See the bulletins of the School of Music and the Divinity School for full course listings and degree requirements. Courses listed here may be cross-listed in other schools or departments. Information is current as of July 1, 2023. An updated list is available online at http://ism.yale.edu.
The letter “a” following the course number denotes the fall term; the letter “b” denotes the spring term.
Courses fulfilling the distribution requirements for Institute students pursuing the M.Div. are indicated with a letter representing the subject area: W (Worship), M (Music), and/or A (Visual Arts or Literature). In the School of Music, courses designated NP are nonperformance courses. Courses designated P/F will be graded on a Pass/Fail basis. See the Schools’ respective bulletins for full explanation.
Music Courses
MUS 506a–b, 606a–b, 706a–b, Lyric Diction for Singers 2 credits per term. A language course designed specifically for the needs of singers. Intensive work on pronunciation, grammar, and literature throughout the term. French, German, English, Italian, Russian, and Latin are offered in alternating terms. Required. Faculty
MUS 509a–b, 609a–b, 709a–b, Art Song Coaching for Singers 1 credit per term. Individual private coaching in the art song repertoire, in preparation for required recitals. Students are coached on such elements of musical style as phrasing, rubato, and articulation, and in English, French, Italian, German, and Spanish diction. Students are expected to bring their recital accompaniments to coaching sessions as their recital times approach. Tomoko Nakayama
MUS 511b, Music before 1750 4 credits. NP. Group B. An analytic and cultural survey of European music before 1750. Alongside detailed examination of notated repertoire representing the major styles, genres, and composers of the period, the course explores the roles of listeners and performers, the social contexts of music making, and the relationships among notated and vernacular music. Topics include the development of the modern notational system, the transmission of music as a result of social and power structures, vernacular traditions of music making, the place of music in relationship to changing world views and cosmologies, the relationship between music and language, the emergence of independent instrumental music, and the development of musical form. The course explores both music that was incorporated in the canon of Western music but also composers and musical traditions that were marginalized. Enrollment by placement exam. May be taken as an elective, space permitting. Markus Rathey
MUS 515a,b, Improvisation at the Organ I 2 credits. This course in beginning organ improvisation explores a variety of harmonization techniques, with a strong focus on formal structure (binary and ternary forms, rondo, song form). Classes typically are made up of two students for a one-hour lesson on Mondays. The term culminates with an improvised recital, open to the public. In this recital, each student improvises for up to seven minutes on a submitted theme. Jeffrey Brillhart
MUS 518b, In the Face of Death: Music, Worship, Art 4 credits. NP. Group C. This seminar proposes for intellectual inquiry the rich traditions that worship, music, and the visual arts have created and continue to offer in the face of death. The focus in this seminar is on the Christian tradition. Given the breadth of the subject matter, the course attends to a broad spectrum of themes quite selectively. Readings of historical sources themselves (textual and nontextual), scholarly research into the past, and analysis of contemporary materials form the core materials. The course is shaped by three foci of inquiry: ritual, music, and art as they relate to (1) those who have died; (2) those who are dying, i.e., facing imminent death; and (3) the confrontation with one’s own dying. The Christian tradition holds rich resources and insights for all three of these subject matters. The course creates space for a nuanced reflection on this tradition, as both backdrop and resource for contemporary engagement. Markus Rathey
MUS 519a–b, 619a–b, 719a–b, ISM Colloquium 1 credit per term. NP. P/F. Participation in seminars led by faculty and guest lecturers on topics concerning theology, music, worship, and related arts. Required of all Institute of Sacred Music students each term. Martin Jean
MUS 522a–b, 622a–b, 722a–b, Acting for Singers 1 credit per term. Designed to address the specialized needs of the singing actor. Studies include technique in character analysis, together with studies in poetry as it applies to art song literature. Class work is extended in regular private coaching. ISM students are required to take two terms in their second year. Glenn Seven Allen
MUS 531a–b, 631a–b, Repertory Chorus—Voice 2 credits per term. A reading chorus open by audition and conducted by graduate choral conducting students. The chorus reads, studies, and sings a wide sampling of choral literature. Jeffrey Douma
MUS 532a–b, 632a–b, Repertory Chorus—Conducting 2 credits per term. Students in the graduate choral conducting program work with the Repertory Chorus, preparing and conducting a portion of a public concert each term. Open only to choral conducting majors. Jeffrey Douma
MUS 535a–b, 635a–b, Recital Chorus—Voice 2 credits per term. A chorus open by audition and conducted by graduate choral conducting students. It serves as the choral ensemble for four or five degree recitals per year. Jeffrey Douma
MUS 536a–b, 636a–b, Recital Chorus—Conducting 2 credits per term. Second- and third-year students in the graduate choral conducting program work with the Recital Chorus, preparing and conducting their degree recitals. Open to choral conducting majors only. Jeffrey Douma
MUS 540a,b, 640a,b, 740a,b, Individual Instruction in the Major 4 credits per term. Individual instruction of one hour per week throughout the academic year, for majors in performance, conducting, and composition. Faculty
MUS 544a–b, 644a–b, 744a–b, Seminar in the Major 2 credits per term. An examination of a wide range of problems relating to the area of the major. Specific requirements may differ by department. At the discretion of each department, seminar requirements can be met partially through off-campus field trips and/or off-campus fieldwork, e.g., performance or teaching. Required of all School of Music students except pianists who take 533, 633, 733. Faculty
MUS 546a–b, 646a–b, 746a–b, Yale Camerata 2 credits per term. Open to all members of the University community by audition, the Yale Camerata presents several performances throughout the year that explore choral literature from all musical periods. Members of the ensemble should have previous choral experience and be willing to devote time to the preparation of music commensurate with the Camerata’s vigorous rehearsal and concert schedule. Felicia Barber
MUS 565a, Elements of Choral Technique 2 credits per term. An exploration of conducting technique, rehearsal technique, score analysis, and repertoire for the choral conductor, this course is designed for students who are not majoring in choral conducting but are interested in learning the essentials of choral technique. Repertoire from the sixteenth century to the present is explored. Felicia Barber
MUS 571a–b, 671a–b, 771a–b, Yale Schola Cantorum 1 credit per term. Specialist chamber choir for the development of advanced ensemble skills and expertise in demanding solo roles (in music before 1750 and from the last one hundred years). Enrollment required for voice majors enrolled through the Institute of Sacred Music. David Hill
MUS 594a,b, Vocal Chamber Music 1 credit. This performance-based class requires a high level of individual participation each week. Grades are based on participation in and preparation for class, and two performances of the repertoire learned. Attendance is mandatory. Occasional weekend sessions and extra rehearsals during production weeks can be expected. Students are expected to learn quickly and must be prepared to tackle a sizeable amount of repertoire. James Taylor
MUS 595a–b, 695a–b, Performance Practice for Singers 2 credits per term. A four-term course cycle exploring the major issues and repertoire of Western European historically informed performance, including notation, use of modern and manuscript editions, and national performance styles. Includes a survey of solo and chamber vocal repertoire (song, madrigal, cantata, opera, oratorio, motet) from the seventeenth and eighteenth centuries, with a focus on ornamentation, practical performance issues, and recital planning. The sequence is designed to provide the foundation to a practical career in historical performance. Open to conductors and instrumentalists with permission of the instructor. Jeffrey Grossman
MUS 615a,b, Improvisation at the Organ II 2 credits. This course explores modal improvisation, focusing on the composition techniques of Charles Tournemire and Olivier Messiaen. Students learn to improvise five-movement, chant-based suites (Introit-Offertoire-Elevation-Communion-Pièce Terminale), versets, and a variety of free works using late-twentieth-century language. Classes typically are made up of two students for a one-hour lesson on Mondays. The term culminates with an improvised recital, open to the public. In this recital, each student improvises for up to seven minutes on a submitted theme. Prerequisite: MUS 515. Jeffrey Brillhart
MUS 617a, Music and Theology in the Sixteenth Century 4 credits. NP. Group B. The Protestant Reformation in the sixteenth century was a “media event.” The invention of letterpress printing, the partisanship of famous artists like Dürer and Cranach, and—not least—the support of many musicians and composers were responsible for the spreading of the thoughts of Reformation. But while Luther gave an important place to music, Zwingli and Calvin were much more skeptical. Music, especially sacred music, constituted a problem because it was tightly connected with Catholic liturgical and aesthetic traditions. Reformers had to think about the place music could have in worship and about the function of music in secular life. Markus Rathey
MUS 623a,b, Early Music Coaching for Singers 1 credit. Individual private coaching in early repertoire, focusing on historically informed performance practice, in preparation for required recitals and concerts. Students are coached on such elements of musical style as ornamentation, phrasing, rubato, articulation, and rhetoric, and in English, French, Italian, German, Latin, and Spanish diction. Students are expected to bring recital and concert repertoire to coaching sessions as performance times approach. Jeffrey Grossman
MUS 656a, Liturgical Keyboard Skills I 2 credits. In this course, students gain a deeper understanding of and appreciation for musical genres, both those familiar to them and those different from their own, and learn basic techniques for their application in church service playing. Students learn to play hymns, congregational songs, service music, and anthems from a variety of sources, including music from the liturgical and free church traditions, including the Black Church experience. Hymn playing, with an emphasis on methods of encouraging congregational singing, is the principal focus of the organ instruction, but there is also instruction in chant and anthem accompaniment, including adapting a piano reduction to the organ. In the gospel style, beginning with the piano, students are encouraged to play by ear, using their aural skills in learning gospel music. This training extends to the organ, in the form of improvised introductions and varied accompaniments to hymns of all types. We seek to accomplish these goals by active participation and discussion in class. When not actually playing in class, students are encouraged to sing to the accompaniment of the person at the keyboard, to further their experience of singing with accompaniment, and to give practical encouragement to the person playing. Prerequisite: graduate-level organ and piano proficiency. Walden Moore
MUS 657a, Liturgical Keyboard Skills II 2 credits. The subject matter is the same as for MUS 656, but some variety is offered in the syllabus on a two-year cycle to allow second-year students to take the course without duplicating all of the means by which the playing techniques are taught. Walden Moore
MUS 715a,b, Improvisation at the Organ III 2 credits. This course explores the improvisation of a full organ symphony in four movements, Tryptique (Rondo-Aria-Theme/variations), improvisation on visual images, text-based improvisation, and silent film. Classes typically are made up of two students for a one-hour lesson on Mondays. The term culminates with an improvised recital, open to the public. In this recital, each student improvises for up to ten minutes on a submitted theme. Prerequisite: MUS 615. Jeffrey Brillhart
Divinity Courses
Courses are 3 credits unless otherwise indicated.
REL 610a, Worship, Cosmos, Creation This course explores the manifold intersections between practices of Christian worship and understandings of creation and cosmos. The specific intersections highlighted over the course of the term include biblical, historical, visual, and musical materials as well as contemporary theological and pastoral reflections on practices of worship. The course seeks to engage the many voices of a “green” Christian faith that have emerged among scholars and practitioners of worship during a time of unprecedented attention to ecological and cosmological concerns. (W) Teresa Berger
REL 619a, Eco-Futures: Theology, Ethics, Imagination The looming dangers of climate change, especially given the inadequacy of the global political response, are now evident. Many of those who are paying attention find themselves feeling overwhelmed, powerless, and hopeless in the face of increasing natural disasters, rapidly disappearing species, and compounding environmental injustices. This class begins from these challenges. It asks: Can we sustain hope in a just and sustainable ecological future? Should we sustain such a hope? If so, what would such a future look like? Can we imagine a future beyond fossils fuels, beyond exploitative and extractivist relations among humans and between humans and the more-than-human world? Can we imagine a decolonial future, a future of multispecies justice? How do these hopes and visions interact with ultimate religious hopes? How should these hopes and visions shape our actions and emotions in this moment? We approach these issues by reading theological and ethical works together with future-oriented speculative fiction: sci-fi, Afrofuturism, Indigenous futurism, solarpunk, hopepunk. We assess the speculative futures theologically and ethically while also allowing these speculative futures to shape our theological and ethical visions. There are no specific prerequisites for this course, but introductory courses in theology and ethics are recommended. Ryan Darr
REL 643a, Music and Theology in the Sixteenth Century The Protestant Reformation in the sixteenth century was a “media event.” The invention of letterpress printing, the partisanship of famous artists like Dürer and Cranach, and—not least—the support by many musicians and composers were responsible for the spreading of the thoughts of Reformation. But while Luther gave an important place to music, Zwingli and Calvin were much more skeptical. Music, especially sacred music, constituted a problem because it was tightly connected with Catholic liturgical and aesthetic traditions. Reformers had to think about the place music could have in worship and about the function of music in secular life. (M) Markus Rathey
REL 650a, Worship and Evangelism Christian participation in Baptism and Eucharist mandates that evangelism and social justice are integral to every believer’s witness. This course draws on Christian Scripture, ecclesial traditions, and contemporary practices to help students develop theologically informed practices of evangelism. It argues for an understanding of the church’s mission in relationship to the Triune God, practiced in empowering and sustainable relationships with neighbors and creation. (W) Melanie Ross
REL 658a, Sacraments and Sacramentality What is a sacrament? How might material reality be a sign and bearer of the sacred? What are the logics that govern this possibility? This class explores sacraments within ecclesial structures and notions of sacramentality more broadly as a mode of access to divine presence. The first half of the course examines the history of sacramental theology from the early church to the present, before pivoting to contemporary theologies of sacraments and sacramentality. Special attention is given to the natural world and human bodies as sites of sacramentality. (W) Mark Roosien
REL 682a, Foundations of Christian Worship This is a core course in Liturgical Studies. The course focuses on theological and historical approaches to the study of Christian worship, with appropriate attention to cultural context and contemporary issues. The first part of the course seeks to familiarize students with the foundations of communal, public prayer in the Christian tradition (such as its roots in Hebrew Scripture and the New Testament; its Trinitarian source and direction; its ways of figuring time, space, and human embodiment; its use of language, music, the visual arts, etc.). The second part offers a sketch of historical developments, from earliest Christian communities to present times. In addition, select class sessions focus on questions of overall importance for liturgical life, such as the relationship between gender differences and worship life, and the contemporary migration of liturgical practices into cyberspace. (W) Melanie Ross
REL 685b, In the Face of Death: Worship, Music, Art Given the breadth of the subject matter, this course attends to a broad spectrum of themes related to Christian ritual, music, and art “in the face of death,” but has to do so quite selectively. Readings of historical sources themselves (textual and nontextual), scholarly research into past practices surrounding dying and death, and analysis of contemporary practices form the core materials. The course is shaped by three foci of inquiry in the realm of ritual, music, and art as they relate to (1) those who have died; (2) those who are dying, i.e., facing imminent death; and (3) the confrontation with one’s own finitude, mortality, and dying. The Christian tradition holds rich resources and insights for all three of these subject matters. The course creates space for a nuanced reflection on this tradition, as both backdrop and resource for contemporary engagement. (W, M, A) Teresa Berger, Markus Rathey
REL 745a, Byzantine Art and Architecture This lecture course explores the art, architecture, and material culture of the Byzantine Empire from the foundation of its capital, Constantinople, in the fourth century to the fifteenth century. Centered around the Eastern Mediterranean, Byzantium was a dominant political power in Europe for several centuries and fostered a highly sophisticated artistic culture. This course aims to familiarize students with key objects and monuments from various media—mosaic, frescoes, wooden panels, metalwork, ivory carvings—and from a variety of contexts—public and private, lay and monastic, imperial and political. We give special attention to issues of patronage, propaganda, reception, and theological milieux, as well as the interaction of architecture and ritual. More generally, students become acquainted with the methodological tools and vocabulary that art historians employ to describe, understand, and interpret works of art. (A) Vasileios Marinis
REL 801a or b, Marquand Chapel Choir 1 credit per term. Nathaniel Gumbs
REL 802a or b, Marquand Gospel and Inspirational Choir ½ credit per term. Mark Miller
REL 900a, Sacred Sounds: Key Issues in the Ethnomusicology of Religion How and why do religious practitioners around the world engage in the sonic dimensions of lived experience? What local, regional, and global histories impinge upon meanings that obtain in these sacred music practices? This course in ethnomusicology examines the complex intersectional space between sonic and religious practice in the modern world. Case studies encompass both northern and southern hemispheres and are organized thematically rather than strictly by geographic area. Through examination of topics such as postcolonialism, postsecularism, ritual and ritualization, social identity, history, and transnationalism, we address the role of power in shaping the conditions under which truth is experienced, while also carving out intellectual space for the metaphysical claims to which ethnomusicological interlocutors bear witness. (M) Bo kyung Im
REL 903b, Epic Laments: Sorrow in Ancient and Contemporary Caribbean Literatures This course focuses on expressions of sorrow in contemporary Caribbean literature alongside the ancient Mesopotamian and Mediterranean literature from which it critically draws in content, forms, or themes. With weekly pairings of ancient and contemporary Caribbean texts, the course studies expressions of sorrow therein in their aesthetic and historical specificity. The first and third units of the course pair portions of ancient Mesopotamian, Greek, and Roman epic poetry with contemporary Caribbean poetry and novels. Special attention is given to how expressions of sorrow are shaped by epic poetry’s features, such as heroic deeds, divine interventions, descents into the world of the dead, and prophetic visions. The second, middle unit of the course pairs biblical wisdom literature and Greek tragedy with Caribbean plays and memoirs to consider how expressions of sorrow are formed by the philosophical inquiries they dramatize. In short, this course asks how expressions of sorrow relate to broader themes that are as relevant today as always—empire, mortality, and political violence; gender and family relations; and remembrance of the dead and the divine. (A) Adrián Hernández-Acosta
REL 906a, Modern Short Fiction This course focuses on the theological implications of short fiction written between 1937 and 2023. The literature of the twentieth century (and the first quarter of the twenty-first century) is typically thought of as anti-religious. This course examines whether that assumption is true by analyzing the work of prominent writers of that time. We also consider exactly what kinds of theological/religious thinking and feeling fiction enables. This course has no specific prerequisites, but some familiarity with the study of literature would be helpful. (A) Christian Wiman
REL 920b, Continuing Bonds with the Dead through Art From the “lynching memorial” to memorial tattoos, art seeks to remember the dead. But does it do more? Does art enable the living to maintain an ongoing relationship with those who have died, and if so, how? What happens when we “encounter” the dead in and through a work of art? Does the work function differently for those who knew them personally versus those who are “meeting” them for the first time? How do such works complicate our understanding of the dead’s absence or presence? Through an examination of primarily contemporary works of art, this course explores these questions through the lens of the “continuing bonds” model of bereavement, using methods of “slow looking” to carefully observe both artistic form and function. We traverse a wide array of visual, literary, liturgical, performative, and digital artistic practices in order to explore both the potential and limitations of art to maintain connections with the dead. As we proceed, our exploration considers the various religious and philosophical frameworks that underlie our understandings of death and the continuing “existence” of the dead, and thus influence our reception and interpretation of what these works do. (A) David Mahan, Tanya Walker
REL 922b, Art and Ritual at Mount Sinai—Travel Seminar This course looks at art and ecclesiastical and pilgrimage rituals at the monastery of St. Catherine in the Sinai. Founded by Emperor Justinian on a site already venerated by Christians as the place where, supposedly, Moses encountered the Burning Bush, the monastery is one of the oldest continuously inhabited Christian communities in the world. Its holdings of icons have no parallel and offer the opportunity to study Christian imagery in the context of both devotional use and corporate rituals, if not place of origin. This course introduces various aspects of Orthodox liturgy and religious pilgrimage relevant to the explication of the surviving church arts at the monastery and the surrounding area. (A) Vasileios Marinis, Robert Nelson
REL 933a, Poetry and Faith This course is designed to look at issues of faith through the lens of poetry. With some notable exceptions, the course concentrates on modern poetry—that is, poetry written between 1850 and 2013. Inevitably, the course also looks at poetry through the lens of faith, but a working assumption of the course is that a poem is, for a reader (it’s more complicated for a writer), art first and faith second. “Faith” in this course generally means Christianity, and that is the primary context for reading the poems. But the course also engages with poems from other faith traditions, as well as with poems that are wholly secular and even adamantly anti-religious. (A) Christian Wiman
REL 943a, Gospel, Rap, and Social Justice: Prison and the Arts Students in this course collaborate with formerly incarcerated musicians and other survivors of prison to create performances inspired by their collective reading of Dante’s Divine Comedy, Michelle Alexander’s The New Jim Crow, and a variety of texts documenting the impact of the carceral state on communities of color. Students learn how to apply the arts to community service and activism as they learn about the American criminal justice system and its relevance to Dante’s poem from a social justice perspective. (A) Ronald S. Jenkins
REL 953a, Critical Methods in Reading Poetry Theologically This course explores poetry and the study of poetry as forms of theological discourse. Through the use of a variety of critical methods and close readings of individual poems and poetic sequences, students consider how the form as well as the subject matter of the poetry opens up new horizons for illuminating and articulating theological themes. With selections from twentieth and twenty-first-century poets, including works by Asian American and African American writers, this class examines how modern and late-modern poets have created fresh embodiments of faith perspectives and contributed to both the expressive and reflective tasks of theology. This course has no specific prerequisites, but a background in literary studies would be helpful. (A) David Mahan
REL 955a, The Cult of Saints in Early Christianity and the Middle Ages For all its reputed (and professed) disdain of the corporeal and earthly, Christianity lavished considerable attention and wealth on the material dimension of sainthood and the “holy” during its formative periods in late antiquity and the Middle Ages. Already in the second century Christian communities accorded special status to a select few “friends of God,” primarily martyrs put to death during Roman persecutions. Subsequently the public and private veneration of saints and their earthly remains proliferated, intensified, and became an intrinsic aspect of Christian spirituality and life in both East and West until the Reformation. To do so, it had to gradually develop a theology to accommodate everything from fingers of saints to controversial and miracle-working images. This course investigates the theology, origins, and development of the cult of saints in early Christianity and the Middle Ages with special attention to its material manifestations. The class combines the examination of thematic issues, such as pilgrimage and the use and function of reliquaries (both portable and architectural), with a focus on such specific cases as the evolution of the cult of the Virgin Mary. (A) Vaseileios Marinis, Felicity Harley
REL 970a, Theory in Mourning: Readings in Race, Religion, Gender, and Sexuality “I came to theory because I was hurting.” This is how the late bell hooks begins her 1991 essay, “Theory as Liberatory Practice.” Taking that opening line as its thematic cue, this course approaches key texts in Black feminist, queer, and trans theory with a mournful orientation. The course begins with three essays—mourning essays by Freud (1917), Klein (1940), and Fanon (1952)—to which subsequent texts respond in a variety of ways. The course then moves through key texts from the late 1980s to the present. The aim of this course is to familiarize students with key texts in Black feminist, queer, and trans theory, while cultivating appreciation for how texts considered theory are as much singular sites of experience as they are enabling of critical abstraction. The course asks not only how mourning and theorizing (in)form each other, but also how mourning theory orients studies of race, religion, gender, and sexuality and vice versa. Lingering with these questions is crucial for academic and ministerial study committed to critically addressing challenges in today’s world with care. (A) Adrián Hernández-Acosta
REL 973b, An Introduction to African Diaspora Religions This course is an introduction to the field of African diaspora religions (ADR) through a survey of select ethnographic, archival, literary, and cinematographic materials from the late nineteenth century to the present. While organized in chronological order, the course pairs older materials with more recent ones to explore how the field of ADR has formed in response to various disciplinary forces animated by the politics of religion, race, gender, and sexuality in colonial, postcolonial, and post-emancipation contexts. Therefore, the aim of this course is not only to introduce students to the field of ADR but also to cultivate critical reading and writing skills with which to analyze the politics of race, gender, and sexuality in the study of religion. The questions that guide course lectures and discussions are: What frameworks have been used to construct the study of African diaspora religions? What are the racial, gendered, and sexual politics of these frameworks? How have these frameworks transformed over time, and what may be the significance of those transformations for study today? (A) Adrián Hernández-Acosta
REL 3630a–b, Church Music Skills Pending audition, students take regular individual or group coaching (weekly 30-minute or biweekly 60-minute) in a musical skill—gospel piano, Hammond organ, voice, or percussion—relevant to leadership of congregational song in worship. Additionally, as part of the course, students attend a weekly studio class where they study and enhance ensemble skills. A final public performance project is required. (M) Martin Jean
REL 3910a–b, ISM Colloquium ½ credit per term. P/F. Participation in seminars led by faculty and guest lecturers on topics concerning theology, music, worship, and related arts. Required of all Institute of Sacred Music students each term. Martin Jean
ISM Courses Hosted in Other Departments
AMST 630/HSAR 529/RLST819a, Museums and Religion: The Politics of Heritage and Preservation This interdisciplinary seminar focuses on the tangled relations of religion and museums, historically and in the present. What does it mean to “exhibit religion” in the institutional context of the museum? What practices of display might one encounter for this subject? What kinds of museums most frequently invite religious display? How is religion suited (or not) for museum exhibition and museum education? Permission of the instructor required; qualified undergraduates are welcome. (A) Sally Promey