1. Course ID and Number: Music 3B
College of the Redwoods
CURRICULUM PROPOSAL
C-ID Descriptor (if applicable): Music 150/Music 155
2. Course Title: Intermediate Harmony and Musicianship II
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.
In academic year 2016-17, we will be submitting a request to the State of California to offer the Music ADT at
College of the Redwoods. The State will reject our request unless we offer this course, or a similar one, that
coincides with the required C-ID number Music 150 (Music Theory IV)/Music 155 (Musicianship IV).
Updated/Revised Course
If curriculum has been offered under a different discipline and/or name, identify the former course:
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.
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
Course Title
TOPS/CIPS Code
An introduction to the post-functional
vocabulary of the late nineteenth and twentieth
centuries, and a continued study in extended
forms. Topics addressed include ninth,
eleventh, thirteenth chords; chord symbols and
jazz lead sheet notation; the diatonic modes;
pentatonic and symmetrical scales; pitch sets;
parallelism, bitonality, and non-tertian
sonorities; free atonality; and serialism. The
course also includes short composition
exercises, part-writing exercises, analysis of
compositions, sight-singing, and ear training.
Catalog Description
(Please include complete text of
old and new catalog descriptions.)
Grading Standard
Select
Select
Total Units
Lecture Units
Lab Units
Prerequisites
Curriculum Proposal: Revised 05.08.15
Academic Senate: (pending)
Page 1 of 9
Corequisites
Recommended Preparation
Maximum Class Size
Repeatability—
Maximum Enrollments
Select
Select
Other
1. DATE: September 17, 2015
2. DIVISION: Arts and Humanities
3. [CB04] COURSE CREDIT STATUS: D Credit - Degree Applicable
4. [CB01] COURSE ID AND NUMBER: Music 3B
5. [CB02] COURSE TITLE: Intermediate Harmony and Musicianship II
(Course title appears in Catalog and schedule of classes.)
6. SHORT TITLE: Intermediate Harmony II
(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 post-functional vocabulary of the late nineteenth and twentieth centuries, and a continued study in
Curriculum Proposal: Revised 05.08.15
Academic Senate: (pending)
Page 2 of 9
extended forms. Topics addressed include ninth, eleventh, thirteenth chords; chord symbols and jazz lead sheet notation;
the diatonic modes; pentatonic and symmetrical scales; pitch sets; parallelism, bitonality, and non-tertian sonorities; free
atonality; and serialism. The course also includes short composition exercises, 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.):
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 3A
Rationale for Recommended Preparation:
A student who has not taken Music 3A 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), the major and
the three forms of the minor scale, intervals, triads, seventh chords, augmented sixth chords, figured bass symbols, partwriting conventions, the diatonic and chromatic vocabularies, 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, use
ninth, eleventh, and/or thirteenth chords, and that modulate from, and back to, the tonic key, demonstratng the ability to
effect modulations using common chords, enharmonic pivots, and sequences; compose and harmonize melodies based in
one of the diatonic modes, the pentatonic scale, and/or one of the symmetrical scales, using post-functional part-writing
techniques (parallelism, bitonality, non-tertian sonorities); sing on sight, and take dictation of, melodies that include
chromatic alterations and modulations, or that are based in one of the diatonic modes, the pentatonic scale, or one of the
symmetrical scales, in simple and compound meters, asymmetrical meters, and shifting meters.
2. Demonstrate mastery of part-writing procedures appropriate to the upper dominant discords (ninth, eleventh, and
thirteenth chords), as well as post-functional part-writing approaches such as parallelism, bitonality, and non-tertian
sonorities; complete part-writing exercises, and take dictation, of, four-part progressions that use ninth, eleventh, and
thirteenth chords, demonstrating mastery of accepted part-writing procedures and familiarity with figured bass symbols;
convert standard notation to jazz lead sheet notation, and vice-versa; harmonize a given melody using the pitches of the
diatonic mode, pentatonic scale, or symmetrical scale from which the melody is drawn; take dictation of short
progressions based in one or more of the diatonic modes.
3. Analyze 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 the
upper dominant discords, the diatonic modes, the pentatonic scale, the symmetrical scales, and non-functional partwriting approaches such as parallelism, bitonality, atonality, and non-tertian sonorities, identifying subsections within
larger forms, and identifying to what key and by what approach modulations are effected, if applicable.
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.
Curriculum Proposal: Revised 05.08.15
Academic Senate: (pending)
Page 3 of 9
1. Write and identify ninth, eleventh, and thirteenth chords, as well as non-tertian sonorities such as quartal and quintal
sonorities; sing on sight, and take dictation of, melodies that outline these chords, and progressions that use them; convert
standard notation to jazz lead sheet notation, or vice-versa.
2. Define, analyze, and/or write examples of post-functional techniques such as modality, pentatonicism, parallelism,
bitonality, non-tertian sonorities, free atonality, serialism, asymmetrical meters, and shifting meters.
3. Aurally identify the different diatonic modes (Phrygian, Lydian, Mixolydian, Dorian, etc.), the symmetrical scales
(whole-tone, octatonic), and the pentatonic scale, take dictation of melodies based upon them, and compose and
harmonize melodies using them; take dictation of melodies using asymmetrical and shifting meters.
4. Analyze music that uses course content in extended forms such as sonta-allegro form, rondo form, sonata-rondo form,
rounded binary form, or other forms.
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, ninth, eleventh, thirteenth, and augmented sixth chords by type and inversion; (5)
singing, on sight, and/or taking dictation of, melodies that include chromatic alterations and modulations, or that are
based in one of the diatonic modes, the pentatonic scale, or one of the symmetrical scales, in simple and compound
meters, asymmetrical meters, and shifting meters; (6) take dictation of four-part progressions that use ninth, eleventh, and
thirteenth chords, or that are based in one of the diatonic modes, demonstrating mastery of accepted part-writing
procedures and familiarity with figured bass symbols. The next segment of the class meeting 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 ninth,
eleventh, and thirteenth chords, or based in the diatonic modes; (2) analysis of compositions (including compositions in
two-part counterpoint) in a variety of forms (including binary and ternary forms and extended forms such as sonataallegro, rondo, sonata-rondo, and rounded binary forms) that use the upper dominant discords, the diatonic modes, the
pentatonic scale, the symmetrical scales, and non-functional part-writing approaches such as parallelism, bitonality,
atonality, and non-tertian sonorities, identifying subsections within larger forms, and identifying to what key and by what
approach modulations are effected, if applicable. 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, ninth, eleventh,
thirteenth, and augmented sixth chords by type; (3) practice on specific sight-singing exercises; (4) part-writing exercises
with a given bass or soprano part; (5) analysis of 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 the upper dominant discords, the diatonic modes, the pentatonic scale, the symmetrical
scales, and non-functional part-writing approaches such as parallelism, bitonality, atonality, and non-tertian sonorities,
identifying subsections within larger forms, and identifying to what key and by what approach modulations are effected, if
applicable.
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. Post-functional part-writing techniques (parallelism, drones, bitonality, etc.).
2. Jazz lead sheet notation symbols.
3. Upper dominant discords (ninth, eleventh, and thirteenth chords), and non-tertian sonorities (quartal and quintal
sonorities, polytriads).
4. The diatonic modes (Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian); pentatonic scales; symmetrical scales
(whole-tone, octatonic).
5. Pitch sets (pentatonic scales, whole-tone scales, the Mystic chord).
6. Free atonality, serialism (including tone rows and set theory).
7. Asymmetrical and shifting meters, irregular beat divisions, polymeters.
8. Extended forms (sonata-allegro form, rondo form, sonata-rondo form, rounded binary form, etc.).
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. Post-functional techniques of establishing tonality.
2. Post-functional approaches to voice-leading/part writing.
Curriculum Proposal: Revised 05.08.15
Academic Senate: (pending)
Page 4 of 9
3. Post-functional approaches to musical structure.
4. Similarities and differences between functional and post-functional musical structure and compositional approaches.
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, ninth, eleventh,
thirteenth, 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, and of the
techiques appropriate to post-functional harmonic practice.
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. Composing and harmonize melodies that use AABA or ABCA phrase structure that include chromatic passing tones, use
ninth, eleventh, and/or thirteenth chords, and that modulate from, and back to, the tonic key, demonstratng the ability to
effect modulations using common chords, enharmonic pivots, and sequences; compose and harmonize melodies based in
one of the diatonic modes, the pentatonic scale, and/or one of the symmetrical scales, using post-functional part-writing
techniques (parallelism, bitonality, non-tertian sonorities) as appropriate; singing on sight, and taking dictation of,
melodies that include chromatic alterations and modulations, or that are based in one of the diatonic modes, the
pentatonic scale, or one of the symmetrical scales, in simple and compound meters, asymmetrical meters, and shifting
meters.
3. Writing ninth, eleventh, and thirteenth chords of various types on a given bass note, and aurally identifying these
chords by type.
4. Converting standard notation to jazz lead sheet notation, and vice-versa.
5. Analyzing 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 the
upper dominant discords, the diatonic modes, the pentatonic scale, the symmetrical scales, and non-functional partwriting approaches such as parallelism, bitonality, atonality, and non-tertian sonorities, identifying subsections within
larger forms, and identifying to what key and by what approach modulations are effected, if applicable.
6. Taking dictation of short progressions based in one or more of the diatonic modes; transposing modal melodies from
one tonal center to another; changing a given melody in a given key from one mode to another.
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
Curriculum Proposal: Revised 05.08.15
Academic Senate: (pending)
Page 5 of 9
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: Vincent Persichetti, Twentieth Century Harmony: Creative Aspects and Practice (1961)
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)
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: C Not Transferable
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.
Curriculum Proposal: Revised 05.08.15
Academic Senate: (pending)
Page 6 of 9
1. Course
, Campus
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,
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 210/220, Campus Sonoma State University
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 4D/5D, Campus UCSB
2. Course
, Campus
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;
Curriculum Proposal: Revised 05.08.15
Academic Senate: (pending)
Page 7 of 9
 apply scientific concepts to analyze natural relationships.
Area B – Social Sciences
 communicate intellectual ideas related to the social sciences;
 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
Curriculum Committee Approved: 04.25.14; 09.01.14
Academic Senate Approved: 05.02.14
Page 8 of 9
1B – Critical Thinking-English Composition
1C – Oral Communication (CSU requirement only)
2A – Math
3A – Arts
3B – Humanities
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 17, 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: 10/16/15
Board of Trustees Approval Date: 11.03.15
Curriculum Committee Approved: 04.25.14; 09.01.14
Academic Senate Approved: 05.02.14
Page 9 of 9
No