131 - 140 of 359 results for: MUSIC

The Soundwire Ensemble invites student instrumental and vocal performers for online music-making. Musical projects will include improvisational and composed pieces from the group and be presented in a final online concert with online audience. The ensemble will use JackTrip software and connect with each other from home. Everyone is welcome (which includes friends and staff) and the music will go where it goes following the group's ears and interests. JackTrip software, developed at Stanford, provides the means for ultra-low-latency, uncompressed sound transmission for live music-making. Remote ensemble rehearsals, coaching, music lessons, jamming and concert broadcasting make use of the technology. The open-source project continues to develop, especially in its ability to support large ensembles of home- to-home connections.

This course in honor of the late, great music journalist and thinker, Greg Tate, is designed to introduce popular music writing as a genre to students from all academic backgrounds. From cultural criticism, liner notes, music journalism, and DJ scholarship and more - this course explores the art of music writing with lectures, discussion and ongoing feedback on student writing from Special Guest Artists DJ Lynnée Denise and Daniel Gray-Kontar. Students will also have the opportunity to read and analyze various types of music writing in public and scholarly venues, and if they choose, to build a portfolio of their own working across several possible genres. Nationally and internationally renowned guests will visit with the class regularly to share their journeys as writers and offer their views on craft, aesthetics, and principles for writers to consider as they work on their own craft. These guests will include: Cheo Hodari Coker, journalist at The Source Magazine turned television/film writer of Creed II; Joan Morgan, long-time music and culture writer who coined the phrase Hip-Hop Feminism; Fredara Hadley, ethnomusicology professor at The Juilliard School; Scott Poulsen Bryant, co-founding editor of Vibe Magazine, and others. This spring course is presented by the Institute for Diversity in the Arts, IDA.

An ensemble course with research components for making data-driven music. Improvised and composed pieces make use of large, time-based data sets chronicling humans' digital-life and real-life experiences, and explore how temporal data can be transformed into live musical performances. Data sets will include the Human Screenome Project and the music will go where it goes following the group's ears and instincts. A series of workshops with guest musicians will continue throughout the year and group members will be able to take part beyond the course.

An ensemble course with research components for making data-driven music. Improvised and composed pieces make use of large, time-based data sets chronicling humans' digital-life and real-life experiences, and explore how temporal data can be transformed into live musical performances. Data sets will include the Human Screenome Project and the music will go where it goes following the group's ears and instincts. A series of workshops with guest musicians will continue throughout the year and group members will be able to take part beyond the course.

Are there ways to listen? This new course approaches the question by exploring artist works that have challenged the norms of sonic experience. We will discover that in life, as in the arts, there are practices of listening. We will cover a range of texts on sound media, and we will experience a number of works that reinvent practices of listening. There will be particular attention to the work of feminist sound artists. In conversation with art and theory, we will develop wider awareness for the sounds of everyday life. This course meets once a week, and group listening of select works is part of the class.

Acoustic, digital and analog approaches to sound art. Familiarization with techniques of listening, recording, digital processing and production. Required listening and readings in the history and contemporary practice of sound art. (lower level)

Electronic music composition introduces techniques for electronic music composition. These will be based on the history of electroacoustic music and both theory and analysis will be explored. A critical approach to the historical and contemporary developments in the field, socially and culturally, will be promoted throughout the course. Creative work individually and in groups will be alternated with reading and listening sessions and group discussions. Students will engage in a series of composition assignments that will be presented and discussed in class. Students are encouraged to integrate their own life experiences, imaginations and musical preferences into the work they create.

Students develop and produce intermedia works. Musical and visual approaches to the conceptualisation and shaping of time-based art. Exploration of sound and image relationship. Study of a wide spectrum of audiovisual practices including experimental animation, video art, dance, performance, non-narrative forms, interactive art and installation art. Focus on works that use music/sound and image as equal partners. Limited enrollment. Prerequisites: consent of instructors, and one of FILMPROD 114, ARTSTUDI 131, 138, 167, 177, 179, or MUSIC 123, or equivalent. May be repeated for credit

An exploration of the repertoire for piano and keyboards, providing experience with and context for this literature while engaging practical, technical and analytical features of the works. Each quarter will cover focused areas defined by time, place, composer, stylistic tradition, formal type, etc. Students will perform works in class, as well as listen to and compare performances through videos and recordings. Assignments include reading, listening, and a final project. Prerequisite: Private lesson proficiency level in piano, or consent of instructor.