First Research Inc.(2006), The North American Performing Arts Industry
Kindelan, Nancy (2004) Theatre Studies as a Practical Liberal Education, Journal of Liberal Education,
Fall 2004
Ministry of Training, Colleges and Universities (2007) Employment Profile: A Summary of the
Employment Experience of 2005-2006 College Graduates Six Months After Graduation
National Endowment for the Arts (2006) Artists in the Workforce 1990-2005
National Performing Arts Convention (June 2008) www.performingartsconvention.org
Peterson, Greg (2007) 2007-2008 Music Theatre Performance Program: Annual Report, Sheridan
College Institute of Technology and Advanced Learning
President’s Report (2006) The Creative and Performing Arts at Princeton University,
www.princeton.edu/pr/reports/arts
Simon, Cecilia Capuzzi (2008) Tryouts for the Rest of Your Life, New York Times (www.nytimes.com)
United Nations (2008) Creative Economy Report: The Challenges of Assessing the Creative Economy –
Towards Informed Policy Making, United Nations
342
US Bureau of Labour Statistics (2007) Monthly Labor Review, November 2007
Wareham, Terry (2004) Creative Graduates: Enhancing Teaching-Research Links in the Creative Arts,
PALANTINE Subject Centre for Dance, Drama and Music
WolfBrown (2007) Assessing the Intrinsic Impacts of a Live Performance, Hill Strategies Research Inc.
Zannie Giraud Voss and Glenn B. Voss, with Christopher Shuff and Ilana B. Rose (2006) Theatre Facts
Report: 2006: A Report on Practices and Performance in the American Not-for-profit Theatre Based on
the Annual TCG Fiscal Survey
343
15. Non-Duplication of Programs
15.1 Similar/Related College Programs
Note: The college has on file and available upon request the research undertaken to complete Appendix
15.1
1. Institution:
St Clair College
Program Name & Credential: Advanced Diploma in Music Theatre Performance
Program Description: For those who combine a passion for Music Theatre with singing, acting and
dancing abilities, this intensive performance training program is ideal. Graduates will have trained with
professional instructors in acting, both for stage and for film. Vocal work includes technique,
interpretation, with all solo work supported by one on one tutorials. Musicianship will be stressed through
key-board instruction, sight-singing instruction, choral work and elementary composition. Studio work in
dance for musical theatre includes ballet, jazz, tap and modern styles. Skills will be integrated through
performance.
This program will appeal to students who have a love of performance, are able to demonstrate vocal
potential, are ambitious and possess a strong work ethic. Students will be required to work with
professional instructors in a highly disciplined environment.
Analysis of Similarities and Differences: This program is roughly similar to Sheridan’s Advanced
Diploma program.
It requires 176 credits to graduate.
One credit is generally considered the equivalent of one hour. This would include all production time and
General Education electives.
For Sheridan’s proposed BAA program:
120 credits/206 hours with one declared specialization;
127 credits/210 hours with a school approved double specialization.
This also includes all production time and breadth electives (equivalent to liberal arts electives).
344
2. Institution:
St Lawrence College
Program Name & Credential: Advanced Diploma in Music Theatre-Performance
Program Description: This program is quickly gaining recognition as a primary trainer of triple-threat
professional music theatre performers. Performing is an important part of your training. We give students
many opportunities to perform. A first year show called New Faces introduces our students to the
community in a song and dance review. Senior students perform in three main stage productions. Past
shows include A Chorus Line, Beauty and the Beast, Chicago and Cats. The program most recently
produced Cabaret and the Rocky Horror Show.
The program has a heavy dance component and is well balanced with courses in music and drama taught
by professionals from all over Ontario. Students should expect to be in classes, one-on-one lessons, dance
mentor classes or rehearsals about 43 hours a week. During the third year of the program specialty
courses such as clowning, stage combat, film and television acting, voice over and acting/ singing in the
recording studio are taken.
Analysis of Similarities and Differences:
Program requires 182 hours to complete. This includes all time on productions.
3. Institution:
George Brown College
Program Name & Credential: Advanced Diploma in Performing Arts/Theatre
Program Description: The Theatre School offers vigorously concentrated, career-oriented training in
the fundamental skills,, practicalities, traditions and professionalism needed to work as a professional
actor in theatre, television and film. The conservatory, hands-on training is an integrated curriculum in
which all subjects are related directly to the acting profession. Five skills courses from the core of the
classical approach to training the actor: voice, speech, movement, music and dance. The acting
curriculum features improvisation, contact improvisation, storytelling, poetry, text analysis, contemporary
and classical scene studies, neutral mask, character mask, clowning, commedia dell’arte, television and
film technique and audition preparation. Further classes include: stage combat, dialectology, theatre
history, the business of acting and the Alexander technique.
This program is generally aimed at training actors for media and theatre. In support of that, students train
in voice, movement and some music courses, in addition to acting and production courses. However, this
program offers general training in theatre and not a “triple-threat” training for music theatre.
The program requires 135 credits to complete which represents 158 student contact hours.
345
4. Institution:
Humber College
Program Name & Credential: Advanced Diploma in Theatre Performance
Program Description: The Theatre Performance program offers a physically based training approach to
classical and contemporary theatre, with an emphasis on preparation for the creation of original work.
Individual creative voice is encouraged through training in devised theatre techniques in every year of the
program.
Students are taught by internationally and nationally recognized actors and actors-creators. The
foundation acting curriculum is classical with a focus on contemporary acting techniques, Shakespeare,
neutral mask, clown and bouffon, movement and dance, voice, speech and singing. It also includes oncamera performance; the business of acting and audition; stage combat; playwriting; and theatre history.
Students work on and create original material in every year of the program. In the third year, the creative
work culminates in a performance season guided by professional directors, designers and stage managers.
This program is generally aimed at training actors for media and theatre. In support of that, students train
in voice, movement and acting courses. However, this program offers general training for acting in
theatre, and not a “triple-threat” training for music theatre.
The program requires 133 credits to complete, which represents 133 student contact hours.
346
5. Institution:
Cambrian College
Program Name & Credential: Advanced Diploma in Music Performance
Program Description: The program of study in Music Performance is adapted to the needs of the
aspiring musician. A solid understanding of music theory and history is the basis from which to develop
unique skills and styles applied to the student’s specialty. Whether they perform, compose, teach or
become employed in the music industry, all musicians require an education that strengthens their
perceptual, imaginative and expressive powers as well as developing specific skills.
Within the Music Performance program each student has the opportunity to study a major and a minor
option in the following areas: brass, classical guitar, piano, percussion, strings, voice or woodwinds. One
year of piano minor is required of all students having no background in piano. Those with Grade 2 Royal
Conservatory level in piano can elect one of the following minor options: brass, classical guitar, strings,
piano, organ, voice, woodwind or percussion. All students are involved in music ensembles, weekly
performance classes, choirs, orchestras, bands and jazz groups.
The Music Performance program also features specially designed music theory and music history courses
that enable students to be accommodated at their particular level of expertise. Courses in language,
teaching methods, and business skills equip the student for both the teaching and commerce ends of the
music profession.
Concerts presented throughout the school year showcase Cambrian’s music students and faculty. In
addition, the Cambrian Concert Series features distinguished guest artists who host workshops, perform
recitals for students and the public in the campus theatre and enhance the students’ educational
experience.
Since this program is a Music Performance program and not a Theatre Performance program, it only has
tangential similarities to Sheridan’s proposed BAA in Music Theatre Performance. As with Sheridan’s
proposed program, Cambrian’s program trains students in music theory and vocal performance. However,
the Cambrian program includes instrumental performance as well, where Sheridan’s proposed program
does not.
Total credits required to graduate: 143
347
15.2 Similar/Related University Programs
Note: The college has on file and available upon request the research undertaken to complete Appendix
15.2. The college found that there are not more than (5) similar or related existing programs offered at
Ontario universities that could have been listed.”
1. Institution:
Carnegie Mellon University
Program Name & Credential: Bachelor of Fine Art in Musical Theatre
Program Description: The School of Drama offers the music theatre option for students with special
skills in singing, dancing and acting. The program’s rigorous curriculum includes training in the
disciplines of acting, vocal music, voice and speech, movement and dance and deals with such forms as
musical comedy, cabaret theatre, experimental musical theatre, and the epic musical.
Students in the Music Theatre option share the same curriculum and training philosophy as those in the
acting option. In addition they take courses particular to the demands of music theatre. These include
individual singing lessons, training in a variety of dance techniques, and musical theatre styles and skills.
At the end of the senior year, students are introduced to the profession through showcase performances in
New York City and Los Angeles. This privilege is granted only to students who are in good standing, and
who have obtained the necessary credits for graduation.
The School of Drama considers this option to be the equivalent of a double major. Minimal nondepartmental electives are required.
• CMU uses the term “unit” as the equivalent of one hour of study.
• Students completing curriculum in CMU’s Music Theatre program are considered to have
fulfilled a double major.
• Sheridan’s proposed BAA program requires students to identify whether they want to specialize
in one or two streams of Acting, Dance, Voice or Commercial Performance.
• To complete the CMU program, students must fulfill 467 units.
• This includes all production time, and liberal arts electives.
• 120 credits/206 hours with one declared specialization.
• 127 credits/210 hours with a school approved double specialization.
• This also includes all production time and breadth electives (equivalent to liberal arts electives).
348
2. Institution:
University of Michigan
Program Name & Credential: Bachelor of Fine Art in Musical Theatre
Program Description:
This comprehensive training program, now approaching its 25th anniversary year, has a national
reputation among professional agents, casting directors, and producers as being among the best of its
kind. A unique situation exists at Michigan, since theatre, dance and music coexist as departments
within the School of Music, Theatre & Dance. Students in musical theatre, as part of their curriculum,
study with faculty members in the departments of Theatre and Drama, Voice, Dance, and Musical
Theatre. The University of Michigan is one of a select number of schools which promote this degree
of collaboration among areas within the performing arts.
As part of the degree, students have numerous opportunities to learn about career strategies, audition
techniques, and a wide range of performance skills. Studying at Michigan also presents opportunities to
choose among hundreds of classes outside the performing arts. In fact, Michigan offers a rare dual degree
program in which you can work on the Bachelor of Fine Arts degree and a Bachelor of Arts or Bachelor
of Science degree simultaneously.
• U of M requires a minimum total of 124 credits to complete the BFA, which translates to a
minimum of 144-200 hours.
• This excludes production time, but includes liberal arts electives.
349
3. Institution:
Boston Conservatory of Music
Program Name & Credential: Bachelor of Fine Art in Music Theatre
The professional actor needs to be multi-talented with keen interpretive skills and strong musical and
dance abilities. Known across the country as one of the top musical theater training grounds, the theater
program at The Boston Conservatory delivers programming designed to give aspiring artists an important
edge in their careers.
The theater division’s highly regarded curriculum uniquely combines acting, voice and dance to produce
“triple threat” graduates who work on Broadway, Off-Broadway and in television and film. Seniors may
choose an emphasis in Directing, Music, Performance, Dance or Acting.
• Total credits required: 126
• This is the equivalent of 196 hours. This excludes production time (including liberal arts
electives)
120 credits/206 hours with one declared specialization.
350
4. Institution:
York University
Program Name & Credential: BFA honours degree in Theatre
(Students who concentrate in studio, performance or production work within their major discipline will
graduate with a BFA Honours degree. Honours BFA degrees are available in Dance, Film & Video,
Music, Theatre and Visual Arts.)
One of the largest and most comprehensive programs of its kind in Canada, York's Theatre department
combines in-depth academic studies and rigorous practical training in all aspects of theatre. The program
deals with the creative processes and technical skills involved in performance, directing and production,
lighting, costume and set design. Integrated with these are courses in dramatic literature, theatre history
and theory, theatre criticism and playwriting.
Today we use the word theatre in many ways. Theatre is a social art form, a powerful means of sharing
ideas with people. It is one of the oldest and most popular forms of entertainment, in which actors
perform for a live audience on an area called a stage. We use theatre to describe the building where plays
are put on; we also use the term to indicate where films are shown, as in “movie theatre.”
Theatre also refers to the company of actors (and owners, managers, and technicians) who perform in the
theatre space and to the body of plays that such a company produces. We also use the word theatre to
summon up an occupation that is the professional activity of men and women all over the world. Theatre
is a combination of people, ideas, and the works of art that result from their collaboration. Plenty of
performance and production opportunities are found with our in-house company, “Theatre @ York”.
• Total credits required: 141 – the equivalent of 186 hours.
• This excludes production time (including free electives).
351
5. Institution:
University of Toronto at Mississauga/Sheridan College Joint
Program
Program Name & Credential: Specialist Honours BA / Theatre and Drama Studies
The study of Theatre, Drama and Performance examines the relationship between the artists who create
written texts intended for production, the artists who turn scripts into performances, and the audiences
who experience the resulting theatrical event. It is the study of the event itself, and the acts of creation
involved in producing that event. Understanding Theatre, Drama and Performance involves the study of
plays, actors, theatres, designers, and audiences from the classical Greek stage to the most modern
experimental performance.
• 20 credits required to complete the 4 year-Specialist Honours BA
• 12 credits required toward the program – 8 credits of liberal arts electives
• Of the 12 program credits-6 credits are delivered at UTM, 6 credits at Sheridan
• One credit at Sheridan is generally considered to be the equivalent of one hour
• One credit at UTM is generally considered to be 6 hrs
• The 14 credits required at UTM are the equivalent of 48 hours (includes liberal arts electives)
• The 6 credits required at Sheridan are the equivalent of 144 hours (includes all production time)
352

Bachelor of Applied Arts Music Theatre Performance

Transcription

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