College of the Redwoods
CURRICULUM PROPOSAL
C-ID Descriptor (if applicable): Music 140/Music 145
1. Course ID and Number: Music 3A
2. Course Title: Intermediate Harmony and Musicianship I
3. Check one of the following:
New Course (If the course constitutes a new learning experience for CR students, the course is new).
Required - Justification for Need (Provide a brief description of the background and rationale for the course. This might
include a description of a degree or certificate for which the course is required or the relationship of this course to
other courses in the same or other disciplines. To see examples of such descriptions, consult pages 10-11 of The
Course Outline of Record: A Curriculum Reference Guide.
Updated/Revised Course
If curriculum has been offered under a different discipline and/or name, identify the former course: Music 3
Should another course be inactivated? No
Yes
Inactivation date:
Title of course to be inactivated:
(If yes, complete a Course Inactivation Form found on the Curriculum Website.)
4. If this is an update/revision of an existing course, provide explanation of and justification for changes to this course. Be
sure to explain the reasons for any changes to class size, unit value, and prerequisites/corequisites.
Course last revised February 2011. Current revision aligns existing course more closely with C-ID courses Music 140 and
145.
5. List the faculty with which you consulted in the development and/or revision of this course outline.
Faculty Member Name(s) and Discipline(s): Bill Allison, Brian Newkirk, Carol Ryder, Music
6. If any of the features listed below have been modified in the new proposal, indicate the “old” (current) information and
“new” (proposed) changes. If a feature is not changing, leave both the “old” and “new” fields blank.
FEATURES
OLD
NEW
Advanced Harmony and Musicianship
Intermediate Harmony and Musicianship I
Catalog Description
(Please include complete text of
old and new catalog descriptions.)
An advanced study in harmony and
musical form. Topics addressed include
secondary dominants, augmented sixth,
neapolitan, and borrowed chords, pedal
points, and modulation. The course also
includes the composition and
harmonization of melodies, part-writing
exercises, roman numeral analysis of short
compositions, sight-singing, and training in
the aural recognition of intervals.
An introduction to the chromatic vocabulary and
to extended forms. Topics addressed include
secondary dominant and diminished seventh
chords, augmented sixth, neapolitan, and
borrowed chords, pedal points, and abrupt
modulation. The course also includes the
composition and harmonization of melodies,
part-writing exercises, analysis of compositions,
sight-singing, and ear training.
Grading Standard
Select
Select
Total Units
3.0
4.0
Lecture Units
3.0
4.0
Course Title
TOPS/CIPS Code
Lab Units
Prerequisites
Corequisites
Recommended Preparation
Curriculum Proposal: Revised 05.08.15
Academic Senate: (pending)
Page 1 of 9
Maximum Class Size
Repeatability—
Maximum Enrollments
Select
Select
Other
1. DATE: September 15, 2015
2. DIVISION: Arts and Humanities
3. [CB04] COURSE CREDIT STATUS: D Credit - Degree Applicable
4. [CB01] COURSE ID AND NUMBER: Music 3A
5. [CB02] COURSE TITLE: Intermediate Harmony and Musicianship I
(Course title appears in Catalog and schedule of classes.)
6. SHORT TITLE: Intermediate Harmony I
(Short title appears on student transcripts and is limited to 30 characters, including spaces.)
7. [CB03] LOCAL ID (TOPs code): 1004.00 Taxonomy of Program Codes
8. NATIONAL ID (CIP code): 500901 Classification of Instructional Program Codes
9. DISCIPLINE(S): Music Select from Minimum Qualifications for Faculty
Course may fit more than one discipline; identify all that apply:
10. FIRST TERM NEW OR REVISED COURSE MAY BE OFFERED: Fall 2016
11. COURSE UNITS (Note: 1 lecture unit requires 18 hours in-class/36 hours out-of-class; 1 lab unit requires 54 in-class hours)
TOTAL UNITS:
TOTAL HOURS:
[CB07]
[CB06]
4.0
min. units
max. units
72.0
min. hours
max. hours
Lecture Units:
4.0
Lab Units:
Lecture Hours:
72.0
Lab Hours:
12. MAXIMUM CLASS SIZE: 25
13. WILL THIS COURSE HAVE AN INSTRUCTIONAL MATERIALS FEE? No
Yes
Fee: $
If yes, attach a completed Instructional Materials Fee Request Form found on the Curriculum Website.
GRADING STANDARD
Letter Grade Only
Pass/No Pass Only
[CB12] Is this course a repeatable lab course? No
Grade-Pass/No Pass Option
Yes
If yes, how many total enrollments? Select
Is this course to be offered as part of the Honors Program? No
Yes
If yes, explain how honors sections of the course are different from standard sections.
CATALOG DESCRIPTION - The catalog description should clearly describe for students the scope of the course, its level, and
what kinds of student goals the course is designed to fulfill. The catalog description should begin with a sentence fragment.
An introduction to the chromatic vocabulary and to extended forms. Topics addressed include secondary dominant and
diminished seventh chords, augmented sixth, neapolitan, and borrowed chords, pedal points, and abrupt modulation. The
course also includes the composition and harmonization of melodies, part-writing exercises, analysis of compositions,
sight-singing, and ear training.
Special Notes or Advisories (e.g. Field Trips Required, Prior Admission to Special Program Required, etc.):
Curriculum Proposal: Revised 05.08.15
Academic Senate: (pending)
Page 2 of 9
PREREQUISITE COURSE(S)
No
Yes
Rationale for Prerequisite:
Course(s):
Describe representative skills without which the student would be highly unlikely to succeed.
COREQUISITE COURSE(S)
No
Yes
Rationale for Corequisite:
Course(s):
RECOMMENDED PREPARATION
No
Yes
Course(s): Music 2B
Rationale for Recommended Preparation:
A student who has not taken Music 2B at C.R., a similar course elsewhere, or studied music fundamentals with a private
instructor is unlikely to have the foundational body of knowledge and skills necessary for success in this course, which
presupposes familiarity with the circle of fifths (major and minor keys), key signatures (major and minor), scales (major,
the three forms of minor), intervals, triads, seventh chords, figured bass symbols, part-writing conventions, the diatonic
vocabulary, and basic rhythmic concepts, including time signatures and the distinction between simple and compound
meters.
COURSE LEARNING OUTCOMES –This section answers the question “what will students be able to do as a result of taking this
course?” State some of the outcomes in terms of specific, measurable student actions (e.g. discuss, identify, describe, analyze,
construct, compare, compose, display, report, select, etc.). For a more complete list of outcome verbs please see Public
Folders>Curriculum>Help Folder>SLO Language Chart. Each outcome should be numbered.
1. Compose and harmonize melodies that use AABA or ABCA phrase structure that include chromatic passing tones and
that modulate from, and back to, the tonic key, demonstratng the ability to effect modulations using common chords,
enharmonic pivots, and sequences; sing on sight, and take dictation of, melodies that include chromatic alterations and
modulations, in both simple and compound meters, featuring beat subdivisions, triplets, duplets, and syncopation.
2. Enumerate correct part-writing procedures; complete part-writing exercises, and take dictation, of two- and four-part
progressions that use secondary dominant and diminished seventh chords, chromatic subdominant substitutions
(agumented sixths, neapolitans), borrowed chords, and pedal points featuring a variety of modulatory approaches,
demonstrating mastery of accepted part-writing procedures and familiarity with figured bass symbols.
3. Conduct roman numeral analysis of short compositions (including compositions in two-part counterpoint) in a variety of
forms (including binary and ternary forms and extended forms such as sonata-allegro, rondo, sonata-rondo, and rounded
binary form) that use secondary dominants and diminished seventh chords, chromatic subdominant substitutions
(agumented sixths, neapolitans), borrowed chords, and pedal points, identifying non-harmonic tones by type, identifying
subsections within larger forms, and identifying to what key, and by what approach, modulations are effected.
COURSE OBJECTIVES - This section describes the objectives the course addresses through the course content. Objectives can
include specific disciplinary questions or goals that are central to the course subject matter and are meant to address what
the various intents of the course are. Each objective should be numbered.
1. Write and identify any secondary dominant and secondary diminished seventh chord in root position and inversion.
2. Write and identify chromatic subdominant substitutions (augmented sixths, the neapolitan) and borrowed chords in
root position and inversion.
3. Using secondary seventh chords, chromatic subdominant substitutions, borrowed chords, diatonic and modulation
sequences, and enharmonic pivots: realize a figured bass; harmonize a given melody.
4. Conduct harmonic and formal analysis of music that uses secondary dominant and diminished sevenths, chromatic
subdominant substitutions, borrowed chords, pedal points, and diatonic and modulating sequences in a variety of forms,
including binary and ternary forms and extended forms (sonata-allegro form, rondo form, sonata-rondo form, rounded
binary form).
5. Compose and harmonize melodies using musical elements included in course content.
6. Accurately sing on sight, and take dictation of, melodies in a variety of major and minor keys, tempos, and time
signatures featuring triplets/duplets, syncopation, chromatic alterations, and modulations to both closely-related and
Curriculum Proposal: Revised 05.08.15
Academic Senate: (pending)
Page 3 of 9
more distant keys.
7. Accurately take dictation of two- and four-part harmonic progressions that use secondary dominants and diminished
sevenths, chromatic subdominant substitutions, and borrowed chords and that feature a variety of modulatory
approaches.
METHODS OF INSTRUCTION – Clear methods by which instructor will facilitate acquisition of objectives. Include here
descriptions, NOT lists. Course outline must clearly articulate how these methods of instruction are related to, and help
student work towards, achieving the objectives and student learning outcomes. Instructional methodologies will be
consistent with, but will not be limited to, the following types or examples.
Each class meeting begins with ear-training, and may include one or more of the following: (1) rhythmic training and
dictation; (2) singing melodic intervals, ascending and descending; (3) aurally identifying harmonic and melodic intervals;
(4) aurally identifying triads, seventh chords, and augmented sixth chords by type and inversion; (5) singing, on sight,
melodies that include chromatic alterations and modulations, in both simple and compound meters, featuring beat
subdivisions, triplets, duplets, and syncopation; (6) taking dictation of melodies that include chromatic alterations and
modulations, in both simple and compound meters, featuring beat subdivisions, triplets, duplets, and syncopation; (7)
taking dictation of two- and four-part progressions that use secondary dominants and diminished seventh chords,
chromatic subdominant substitutions (agumented sixths, neapolitans), borrowed chords, and pedal points. The next
segment of the class meeting, which constitutes between two-thirds and three-fourths of the class's meeting time,
includes lecture on, and practice in, one or more of the following: (1) part-writing exercises in four parts with a given bass
or soprano using secondary dominant and diminished seventh chords, augmented sixth chords, borrowed chords, and
pedal points, with or without modulatory sections and/or non-harmonic tones; (2) conducting roman numeral analysis of
short compositions (including compositions in two-part counterpoint) in a variety of forms (including binary and ternary
forms and extended forms) that use secondary dominants and diminished seventh chords, chromatic subdominant
substitutions (agumented sixths, neapolitans), borrowed chords, and pedal points, identifying to what key and by what
approach modulations are effected and identifying subsections within larger forms. Instructor may assign work outside of
class which may include, but is not limited to: (1) practice in singing, and recognizing, intervals; (2) practice in recognizing
triads, seventh chords, and augmented sixth chords by type; (3) practice on specific sight-singing exercises; (4) partwriting/harmonization exercises with a given bass or soprano part; (5) roman numeral analysis of short compositions
(including compositions in two-part counterpoint) in a variety of forms (including binary and ternary forms and extended
forms) that use secondary dominants and diminished seventh chords, chromatic subdominant substitutions (agumented
sixths, neapolitans), borrowed chords, and pedal points, identifying to what key and by what approach modulations are
effected and identifying subsections within larger forms.
COURSE CONTENT–This section describes what the course is “about”-i.e. what it covers and what knowledge students will acquire.
Concepts: What terms and ideas will students need to understand and be conversant with as they demonstrate course
outcomes? Each concept should be numbered.
1. Correct part-writing procedures, including standard doublings of all chords studied.
2. Inversions, including which of the chords studied may only be used in a specific inversion.
3. Roman numeral analysis symbols.
4. Figured bass symbols.
5. Harmonic functionality (tonic, subdominant, and dominant functions), especially as relates to chromatic subdominant
substitutions and secondary dominants.
6. Harmonic rhythm.
7. Pan-modality (chords proper to the minor can be "borrowed" for use in the major, and vice-versa).
8. Modulatory approaches by common chord, enharmonic pivot, and sequence.
9. Binary, ternary, and larger forms (sonata-allegro, rondo, sonata-rondo, rounded binary).
10. Subdivided beats, triplets/duplets, and syncopation in simple and compound meters.
Themes and Issues: What motifs, if any, are threaded throughout the course? What primary tensions or problems inherent in
the subject matter of the course will students engage? Each item should be numbered.
1. The three triadic functions (tonic, subdominant, dominant) as applicable to secondary dominants and chromatic
subdominant substitutions.
2. Question-answer structures in melodic periods, the harmonic implications of melodic phrase structure, and the
structural implications of modulations away from and back to the tonic.
3. Harmonic rhythm, and its application to the harmonization of melodies.
4. Tension between the horizontal element (stepwise, vocal melodic lines) and the vertical element (coherent chord
progressions) in part-writing.
Curriculum Proposal: Revised 05.08.15
Academic Senate: (pending)
Page 4 of 9
Skills: What abilities must students have in order to demonstrate course outcomes? (E.g. write clearly, use a scientific
calculator, read college-level texts, create a field notebook, safely use power tools, etc). Each skill should be numbered.
1. Visualization (of any interval from a given pitch, either ascending or descending; of any triad, seventh chord, or
augmented sixth built on a given bass note).
2. Vocal reproduction (accurately sing the note a given intervallic distance below or above a pitch).
3. Match pitch with other class members in interval training and sight-singing exercises.
4. Ability to hold one's part in vocal music with multiple parts (canons, duets, chorales, etc.).
5. Aural recognition (of rhythms, melodic patterns, common harmonic progressions).
6. Memorization and application of part-writing (voice-leading) principles, scalar nomenclature, roman numeral analysis
symbols, and figured bass symbols in the completion of part-writing exercises and melodic harmonization.
7. Memorization and application of principles of harmonic functionality to the harmonization process.
REPRESENTATIVE LEARNING ACTIVITIES –This section provides examples of things students may do to engage the course
content both inside and outside of class (e.g., critically reading outside-of-class, researching outside-of-class, writing outsideof-class, writing papers outside-of-class, completing homework outside-of-class, attending a field trip). These activities should
relate directly to the Course Learning Outcomes. Each activity should be numbered.
1. Listening to lectures.
2. Identifying the notes in a given melody according to scalar content; singing on sight, and taking dictation of, melodies
that include chromatic alterations and modulations, in both simple and compound meters, featuring beat subdivisions,
triplets, duplets, and syncopation; composing melodies incorporating chromatic alterations and interior modulations in A
A B A or A B C A phrase structures.
3. Writing augmented sixth chords of various types on a given bass note, and aurally identifying augmented sixth chords
by type.
4. Analyzing music that uses the nineteenth century chromatic vocabulary, supplying a roman numeral analysis,
identifying non-harmonic tones by type, identifying cadence types, phrase structure, and larger structural patterns (binary
form, ternary form, etc.)
5. Completing part-writing exercises by supplying soprano, alto, and tenor parts to a given bass line, using the figured bass
symbols to determine the pitches required, and identifying each chord's function through roman numeral designation; or,
harmonizing a given soprano melody with alto, tenor, and bass parts, identifying each chord's function through roman
numeral designation.
6. Taking dictation of short two- and four-part harmonic progressions that include secondary dominant and diminished
seventh chords, augmented sixth chords, the neapolitan chord, pedal points, and various modulatory approaches, with
and without non-harmonic tones.
ASSESSMENT TASKS –This section describes assessments instructors may use to allow students opportunities to provide
evidence of achieving the Course Learning Outcomes. Each assessment should be numbered.
Representative Assessment Tasks (These are examples of assessments instructors could use.):
Required Assessments for All Sections (These are assessments that are required of all instructors of all sections at all
campuses/sites. Not all courses will have required assessments. Do not list here assessments that are listed as representative
assessments above.):
1.
2.
3.
3.
Ear-training/sight-singing exams.
Take-home analysis projects.
Take-home melody composition and harmonization projects.
Written in-class quizzes including part-writing exercises and analysis examples.
EXAMPLES OF APPROPRIATE TEXTS OR OTHER READINGS –This section lists example texts, not required texts.
Author, Title, and Date Fields are required
Author Peter Spencer/Barbara Bennett Title The Practice of Harmony, sixth edition Date 2012
Author Nancy Rogers/Robert Ottman Title Music for Sight Singing, ninth edition Date 2014
Author Poundie Burstein/Joseph Straus Title Concise Introduction to Tonal Harmony Date 2016
Author Bruce Benward/Timothy Kolosick Title Ear Training, seventh edition Date 2009
Other Appropriate Readings: Walter Piston, Harmony, third edition (1969); Robert Ottman, Advanced Harmony: Theory
Curriculum Proposal: Revised 05.08.15
Academic Senate: (pending)
Page 5 of 9
and Practice, fourth edition (1992)
COURSE TYPES
1. Is the course part of a Chancellor’s Office approved CR Associate Degree?
No
Yes
If yes, specify all program codes that apply. (Codes can be found in Outlook/Public Folders/All Public Folders/
Curriculum/Degree and Certificate Programs/choose appropriate catalog year):
Required course for degree(s)
Restricted elective for degree (s) FIN.ARTS.LA.A.AA, FIN.ARTS.LA.B.AA, FIN.ARTS.LA.C.AA, FIN.ARTS.LA.D.AA
Restricted electives are courses specifically listed (i.e. by name and number) as optional courses from which students
may choose to complete a specific number of units required for an approved degree.
2. Is the course part of a Chancellor’s Office approved CR Certificate of Achievement?
No
Yes
If yes, specify all program codes that apply. (Codes can be found in Outlook/Public Folders/All Public Folders/
Curriculum/Degree and Certificate Programs/choose appropriate catalog year):
Required course for certificate(s)
Restricted elective for certificate(s)
Restricted electives are courses specifically listed (i.e. by name and number) as optional courses from which students
may choose to complete a specific number of units required for an approved certificate.
3. [CB24] Is this course a part of an CCCCO approved education program? 1 - Program applicable
4. [CB08] Basic Skills: NBS Not Basic Skills
5. [CB10] Work Experience: NWE Not Coop Work Experience
6. [CB22] Noncredit Category: Credit course, not applicable
7. Course eligible Career Technical Education funding (applies to vocational and tech-prep courses only): No
8. [CB23] Course developed using a Chancellor’s Office Economic Development Grant: No
Yes
Yes
9. [CB11] Purpose: Y Credit Course Course Classification Status (All credit courses should be categorized as “Y – Credit
Course”).
10. Accounting Method: W Weekly Census
11. [CB13] Disability Status: N Not a Special Class
12. [CB09] Course SAM Priority Code: E Not Occupational Definitions of SAM Priority Codes
COURSE TRANSFERABILITY
1. [CB05] Current Transferability Status: A Transferable to both UC and CSU
2.
[CB21] Course Prior to Transfer Level: Y Not Applicable Definitions of Course Prior to Transfer Levels
CURRENT TRANSFERABILITY STATUS (Check at least one box below):
This course is currently transferable to:
Neither CSU nor UC
CSU as general elective credit
CSU as a specific course equivalent (see below)
If the course transfers as a specific course equivalent give course number(s)/ title(s) of one or more currently-active,
equivalent lower division courses from CSU.
1. Course Music 201, Campus CSU/Chico
2. Course
, Campus
UC as general elective credit
UC as specific course equivalent
If the course transfers as a specific course equivalent give course number(s)/ title(s) of one or more currently-active,
Curriculum Proposal: Revised 05.08.15
Academic Senate: (pending)
Page 6 of 9
equivalent lower division courses from UC.
1. Course
, Campus
2. Course
, Campus
PROPOSED CSU TRANSFERABILITY (Check at least one of the boxes below):
No proposal
Remove as General Education
Propose as General Elective Credit
Propose as a Specific Course Equivalent (see below)
If specific course equivalent credit is proposed, give course number(s)/ title(s) of one or more currently-active, equivalent
lower division courses from CSU.
1. Course Music 215/217, Campus HSU
2. Course
, Campus
PROPOSED UC TRANSFERABILITY (Check one of the boxes below):
No proposal
Remove as General Education
Propose as General Elective Credit OR Specific Course Equivalent (fill in information below)
If “General Elective Credit OR Specific Course Equivalent” box above is checked, give course number(s)/ title(s) of one or
more currently-active, equivalent lower division courses from UC.
1. Course Music 4C/5C, Campus UCSB
2. Course Music 1C/2C, Campus UCSD
CURRENTLY APPROVED GENERAL EDUCATION (Check at least one box below):
Not currently approved
CR
CR GE Category(-ies): Select GE Category, Secondary GE Category (if applicable)
CSU
CSU GE Category:
IGETC
IGETC Category:
PROPOSED CR GENERAL EDUCATION (Check at least one box below):
No proposal
Remove as General Education
Review to maintain CR GE Status
New GE Proposal
Approved as CR GE by Curriculum Committee:
Not approved
Approved to remove CR GE status
CR GE Area Designation(s) - To be proposed and/or maintained.
Area A: Natural Science
Area B: Social Science
Area C: Humanities
Area D: Language and Rationality
D1: Writing
D2: Oral Communications
D3: Analytical Thinking
Area E: Multicultural Understanding*
*To be considered part of CR GE Area E, all courses must meet the following condition: The course must also be (or
be proposed) in one other CR GE area.
General Education Outcomes
For each GE area this course satisfies (See BP4025 for Area descriptions), list the course outcome(s) that map to each of the
specific GE area outcome(s). Explain how this course’s outcomes map to each of the two outcomes listed under the
appropriate area. (Note: one course outcome can satisfy both Area outcomes.)
Area A – Natural Sciences
 communicate scientific ideas;
 apply scientific concepts to analyze natural relationships.
Area B – Social Sciences
 communicate intellectual ideas related to the social sciences;
Curriculum Proposal: Revised 05.08.15
Academic Senate: (pending)
Page 7 of 9
 apply social science concepts to analyze social, historical, political, anthropological or psychological relationships.
Area C – Humanities
 communicate aesthetic and/or cultural ideas;
 analyze ideas or practices specific to the influence of culture on human expression.
Area D – Language, Communication and Rationality
Area D1- Writing
 generate, compose, revise and communicate ideas clearly in writing;
 analyze ideas presented in writing, media, speech or artistic representations.
Area D2 – Oral Communication
 generate, compose, revise and communicate ideas clearly;
 analyze ideas presented in writing, media, speech or artistic representations.
Area D3 – Analytical Thinking
 communicate analytical and/or computational ideas;
 apply analytical and/or computational concepts to analyze relationships.
Area E – Multicultural Understanding
 communicate an awareness of cultures in a diverse global community;
 analyze issues from multiple perspectives, specifically as they relate to gender, self identity, ethnicity, race,
socioeconomic status, sexuality, worldview, collective behavior, and/or values.
GE Criteria for Breadth and Generality
GE courses should be broad and general in scope. Typically such courses are introductory-- not advanced or specialized—and
the content encompasses a broad spectrum of knowledge within a given field of study. Explain how the proposed GE course
fulfills GE criteria for breadth and generality.
PROPOSED CSU GENERAL EDUCATION BREADTH (CSU GE) (Check at least one box below):
NO PROPOSAL
A. Communications and Critical Thinking
A1 – Oral Communication
A2 – Written Communication
A3 – Critical Thinking
B. Science and Math
B1 – Physical Science
B2 – Life Science
B3 – Laboratory Activity
B4 – Mathematics/Quantitative Reasoning
C. Arts, Literature, Philosophy, and Foreign Language
D. Social, Political, and Economic Institutions
C1 – Arts (Art, Dance, Music, Theater)
E. Lifelong Understanding and Self-Development
C2 – Humanities (Literature, Philosophy,
E1 – Lifelong Understanding
Foreign Language)
E2 – Self-Development
Rationale for inclusion in this General Education category: Same as above
Proposed Intersegmental General Education Transfer Curriculum (IGETC) (Check at least one box below):
NO PROPOSAL
1A – English Composition
1B – Critical Thinking-English Composition
1C – Oral Communication (CSU requirement only)
2A – Math
3A – Arts
3B – Humanities
Curriculum Committee Approved: 04.25.14; 09.01.14
Academic Senate Approved: 05.02.14
Page 8 of 9
4A – Anthropology and Archaeology
4B – Economics
4E – Geography
4F – History
4G – Interdisciplinary, Social & Behavioral Sciences
4H – Political Science, Government & Legal Institutions
4I – Psychology
4J – Sociology & Criminology
5A – Physical Science
5B – Biological Science
6A – Languages Other Than English
Rationale for inclusion in this General Education category: Same as Above
Submitted By: Ed Macan
Tel. Ext.: 4321
Dean/Director: Erin Wall
Date: September 15, 2015
Review Date: September 30, 2015
For Dean/Director only: Does this course change require a substantial or nonsubstantial change to a degree? Yes
CURRICULUM COMMITTEE USE ONLY
Approved by Curriculum Committee: No
Yes
Date: 10.09.15
Academic Senate Approval Date:
Board of Trustees Approval Date:
Curriculum Committee Approved: 04.25.14; 09.01.14
Academic Senate Approved: 05.02.14
Page 9 of 9
No