AFRICAAM 20A:
Jazz Theory (MUSIC 20A)
Introduces the language and sounds of jazz through listening, analysis, and compositional exercises. Students apply the fundamentals of music theory to the study of jazz. Prerequisite: 19 or consent of instructor.
Terms: Aut
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
AFRICAAM 37:
Chocolate Heads Movement Band Performance Workshop (DANCE 30)
Students from diverse dance styles (ballet to hip-hop to contemporary) participate in the dance-making/remix process and collaborate with musicians, visual artists, designers and spoken word artists, to co-create multidisciplinary fully produced production and installation. Open to student artists of different genres, styles, disciplines and levels. By audition and/or discussion with the instructor.
Terms: Aut
| Units: 2
| UG Reqs: WAY-CE
| Repeatable
for credit
AFRICAAM 45:
Dance Improvisation Techniques and Strategies Lab: From Hip Hop to Contact (DANCE 45)
By learning various dance improvisation forms across cultures, students will develop techniques to gain a deep understanding of generating movement from the inside-out, inspired by conceptual strategies from master improvisors while harnessing that potential for creating dances. Guest dancer/choreographer workshops and Dance Jams enhance the learning experience. All Levels welcome.
Terms: Spr
| Units: 2
| UG Reqs: WAY-CE
| Repeatable
for credit
AFRICAAM 156:
Performing History: Race, Politics, and Staging the Plays of August Wilson (TAPS 156, TAPS 356)
This course purposefully and explicitly mixes theory and practice. Students will read and discuss the plays of August Wilson, the most celebrated and most produced contemporary American playwright, that comprise his 20th Century History Cycle. Class stages scenes from each of these plays, culminating in a final showcase of longer scenes from his work as a final project.
| Units: 4
| UG Reqs: WAY-CE, WAY-EDP
AFRICAST 116:
Islam in Africa through the Arts (AFRICAST 216)
This course will survey the history of Islam and Muslim societies in Africa through their arts. Covering three periods (Pre-colonial, Colonial, and Post-colonial), and four geographic regions (North, East, West, and Southern Africa), the course will explore the various forms and functions of Qur anic recitation and calligraphy, architecture, illumination, dress, poetry, music, literature, portraiture, and the contemporary cinematic arts of Muslim societies on the continent from a variety of perspectives (spiritual, intellectual, aesthetic, social, political, etc.). Through these artistic works and traditions we will explore the general themes of philosophy/ theology/ mysticism, trade, Islam s relationship with other religions, state formation and revolution, gender and ethnic dynamics, colonial constructions of religious identity, diasporic communities, and contemporary conflicts and debates between Sufis, Salafis, and the state across the continent. Students will become familiar with the basic vocabulary and concepts of Islam, as well as various forms of African Islamic artistic traditions and those of African Muslim societies. Students and will become familiar with what these artistic productions mean(t) for the communities that produce(d) them, and what they can tell us about the philosophy, beliefs, history, and socioeconomic and political circumstances in which they are/were produced. This course will feature a number of creative assignments in which students will get a chance to produce their own piece of calligraphy, design their own mosque, and write their own Sufi poem or Sufi commentary on a popular song. These creative projects will be featured in an exhibit at the end of the class.
Terms: Spr
| Units: 3-5
| UG Reqs: WAY-A-II, WAY-CE
AMSTUD 134:
Museum Cultures: Material Representation in the Past and Present (ARCHLGY 134, ARCHLGY 234, ARTHIST 284B, CSRE 134, EDUC 214, NATIVEAM 134)
Students will open the "black box" of museums to consider the past and present roles of institutional collections, culminating in a student-curated exhibition. Today, museums assert their relevance as dynamic spaces for debate and learning. Colonialism and restitution, the politics of representation, human/object relationships, and changing frameworks of authority make museum work widely significant and consistently challenging. Through thinking-in-practice, this course reflexively explores "museum cultures": representations of self and other within museums and institutional cultures of the museum world itself.n3 credits (no final project) or 5 credits (final project). May be repeat for credit
Terms: Spr
| Units: 3-5
| UG Reqs: WAY-A-II, WAY-CE
| Repeatable
3 times
(up to 15 units total)
AMSTUD 186B:
American Song in the 20th Century and after (MUSIC 186B, MUSIC 286B)
Critical and creative exploration of song in the Americas. About twenty-five key examples will guide discussion of the interactions between words, music, performance and culture. Weekly listening, reading and assignments will be organized around central themes: love, sex and romance; war and politics; labor and money; place; identity; society and everyday life. Genres include art song; blues, gospel, jazz and country; pop, soul, rock and hip-hop; bossa nova, nueva canción and salsa; electronic and experimental. Takehome and in-class assignments will include critical and creative writing, and music composition, production and performance; final projects may emphasize any of the above.
Last offered: Spring 2015
| Units: 3-4
| UG Reqs: WAY-A-II, WAY-CE
ANES 72Q:
The Art of Medical Diagnosis: Enhancing Observational Skills through the Study of Art
The Art of Medical Diagnosis: Enhancing Observational Skills through the Study of Art is an interactive, multidisciplinary undergraduate course that explores various ways in which studying art increases critical observational skills vital for aspiring health care providers. Students will be introduced to the concept of `Visual Thinking Strategies¿ through classroom, art creation, and museum based activities. Students will apply these skills to both works of art and medical cases. Significant focus will be on engaging in group discussions where they will collaboratively use visual evidence to generate and defend hypothesis. Drawing and sketching from life will play a critical role in honing observational skills through weekly assignments, workshops, and a final project. The interactive nature of this course pivots students away from a typical lecture based course to a self-directed learning experience.
Terms: Spr
| Units: 3
| UG Reqs: WAY-CE
ANTHRO 178A:
Culture, Narrative, and Medicine (HUMBIO 177C)
This course examines the ways in which medicine is practiced in diverse cultural contexts with narrative skills of recognizing, interpreting and being moved by the stories of illness. It is an examination of the human experience of illness and healing through narratives as presented in literature, film, and storytelling. We explore how cultural resources enable and empower healing and how narrative medicine can guide the practice of culturally competent medical care.
Last offered: Autumn 2013
| Units: 5
| UG Reqs: GER:DB-SocSci, WAY-CE, WAY-EDP
APPPHYS 10AX:
The Expressive Vessel: An Immersive Introduction to Clay
Students learn to make and to analyze functional ceramic forms with a focus on wheel-thrown pottery. Studio time dedicated to the acquisition and refinement of shaping, marking/glazing and finishing skills; supplementary lectures and discussions to explore contemporary studio ceramics and major historical traditions. No prior experience necessary; instructors will tailor assignments for students at all levels of ability.
Terms: Sum
| Units: 2
| UG Reqs: WAY-CE
APPPHYS 100:
The Questions of Clay: Craft, Creativity and Scientific Process
Students will create individual studio portfolios of ceramic work and pursue technical investigations of clay properties and the firing process using modern scientific equipment. Emphasis on development of creative process; parallels between science and traditional craft; integration of creative expression with scientific method and analysis. Prior ceramics experience desirable but not necessary. Limited enrollment. Prerequisite: any level of background in physics.
Terms: Spr
| Units: 5
| UG Reqs: WAY-CE, WAY-SMA
ARCHLGY 106A:
Museums and Collections (ARCHLGY 306A)
Practical, theoretical, and ethical issues which face museums and collections. Practical collections-based work, museum visits, and display research. The roles of the museum in contemporary society. Students develop their own exhibition and engage with the issues surrounding the preservation of material culture.
Last offered: Spring 2013
| Units: 5
| UG Reqs: WAY-A-II, WAY-CE
ARCHLGY 134:
Museum Cultures: Material Representation in the Past and Present (AMSTUD 134, ARCHLGY 234, ARTHIST 284B, CSRE 134, EDUC 214, NATIVEAM 134)
Students will open the "black box" of museums to consider the past and present roles of institutional collections, culminating in a student-curated exhibition. Today, museums assert their relevance as dynamic spaces for debate and learning. Colonialism and restitution, the politics of representation, human/object relationships, and changing frameworks of authority make museum work widely significant and consistently challenging. Through thinking-in-practice, this course reflexively explores "museum cultures": representations of self and other within museums and institutional cultures of the museum world itself.n3 credits (no final project) or 5 credits (final project). May be repeat for credit
Terms: Spr
| Units: 3-5
| UG Reqs: WAY-A-II, WAY-CE
| Repeatable
3 times
(up to 15 units total)
ARTHIST 105B:
Medieval Journeys: Tales of Devotion and Discovery (DLCL 123)
This course explores the experience and imagination of medieval journeys through interdisciplinary, cross-cultural, and skills-based approaches. As a foundations class, this survey of medieval culture engages with an array of written texts from the period. Narratives of medieval journeys are studied across a wide range of categories, including pilgrimages, crusades, quests, and sagas. The journey as metaphor, along with the resulting and very real cultural interactions, will provide a main focus for examining this rich tradition of literature. Students will have the opportunity to produce a creative project that brings medieval ideas about travel into dialogue with modern conceptions. The course will satisfy the Ways-Creative Expression requirement as well as one of the following two: Ways-Analytical Interpretive or Ways-Engaging Difference.
Terms: Aut
| Units: 3-5
| UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-CE, WAY-EDP
ARTSINST 15:
The Stillness of the Dunes
An advanced writing course in nonfiction craft, drawing, and contemplative practice. a significant portion of each class meeting will focus on the development and sharpening of writing craft, especially of the essay, in a hybrid form both scholarly and personal. We will also explore writing as meditative practice, through examples and through short exercises. We will deepen our cultural understanding of the desert and its impact, through art, literature, philosophy, film, and contemplative practice, and the course will build toward a four-day camping trip to the dunes of Death Valley, six weeks into the quarter.
Terms: Win
| Units: 3
| UG Reqs: WAY-CE
ARTSTUDI 130:
Interactive Art: Making it with Arduino (ARTSTUDI 231A)
Students use electronics and software to create kinetic and interactive elements in artwork. No prior knowledge of electronics or software is required. Students learn to program the Arduino, a small easy-to-use microprocessor control unit ( see http://www.arduino.cc/ ). Learn to connect various sensors such as light, motion, sound and touch and use them to control software. Learn to interface actuators like motors, lights and solenoids to create movement. Learn to connect the Arduino to theMAX/MSP/Jitter programming environment to create media-intensive video and audio environments. Explore the social dimensions of electronic art. (lower level)
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 131:
Sound Art I (MUSIC 154A)
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)
Terms: Aut
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-CE
ARTSTUDI 139:
Portraiture and Facial Anatomy for Artists (SURG 241)
Focus is on the art of portraiture and underlying structures of the face, fundamental anatomical elements such as the skull and muscles of facial expressions, and the intersections between human anatomy and art. Studio sessions incorporate plastic models, dry bones, cadaveric specimens, and live models. Encourages use of proper anatomical terminology for describing structures and their relationships.
Terms: Win
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 140:
Drawing I
Functional anatomy and perspective as they apply to problems of drawing the form in space. Individual and group instruction as students work from still life set-ups, nature, and the model. Emphasis is on the development of critical skills and perceptual drawing techniques for those with little or no previous experience with pastels, inks, charcoal, conte, and pencil. Lectures alternate with studio work. (lower level)
Terms: Aut, Win, Spr
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 141:
Plein Air Painting Now
Surrounded by so many technologies for image production, why choose to take a course based on a style of painting developed over a hundred years ago? The standard answer to this question has changed remarkably little. Rather than answering that the camera cannot capture what the eye sees, we might instead respond that neither the computer, nor the camera, nor video, can reproduce in paint the subjective gaze of the contemporary viewer. Contained within this answer lies the trajectory for the class "PLEIN AIR PAINTING NOW!"nnIn this course students will be introduced to various water based media appropriate for plein air painting and learn various techniques and strategies for making paintings outdoors. The course will include the traditional discussions of brushes, paints, the different types of supports as well as easels, umbrellas and chairs. A broad variety of painting techniques will be demonstrated. We will set up in various locations around campus, paying particular attention to the specifics of the siteas this will serve as the jumping off point for discussion of the readings that form the second component of the class.nnPlease note that this class takes place outdoors. Plan accordingly, as we will be meeting in various locations around campus, and will be subject to inclement weather.Freshmen and Sophomores receive priority for enrollment. This is a designated CREATIVE EXPRESSIONS course.
Terms: Aut, Spr
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 141S:
Drawing Outdoors
Leaving the confines of a classroom this course will take place outdoors. The class will visit different sites at Stanford as we experience the transformative power of giving our attention to the world around us. Graphite, charcoal, ink, and mixed media will be used to translate what you see into original works of art. Traditional and contemporary techniques will be incorporated into projects. Students will draw directly from observation while learning elements of perspective, composition, light, and form. The drawings will range from high-speed gestures to longer more contemplative work. Each student will complete the course with a wide range of rendering techniques and will gain a historical awareness of artists who have worked in this manner. Honing individual style is encouraged. Both beginning and advanced students are welcome.
Terms: Sum
| Units: 3
| UG Reqs: WAY-CE
ARTSTUDI 145:
Painting I
Introduction to techniques, materials, and vocabulary in oil painting. Still life, landscape, and figure used as subject matter. Emphasis is on painting and drawing from life. (lower level)
Terms: Aut, Win, Spr
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 147:
Artist's Book
Explores contemporary aesthetic interpretations of the book as an art object while invigorating traditional artistic practices of the art of the book. Through the medium of drawing, collage, and mixed media students produce their own artist's book. The course familiarizes students with bookbinding and the various techniques used, as well as exploring the narrative, text and image, and the book as a sculptural object.
Terms: Aut
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 147S:
DRAWING AND PAINTING INTENSIVE
This introductory course teaches the basic tools of drawing and painting with acrylics, along with an introduction to a range of artists for inspiration. From the beginning, we take advantage of Stanford¿s beautiful campus, drawing and painting outside, along with studio work and slide lectures. We begin with our unique gestures and mark-making, moving through linear perspective, light logic, photo-realism, and the figure, using a range of media from graphite and charcoal to bamboo brush and ink. The introduction to acrylic painting explores the many ways we may use acrylic paint, looking at different art historical approaches along the way. A flexible medium, acrylic can be used to mimic watercolor, oil paint, or even cement, and works on a variety of surfaces. We begin by learning color theory and different paint applications through abstract painting, taking as our inspiration Piet Mondrian, Hans Hofmann, and J.W. Turner. Using thick, impasto paint, we move outdoors for plein air painting, stealing strategies from the Impressionists, and adapting them in our personal projects with today¿s technologies. Moving back indoors, we switch it up again, exploring the expressive gesture, and figurative distortion, using acrylic now more thinly, a la watercolor or gouache, along with charcoal, creating dramatic effects, and working on different surfaces. Each student will finish the quarter with a wide range of techniques and materials at the ready. No previous painting or drawing experience is necessary.
Terms: Sum
| Units: 3
| UG Reqs: WAY-CE
ARTSTUDI 148:
Monotype
Introduction to printmaking using monotype, a graphic art medium used by such artists as Blake, Degas, Gauguin, and Pendergast. May be repeated for credit. Prerequisite: 140. (lower level). May be repeated 2 times for total of 8 units.
Terms: Win
| Units: 4
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 8 units total)
ARTSTUDI 148A:
Lithography
The classic technique of printing from limestones. Techniques to draw an image on the stone, etch and fix the image on the stone, and print it in numbered editions. Students work on a variety of stone sizes. Field trips to local publishers of lithography or lithography exhibitions. (lower level)
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 148B:
Introduction to Printmaking Techniques
Techniques such as monotype, monoprint, photocopy transfers, linocut and woodcut, intaglio etching. Demonstrations of these techniques. Field trips to local print collections or print exhibitions. (lower level)
Terms: Aut
| Units: 4
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 8 units total)
ARTSTUDI 151:
Sculpture I
Traditional and non-traditional approaches to sculpture production through working with materials including wood, metal, and plaster. Conceptual and technical skills, and safe and appropriate use of tools and materials. Impact of material and technique upon form and content; the physical and expressive possibilities of diverse materials. Historical and contemporary forming methods provide a theoretical basis for studio work. Field trips; guest lecturers.
Terms: Win, Spr
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 153:
Ecology of Materials
Studio-based sculpture course. Materials used in sculpture and environmental concerns surrounding them. Artists concerned with environmental impact and the interconnection of art with other fields. The impact of material and technique upon form and content; understanding the physical and expressive possibilities of diverse materials. Conceptual and technical considerations. Group discussions, critiques, readings, video presentations, a field trip to a local artist-in-residence program, and visiting lecturers. (lower level)
Last offered: Autumn 2010
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 153N:
Ecology of Materials
This hands on studio based sculpture course takes a critical look at the materials used in sculpture and addresses the environmental concerns surrounding them. We will look at artists concerned with environmental impact and the interconnection of art to other fields. This class also addresses the impact of material and technique upon form and content; therefore understanding the physical and expressive possibilities of diverse materials. Conceptual and technical considerations will be addressed. Students will learn traditional building techniques as needed (wood shop, metal shop, mold making, found object) as well as anti-object techniques. Existing at the intersection of art, science, technology and ecology, environmental art often functions to inform and/or interpret natural conditions and the processes associated with both "non-human" and "human-made" constructions. It will also educate us about environmental issues and concerns. This course introduces and provides a context for this area of interdisciplinary exchange and artist production by examining areas commonly known as cradle to cradle design, land art, eco art, environmental art, and art and technology. What role does sculpture play in a fragile world with depleting natural resources, global economies and media dominance? What is the life cycle of object making and creating? What is our relationship to objects in a growing technological age? Students will make 3-4 projects based on these questions. Group discussions, critiques, readings, video presentations, a field trip to a local artist-in-residence program Recology at the San Francisco Dump, visiting artists and visiting faculty from Stanford doing environmental research will augment this class.
Last offered: Winter 2015
| Units: 3
| UG Reqs: WAY-A-II, WAY-CE
ARTSTUDI 155:
Social Sculpture
This course investigates the immediacy of the body as material and sculpture in order to investigate private and social spaces. Actions are often used to understand or question the function and psychological aspects of a space and are documented for the perpetuation of these ideas. Throughout the quarter we will investigate the body as material and develop site specific performances enacted for: Private/Domestic and Public Space; Constructed Space & Physical Space; ecological systems; and generate both Individual & Collaborative based Actions, Interventions, & Events."
Last offered: Spring 2015
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 156Q:
Installation Art in Time and Space
This hands on studio based sculpture course focuses on developing concepts, and creating a site-specific installation art project. This class will addresses the impact of material and technique upon form and content; therefore understanding the physical and expressive possibilities of diverse materials. Conceptual and technical considerations will be addressed. Students will learn traditional building techniques as needed (wood shop, metal shop, mold making, found object) as well as anti-object techniques. Students will make 3-4 projects that will culminate in a final site-specific installation. We will look at contemporary artists working in the field of installation art. Group discussions, critiques, readings, video presentations, field trips and visiting artists will augment the class. Installation Art is based on the merger of Space and Time and on a relationship between the artist and the visitor. Utilizing your interests and abilities in a variety of subjects and media, you will create environments that immerse the viewer in a sensory/ intellectual/ emotional experience. The material and methods you use can range from everyday objects, to highly personalized forms, from appropriated sounds to surveillance video, from large wall drawings to interactive switches for the participant to manipulate. The class will consist of demonstrations of art skills particularly useful in installation (sculptural, video, audio, interactive media, etc), presentations by the professor, research and reports and journal entries, and weekly critique. Installation Art is a pervasive, varied, global practice for art-making that acts as a gathering place for expression in all media addressing all subjects in a wide range of styles by broad grouping of artists."
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 160:
Intro to Digital / Physical Design
Contemporary production processes ¿ both manufacturing and media processes ¿ often span the digital and the physical. 3D Depth cameras can scan real world models or movements, which can be manipulated or adjusted digitally, then re-output to the physical world via a myriad of 2D and 3D printing and laser cutting technologies. Crowd sourced information is uploaded to social media, which in turn guides our physical meeting places. Google street-view maps our physical world, and augmented reality displays overlay it. How as artists or designers to we grapple with and use this digital / physical permeability to create new experiences and meaning for our current time? This introductory studio course explores various tool sets as well as artists working across these genres. This course is a good baseline exploration for anyone interested in designing or making art with emerging contemporary tools.
Terms: Aut, Win, Spr
| Units: 3-4
| UG Reqs: WAY-CE
ARTSTUDI 162:
Embodied Interfaces
Our computers, phones and devices ¿see¿ us predominately as fingers and single eyes staring at screens. What would happen if our technology acknowledged more of our rich physical presence and capabilities in its design? How have artists and designers used different sensing technologies to account for more of our embodied selves in their works? In this studio course we will explore various sensing technologies and design pieces that engage our whole selves. Interfaces explored will range from the practical to the poetic. Sensors may involve flex sensors, heat sensors, microphones and simple camera tracking technology. We will analyze different tools for their appropriateness for different tasks and extend them through our designs.
Terms: Aut
| Units: 4
| UG Reqs: WAY-A-II, WAY-CE
ARTSTUDI 163:
Drawing with Code
This studio course will engage coding practices as drawing tools. What makes a good algorithmic composition? How do we craft rule-sets and parameters to shape an interesting work? What changes if we conceive of still outputs, ongoing processes, or interactive processes as the "finished" work? We will look at the history of algorithmic drawing, including analog precedents like Sol LeWitt and other conceptual artists, along with current pioneers like John Simon Jr., Casey Reas, and LIA. Outputs will involve prints as well as screen-based works. Some basic coding experience is helpful, but not required. Assignments are based on conceptual principals that students can engage with at different coding skill levels. This is a good way for non CS students to explore coding practices as well as for CS students to hone their skills. We will work primarily in the free Processing software for our explorations.
Terms: Win
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 165:
Social Media and Performative Practices
How can social media, mobile applications, or other more traditional media be used to engage people in new social situations? Could you design an app that gets people to talk with strangers (Miranda July), or a poster that causes a revolt in an office space (Packard Jennings), or a truck that changes how people think about nursing mothers (Jill Miller)? What about platforms that encourage political dialog or social changes? This studio course examines how contemporary artists and designers engage people in a process of social dialog, critique and political change through the existing media and non-traditional art practices.nnWith the constant development of new apps and social media platforms and the pressure from society of everyone having an online presence, the class will investigate and focus specifically on how these tools can be used as a resource to create and present artworks creatively. The students in this class will be introduced to a variety of artwork examples and study different artist¿s approach to media, technically as well as conceptually. Experimentation is highly emphasized throughout this course, as the goal is for the students to create and produce works that uses social media in new ways to tell stories, connect with, mystify or surprise the audience.nnA selection of software such as Photoshop, Premiere Pro, After Affects, and other tools will be introduced in class that will assist the students in producing work for the required assignments.
Terms: Aut, Spr
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 167:
Introduction to Animation
Projects in animation techniques including flipbook, cutout/collage, stop-motion such as claymation, pixilation, and puppet animation, rotoscoping, and time-lapse. Films. Computers used as post-production tools, but course does not cover computer-generated animation. (lower level)
Last offered: Autumn 2013
| Units: 3-4
| UG Reqs: WAY-CE
ARTSTUDI 168:
Data as Material
How can data be used as ¿material¿ in art and design projects. Beyond straight-forward ideas of ¿data-visualization¿, this studio course seeks to investigate how we construct meaning from sets of information, and how the construction of those sets determines the meaning itself. This course also investigates different display aesthetics and how this is also a strategy for generating meaning. Artists studied include those who use various forms of personal, public, and social data as part of their practice. Historical examples from conceptual artists and other genres are considered along with contemporary artists working with data in digital or hybrid digital/physical formats.
Terms: Aut
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 170:
Introduction to Photography
Critical, theoretical, and practical aspects of creative photography through camera and lab techniques. Field work. Cantor Art Center and Art Gallery exhibitions. Course requires the use of a 35mm camera. The Department will supply if necessary. (lower level)
Terms: Aut, Win, Spr
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 170S:
Introduction to Photo: Summer
Critical, theoretical, and practical aspects of creative photography through camera and lab techniques. Field work. Cantor Art Center and Art Gallery exhibitions. Course requires the use of a 35mm camera. The Department will supply if necessary. Summer. (lower level)
Last offered: Summer 2014
| Units: 3
| UG Reqs: WAY-CE
ARTSTUDI 171:
Intro to Digital Photo
This course offers an introduction to creative digital imaging. Students will master camera controls and explore meaningful image production. Course topics include: image capture, composition, artificial & natural light, image correction, data storage, night photography, and photography as a communicative tool.
Last offered: Autumn 2014
| Units: 3
| UG Reqs: WAY-CE
ARTSTUDI 173E:
Cell Phone Photography
The ubiquity of cell phone photography has had a widespread impact on the tradition, practice, and purposes of photography, as well as concepts of art and what art should be for. In this class, we discuss the documentarian bent of much cell phone photography, its potential as a component of citizen journalism, the ways in which the environments of these photographs (Instagram, Tumblr) are changing ideas of the image and of authorship, and effects that cell phone photography may be having on us as subjects. Alongside these discussions, students will create works of art utilizing the experimental, documentary, and social potentials of cell phone photography.
Terms: Aut, Win
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 174B:
Creativity in the Age of Facebook: Making Art for and from Networks
This class explores the history, practice and technique of creating art on and for the internet. Discussions, projects and readings focus on the ways in which internet art embodies changing ideas about artistic creation, technology, and interactivity as a way of blurring the line between artist and audience. Setting recent work against the backdrop of earlier moments in contemporary art (found object art, photomontage), this course also situates internet art in the pre-internet tradition of finding new perspectives on, and meanings in, overfamiliar or banal media surroundings. In collaborative and individual projects, students will create visual compositions on online platforms such as NewHive and explore social media interventions, Twitter experiments, crowdsourced work, collections of online found imagery, supercuts, GIFs, and "choose your own adventure"- style online storytelling.
Terms: Win, Spr
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 177:
Video Art I
Students create experimental video works. Conceptual, formal, and performance-based approaches to the medium. The history of video art since the 70s and its influences including experimental film, television, minimalism, conceptual art, and performance and electronic art. Topics: camera technique, lighting, sound design, found footage, cinematic conventions, and nonlinear digital editing. (lower level)
Terms: Aut, Win
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 178:
Art and Electronics
Analog electronics and their use in art. Basic circuits for creating mobile, illuminated, and responsive works of art. Topics: soldering; construction of basic circuits; elementary electronics theory; and contemporary electronic art. (lower level)
Terms: Win
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 179:
Digital Art I
Contemporary electronic art focusing on digital media. Students create works exploring two- and three-dimensional, and time-based uses of the computer in fine art. History and theoretical underpinnings. Common discourse and informative resources for material and inspiration. Topics: imaging and sound software, web art, and rethinking the comptuer as interface and object. (lower level)
Terms: Aut, Win, Spr
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 180:
Color (TAPS 180P)
Hands-on study of color to develop color sensitivity and the ability to manipulate color to exploit its expressive potential. Guided experimentation and observation. Topics include color relativity, color and light, color mixing, color harmony, and color and content. (lower level)
Last offered: Autumn 2013
| Units: 3-4
| UG Reqs: WAY-CE
ARTSTUDI 239:
Intermedia Workshop (MUSIC 155, MUSIC 255)
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
Terms: Win
| Units: 3-4
| UG Reqs: WAY-A-II, WAY-CE
| Repeatable
2 times
(up to 8 units total)
ARTSTUDI 252:
Sculpture II
Builds upon 151. Installation and non-studio pieces. Impact of material and technique upon form and content; the physical and expressive possibilities of diverse materials. Historical and contemporary forming methods provide a theoretical basis for the studio work. Field trips; guest lecturers. (upper level)
Terms: Win, Spr
| Units: 4
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 8 units total)
ARTSTUDI 253:
Ecology of Materials
Advanced studio-based sculpture course. Artists concerned with environmental impact and the interconnection of art with other fields. Students will take a critical look at the materials used in sculpture, in relation to environmental concerns, and the impact of material and technique upon form and content; therefore understanding the physical, expressive and environmental possibilities of diverse materials. Conceptual and technical considerations. Group discussions, critiques, readings, video presentations, a field trip to a local artist-in-residence program, and visiting lecturers.
Terms: Aut
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 254:
Kinetic Sculpture
This course is focused on developing a practical, hands on understanding of kinetic mechanisms applied to objects and materials in sculpture and installation. Class time will take the form of lectures and technical demos, and hands-on labs where you will be exposed to different strategies for making movement in the physical world. Topics investigated include Rube Goldberg machines, devices of wonder, interactivity, audience experience and participation. This course will not be co-taught this year.
Terms: Win
| Units: 3-4
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 8 units total)
ARTSTUDI 264:
Advanced Interaction Design
This upper level studio course will continue and create a sustained investigation into designed interactivity in real space. Students will create interactive installations, or public interventions using sensors or other computational devices. Prerequisites include one of the following - Embodied Interfaces, Media Archaeologies, Making it with Arduino, Digital Art 1, Electronic Art or permission of instructor.
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 266:
Sculptural Screens / Malleable Media
In this upper level studio course, students will experiment with video and computational outputs embedded in physical scenarios. What new physical formats are made possible by contemporary screen and projection-mapping technologies? How can we make expressive use of LCD screens, pico projectors, i-pad arrays, and LEDs? The class will address the screen as sculptural medium by examining established artists like Nam June Paik, Michael Snow, Tony Oursler, and Pippilotti Rist, as well as exploring emerging contemporary artists tackling this medium. Prerequisites include one of the following: Intro to Digital/Physical Design, Embodied Interfaces, Media Archaeologies, Making it with Arduino, Digital Art 1, Electronic Art or permission of instructor.
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 267:
Emerging Technology Studio
This course will explore the new media topics of time-based media, data art, and the status of the body though the practice of live visual performance with a focus on digitally manipulated and generated media. It will draw on on historical practices of animation, audio-visual performance, and algorithmic art as well as contemporary and popular art practices to inform a studio approach. Students will develop their own work by instrumentalizing imagery, signals and data in both scored and improvised performances. Occasional writing assignments will also be required. Prerequisites include one of the following : Intro to Digital/Physical Design, Embodied Interfaces, Media Archaeologies, Making it with Arduino, Digital Art 1, Electronic Art or permission of instructor.
Terms: Win
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 270:
Advanced Photography Seminar
Student continues with own work, showing it in weekly seminar critiques. May be repeated for credit. (upper level)
Terms: Win, Spr
| Units: 1-5
| UG Reqs: WAY-CE
| Repeatable
for credit
ARTSTUDI 271:
The View Camera: Its Uses and Techniques
For students of photography who wish to gain greater control and refine skills in image making. 4x5 view cameras provided. Enrollment limited to 8. (upper level)
Terms: Spr
| Units: 4
| UG Reqs: WAY-A-II, WAY-CE
ASNAMST 17Q:
Perspectives in North American Taiko (MUSIC 17Q)
Preference to sophomores. Taiko, or Japanese drum, is a newcomer to the American music scene. Emergence of the first N. American taiko groups coincided with increased Japanese American activism, and to some it is symbolic of Japanese American identity. N. American taiko is associated with Japanese American Buddhism. Musical, cultural, historical, and political perspectives of taiko. Hands-on drumming. Japanese music and Japanese American history, and relations among performance, cultural expression, community, and identity.
Terms: Spr
| Units: 4
| UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-CE, WAY-EDP
ASNAMST 131:
Trauma, healing, and empowerment in Asian America (CSRE 131C)
This course will look at the ways in which Asian Americans are affected by the legacy of war, occupation and colonialism through themes of home, displacement, community, roots, identity, and inter-generational trauma. The approach is integrative, including scholarly investigation, embodied practice, and creative approach. This self-reflective process uses narrative, oral and written, as a means of becoming whole and healing personal, historical, and collective wounds.
Terms: Win
| Units: 3-5
| UG Reqs: WAY-CE, WAY-EDP
ASNAMST 144:
Transforming Self and Systems: Crossing Borders of Race, Nation, Gender, Sexuality, and Class (CSRE 144, FEMGEN 144X)
Exploration of crossing borders within ourselves, and between us and them, based on a belief that understanding the self leads to understanding others. How personal identity struggles have meaning beyond the individual, how self healing can lead to community healing, how the personal is political, and how artistic self expression based in self understanding can address social issues. The tensions of victimization and agency, contemplation and action, humanities and science, embracing knowledge that comes from the heart as well as the mind. Studies are founded in synergistic consciousness as movement toward meaning, balance, connectedness, and wholeness. Engaging these questions through group process, journaling, reading, drama, creative writing, and storytelling. Study is academic and self-reflective, with an emphasis on developing and presenting creative works in various media that express identity development across borders.
Terms: Aut
| Units: 5
| UG Reqs: WAY-CE, WAY-EDP
BIO 7N:
Introduction to Conservation Photography
Introduction to the field of conservation photography and the strategic use of visual communication in addressing issues concerning the environment and conservation. Students will be introduced to basic digital photography, digital image processing, and the theory and application of photographic techniques. Case studies of conservation issues will be examined through photographs and multimedia platforms including images, video, and audio. Lectures, tutorials, demonstrations, and optional field trips will culminate in the production of individual and group projects.
Terms: Spr
| Units: 3
| UG Reqs: WAY-CE
BIO 30N:
Extinctions in Near Time: Biodiversity loss since the Pleistocene
The transition 11,700 years ago from the Pleistocene glacial period into the Holocene interglacial witnessed the expansion of humans around the world, climatic warming and the demise of many large vertebrate species. Since that time extinctions have continued on land and in the sea, culminating with the biodiversity crisis we are experiencing today. We will explore these prehistoric extinctions: "Who? When? Where? and Why?" in order to learn more about our planet's future.
Last offered: Autumn 2012
| Units: 3
| UG Reqs: GER: DB-NatSci, WAY-CE, WAY-SMA
BIO 196B:
Biology Senior Reflection
Capstone course series for seniors. Creative, self-reflective and scientifically relevant projects conceived, produced and exhibited over the course of three quarters. Explore scientific content of personal interest through creative forms including but not limited to writing, music, fine arts, performing arts, photography, film or new media. A written essay on the creative process and scientific significance of the selected topic will accompany the creative work. Completed projects may be included in a creative portfolio. Required enrollment in 196A,B,C.
Terms: Win
| Units: 3
| UG Reqs: WAY-CE
BIO 196C:
Biology Senior Reflection
Capstone course series for seniors. Creative, self-reflective and scientifically relevant projects conceived, produced and exhibited over the course of three quarters. Explore scientific content of personal interest through creative forms including but not limited to writing, music, fine arts, performing arts, photography, film or new media. A written essay on the creative process and scientific significance of the selected topic will accompany the creative work. Completed projects may be included in a creative portfolio. Required enrollment in 196A,B,C.
Terms: Spr
| Units: 3
| UG Reqs: WAY-CE
BIOE 70Q:
Medical Device Innovation
BIOE 70Q invites students to apply design thinking to the creation of healthcare technologies. Students will learn about the variety of factors that shape healthcare innovation, and through hands-on design projects, invent their own solutions to clinical needs. Guest instructors will include engineers, doctors, entrepreneurs, and others who have helped bring ideas from concept to clinical use.
Terms: Spr
| Units: 3
| UG Reqs: WAY-CE
CEE 31:
Accessing Architecture Through Drawing
Preference to Architectural Design and CEE majors; others by consent of instructor. Drawing architecture to probe the intricacies and subtleties that characterize contemporary buildings. How to dissect buildings and appreciate the formal elements of a building, including scale, shape, proportion, colors and materials, and the problem solving reflected in the design. Students construct conventional architectural drawings, such as plans, elevations, and perspectives. Limited enrollment.
Terms: Aut, Win
| Units: 5
| UG Reqs: GER:DB-EngrAppSci, WAY-CE
CEE 31Q:
Accessing Architecture Through Drawing
Preference to sophomores. Drawing architecture provides a deeper understanding of the intricacies and subtleties that characterize contemporary buildings. How to dissect buildings and appreciate the formal elements of a building, including scale, shape, proportion, colors and materials, and the problem solving reflected in the design. Students construct conventional architectural drawings, such as plans, elevations, and perspectives. Limited enrollment.
Terms: Aut, Spr
| Units: 5
| UG Reqs: GER:DB-EngrAppSci, WAY-CE
CEE 130:
Architectural Design: 3-D Modeling, Methodology, and Process
Preference to Architectural Design majors; others by consent of instructor. Projects investigate conceptual approaches to the design of key architectural elements, such as wall and roof. Functional and structural considerations. Focus is on constructing 3-D models in a range of materials; 3-D computer modeling. Students keep a graphic account of the evolution of their design process. Final project entails design of a simple structure. Limited enrollment. Pre- or corequisite: CEE 31 or 31Q.
Terms: Win, Spr
| Units: 4
| UG Reqs: WAY-CE
CHILATST 179F:
Flor y Canto: Poetry Workshop (CSRE 179F, TAPS 179F, TAPS 279F)
Poetry reading and writing. The poet as philosopher and the poet as revolutionary. Texts: the philosophical meditations of pre-Columbian Aztec poetry known as flor y canto, and reflections on the poetry of resistance born out of the nationalist and feminist struggles of Latin America and Aztlán. Required 20-page poetry manuscript.
Last offered: Winter 2014
| Units: 3-5
| UG Reqs: WAY-CE
CLASSICS 16N:
Sappho: Erotic Poetess of Lesbos (FEMGEN 24N)
(Formerly CLASSGEN 24N.) Preference to freshmen. Sappho's surviving fragments in English; traditions referring to or fantasizing about her disputed life. How her poetry and legend inspired women authors and male poets such as Swinburne, Baudelaire, and Pound. Paintings inspired by Sappho in ancient and modern times, and composers who put her poetry to music.
Last offered: Spring 2015
| Units: 4-5
| UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-CE, WAY-EDP
COMM 104W:
Reporting, Writing, and Understanding the News
Techniques of news reporting and writing. The value and role of news in democratic societies. Gateway class to journalism. Prerequisite for all COMM 177/277 classes. Limited enrollment. Preference to COMM majors.
Terms: Aut, Win, Spr
| Units: 5
| UG Reqs: WAY-CE
COMM 169:
Computers and Interfaces (COMM 269)
(Graduate students register for COMM 269.) Interdisciplinary. Interdisciplinary. User responses to interfaces and design implications of those responses. Theories from different disciplines illustrate cognitive, emotional, and social responses to textual, voice-based, pictorial, metaphoric, conversational, adaptive, agent-based, intelligent, and anthropomorphic interfaces. Group design project applying theory to the design of an interactive interface.
Last offered: Autumn 2014
| Units: 4-5
| UG Reqs: GER:DB-SocSci, WAY-CE, WAY-SI
COMM 171:
Moving Pictures: How the Web, Mobile and Tablets are Revolutionizing Video Journalism (COMM 271)
(Graduate students register for 271.) Examine the emerging role of video journalism across web, tablet and mobile platforms. What are the specific needs of these platforms? How can new reporting tools be integrated to efficiently produce video news content? We'll examine case studies and hear from guest speakers about innovations in video journalism on these platforms. Students will produce video journalism pieces using mobile tools, optimized for viewing on mobile devices. Prerequisite: Journalism MA student or instructor's consent.
Terms: Win
| Units: 3-5
| UG Reqs: WAY-CE
COMM 176:
Advanced Digital Media Production (COMM 276)
In-depth reporting and production using audio, images and video. Focus on an in-depth journalism project with appropriate uses of digital media: audio, photography, graphics, and video. Topics include advanced field techniques and approaches (audio, video, still) and emphasis on creating a non-fiction narrative arc in a multimedia piece of 10-12 minutes. Prerequisite: COMM 275 or consent of instructor
Terms: Spr
| Units: 4-5
| UG Reqs: WAY-CE
COMM 177D:
Specialized Writing and Reporting: Narrative Journalism (COMM 277D)
(Graduate students register for COMM 277D.) How to report, write, edit, and read long-form narrative nonfiction, whether for magazines, news sites or online venues. Tools and templates of story telling such as scenes, characters, dialogue, and narrative arc. How the best long-form narrative stories defy or subvert conventional wisdom and bring fresh light to the human experience through reporting, writing, and moral passion. Prerequisite: 104 or consent of instructor.
| Units: 4-5
| UG Reqs: WAY-CE
COMM 177S:
Specialized Writing and Reporting: Sports Journalism (COMM 277S)
(Graduate students register for COMM 277S.) Workshop. An examination of American sports writing from the 1920's Golden Age of Sports to present. Students become practitioners of the sports writing craft in an intensive laboratory. Hones journalistic skills such as specialized reporting, interviewing, deadline writing, creation of video projects, and conceptualizing and developing stories for print and online. Prerequisite: 104 or consent of instructor.
Terms: Win
| Units: 4-5
| UG Reqs: WAY-CE
CS 45N:
Computers and Photography: From Capture to Sharing
Preference to freshmen with experience in photography and use of computers. Elements of photography, such as lighting, focus, depth of field, aperture, and composition. How a photographer makes photos available for computer viewing, reliably stores them, organizes them, tags them, searches them, and distributes them online. No programming experience required. Digital SLRs and editing software will be provided to those students who do not wish to use their own.
Terms: Aut
| Units: 3-4
| UG Reqs: WAY-CE
CS 148:
Introduction to Computer Graphics and Imaging
Introductory prerequisite course in the computer graphics sequence introducing students to the technical concepts behind creating synthetic computer generated images. Focuses on using OpenGL to create visual imagery, as well as an understanding of the underlying mathematical concepts including triangles, normals, interpolation, texture mapping, bump mapping, etc. Course will cover fundamental understanding of light and color, as well as how it impacts computer displays and printers. Class will discuss more thoroughly how light interacts with the environment, constructing engineering models such as the BRDF, plus various simplifications into more basic lighting and shading models. Also covers ray tracing technology for creating virtual images, while drawing parallels between ray tracers and real world cameras to illustrate various concepts. Anti-aliasing and acceleration structures are also discussed. The final class mini-project consists of building out a ray tracer to create visually compelling images. Starter codes and code bits will be provided to aid in development, but this class focuses on what you can do with the code as opposed to what the code itself looks like. Therefore grading is weighted toward in person "demos" of the code in action - creativity and the production of impressive visual imagery are highly encouraged. Prerequisites: CS 107, MATH 51.
Terms: Aut, Sum
| Units: 3-4
| UG Reqs: GER:DB-EngrAppSci, WAY-CE
Instructors: ;
Fedkiw, R. (PI);
Hossain, Z. (PI);
Bao, M. (TA);
Hyde, D. (TA);
Jin, J. (TA);
Kao, S. (TA);
Lee, M. (TA);
Neubauer, M. (TA);
Riggs, J. (TA);
Winter, H. (TA)
CS 170:
Stanford Laptop Orchestra: Composition, Coding, and Performance (MUSIC 128)
Classroom instantiation of the Stanford Laptop Orchestra (SLOrk) which includes public performances. An ensemble of more than 20 humans, laptops, controllers, and special speaker arrays designed to provide each computer-mediated instrument with its sonic identity and presence. Topics and activities include issues of composing for laptop orchestras, instrument design, sound synthesis, programming, and live performance. May be repeated four times for credit.
Terms: Spr
| Units: 3-4
| UG Reqs: WAY-CE
| Repeatable
4 times
(up to 16 units total)
CSRE 131C:
Trauma, healing, and empowerment in Asian America (ASNAMST 131)
This course will look at the ways in which Asian Americans are affected by the legacy of war, occupation and colonialism through themes of home, displacement, community, roots, identity, and inter-generational trauma. The approach is integrative, including scholarly investigation, embodied practice, and creative approach. This self-reflective process uses narrative, oral and written, as a means of becoming whole and healing personal, historical, and collective wounds.
Terms: Win
| Units: 3-5
| UG Reqs: WAY-CE, WAY-EDP
CSRE 134:
Museum Cultures: Material Representation in the Past and Present (AMSTUD 134, ARCHLGY 134, ARCHLGY 234, ARTHIST 284B, EDUC 214, NATIVEAM 134)
Students will open the "black box" of museums to consider the past and present roles of institutional collections, culminating in a student-curated exhibition. Today, museums assert their relevance as dynamic spaces for debate and learning. Colonialism and restitution, the politics of representation, human/object relationships, and changing frameworks of authority make museum work widely significant and consistently challenging. Through thinking-in-practice, this course reflexively explores "museum cultures": representations of self and other within museums and institutional cultures of the museum world itself.n3 credits (no final project) or 5 credits (final project). May be repeat for credit
Terms: Spr
| Units: 3-5
| UG Reqs: WAY-A-II, WAY-CE
| Repeatable
3 times
(up to 15 units total)
CSRE 144:
Transforming Self and Systems: Crossing Borders of Race, Nation, Gender, Sexuality, and Class (ASNAMST 144, FEMGEN 144X)
Exploration of crossing borders within ourselves, and between us and them, based on a belief that understanding the self leads to understanding others. How personal identity struggles have meaning beyond the individual, how self healing can lead to community healing, how the personal is political, and how artistic self expression based in self understanding can address social issues. The tensions of victimization and agency, contemplation and action, humanities and science, embracing knowledge that comes from the heart as well as the mind. Studies are founded in synergistic consciousness as movement toward meaning, balance, connectedness, and wholeness. Engaging these questions through group process, journaling, reading, drama, creative writing, and storytelling. Study is academic and self-reflective, with an emphasis on developing and presenting creative works in various media that express identity development across borders.
Terms: Aut
| Units: 5
| UG Reqs: WAY-CE, WAY-EDP
CSRE 172:
Out of Place: (W)riting Home (FEMGEN 172, TAPS 172, TAPS 272)
A creative writing workshop; all genres. This course will introduce students to the fundamentals of a productive creative writing practice, including ¿the beginner¿s mind¿ (as founded in Eastern spiritual practices); and, an indigenous approach to ¿authenticity¿ in one¿s work and one¿s words. Through w(riting), one returns to the body of home-knowledges, languages, and geographies to uncover what is profoundly original in us as artists, writers and thinkers.¿
Terms: Win
| Units: 4
| UG Reqs: WAY-CE
CSRE 177:
Writing for Performance: The Fundamentals (FEMGEN 177, TAPS 177, TAPS 277)
Course introduces students to the basic elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Patrick Shanley, August Wilson, Suzan-Lori Parks, Paula Vogel, Octavio Solis and others. Table readings of one-act length work required by quarter's end.
Terms: Aut, Spr
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-CE
CSRE 178B:
Intensive Playwriting (TAPS 178B, TAPS 278)
Intermediate level study of fundamentals of playwriting through an intensive play development process. Course emphasizes visual scripting for the stage and play revision. Script analysis of works by contemporary playwrights may include: Suzan-Lori Parks, Tony Kushner, Adrienne Kennedy, Edward Albee, Maria Irene Fornes and others. Table readings of full length work required by quarter¿s end.
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE
CSRE 179F:
Flor y Canto: Poetry Workshop (CHILATST 179F, TAPS 179F, TAPS 279F)
Poetry reading and writing. The poet as philosopher and the poet as revolutionary. Texts: the philosophical meditations of pre-Columbian Aztec poetry known as flor y canto, and reflections on the poetry of resistance born out of the nationalist and feminist struggles of Latin America and Aztlán. Required 20-page poetry manuscript.
Last offered: Winter 2014
| Units: 3-5
| UG Reqs: WAY-CE
DANCE 27:
Faculty Choreography
This project, a new work for 7-9 dancers, investigates dynamic relationships across time and space, with a special interest in movement that folds and unfolds, wraps inward and spools outward. Spatial trajectories and awareness of shifting spatial relationships are central to the work. Imagery will be drawn from natural phenomenon. The movement material is exceptionally lush, dense and detailed, including a lot of rolling floor work, swift changes of direction and level, weight-bearing and carrying, ensemble work and interchangeable partnering. The dance is episodic, irregular in shape. Dancers will join in the process of building material from base phrases. Many rehearsals will be in silence, so dancers will need to be especially alert to the breath phrasing and rhythmic content of the movement material. Indeterminacy procedures will be used to organize the progression and sections of the work. Dancers of all backgrounds welcome; physical assertion and commitment highly valued. Composer Dohi Moon will create an original score for the work; TAPS theater designers will create scenic elements, costumes, lighting. Performance will be on Memorial Auditorium stage. Performance dates: May 26, 27. Dancers are expected to attend all dance rehearsals and technical rehearsals leading to performance. Interested dancers should contact the choreographer by email. nnCasting by both audition and invitation. Once cast, dancers may sign up for unit credit.
Terms: Spr
| Units: 1
| UG Reqs: WAY-CE, way_ce
| Repeatable
for credit
DANCE 30:
Chocolate Heads Movement Band Performance Workshop (AFRICAAM 37)
Students from diverse dance styles (ballet to hip-hop to contemporary) participate in the dance-making/remix process and collaborate with musicians, visual artists, designers and spoken word artists, to co-create multidisciplinary fully produced production and installation. Open to student artists of different genres, styles, disciplines and levels. By audition and/or discussion with the instructor.
Terms: Aut
| Units: 2
| UG Reqs: WAY-CE
| Repeatable
for credit
DANCE 45:
Dance Improvisation Techniques and Strategies Lab: From Hip Hop to Contact (AFRICAAM 45)
By learning various dance improvisation forms across cultures, students will develop techniques to gain a deep understanding of generating movement from the inside-out, inspired by conceptual strategies from master improvisors while harnessing that potential for creating dances. Guest dancer/choreographer workshops and Dance Jams enhance the learning experience. All Levels welcome.
Terms: Spr
| Units: 2
| UG Reqs: WAY-CE
| Repeatable
for credit
DANCE 48:
Beginning Ballet
Fundametals of ballet technique including posture, placement, the foundation steps, and ballet terms; emphasis on the development of coordination, balance, flexibility, sense of lines, and sensitivity to rhythm and music. May be repeated for credit.
Terms: Aut
| Units: 1
| UG Reqs: WAY-CE, way_ce
| Repeatable
for credit
DANCE 50:
Contemporary Choreography
Each day Ketley will develop a new phrase of choreography with the students and use this as the platform for investigation. Consistent lines of inquiry include; sculpting with the body as an emotional, instinctual, and graphic landscape, how the fracturing and the complication of strands of information can feel generative of new ways of moving, discussions around how our use of time is directly correlated to our sense of presence, and the multitude of physical colors available to each of us as artists as we expand our curiosity about movement. Classes will be very physical, trusting that much of our knowledge is contained in the body. The culmination of the class will be performing in the joint faculty Dance Concert on the Memorial Auditorium stage. nnnParticipants in the class will be chosen by audition and invitation. For questions please e-mail aketley@stanford.edu.
Terms: Spr
| Units: 1
| UG Reqs: WAY-CE, way_ce
DANCE 58:
Beginning Hip Hop
Steps and styling in one of America's 21st-century vernacular dance forms. May be repeated for credit.
Terms: Aut, Sum
| Units: 1
| UG Reqs: WAY-CE, way_ce
| Repeatable
for credit
DANCE 59:
Intermediate-Advanced Hip-Hop
Steps and styling in one of America's 21st-century vernacular dance forms. May be repeated for credit.
Terms: Aut, Win
| Units: 1
| UG Reqs: WAY-CE, way_ce
| Repeatable
for credit
DANCE 102:
Musical Theater Dance Styles
Fundamental techniques and approaches used in the creation of dance. Basic elements of composition including: style, form, theme and variation, and phrasing, development of movement vocabulary, symmetry and asymmetry, explicit versus abstract methods of expression, elements of time, quality and use of space, motif, and repetition. May be repeated for credit.
Terms: Win
| Units: 1
| UG Reqs: WAY-CE, way_ce
| Repeatable
for credit
DANCE 108:
Hip Hop Meets Broadway
What happens when Hip Hop meets "Fosse", "Aida", "Dream Girls" and "In the Heights"?nThe most amazing collaboration of Hip Hop styles adapted to some of the most memorable Broadway Productions.nThis class will explore the realm between Hip Hop Dance and the Broadway Stage. Infusing Acting thru dance movement and exploring the Art of Lip Sync thru Hip Hop Dance styles.
Terms: Spr
| Units: 1
| UG Reqs: WAY-CE, way_ce
| Repeatable
9 times
(up to 9 units total)
DANCE 118:
Developing Creativity In Dance
Developing Creativity In Dance Robert Moses Course description: This introductory course explores the creative process in dance. There are many effective ways to approach creative expression, and this course will utilize multiple approaches, both in series and in parallel. Parallel processing and multitasking will become the dominant mode as rational, intuitive and physical skills merge. Processes will include changing perception, design by analogy, quick adaptation to changing situations, musicality, overcoming creative blocks, and stress reduction to relax into a more creative state of mind. Class sessions will be primarially practice, with two-thirds of the class time spent in the dance studio, creating ways of moving, to embody the concepts that will be detailed in the discussion sessions. Previous dance experience will not be required to take this course. Rationale: Dance in the University plays a vital role in the experience of self-definition. The opportunity to create dance offers students the means to experience the body in new ways through diverse forms of movement. Students come to understand dance as a conduit for impression and expression in society. It becomes a means of giving physical voice to the most private and powerful aspects of an individual's understanding of himself in relation to the world.
Last offered: Spring 2015
| Units: 2
| UG Reqs: WAY-CE
DANCE 141:
Advanced Contemporary Modern Technique
This advanced dance technique class is grounded in the technical training, aesthetic sensibilities, and choreographic processes of Merce Cunningham, American dancer/master choreographer. This studio work at an advanced level will build technical strength, speed, line, and rhythmic acuity/musicality and amplitude in dancing. The class will provides solid technical training useful and applicable to other forms of dancing. Dancers must be ready to work at an high intermediate/advanced level to enroll. Studio practice will be supplemented by readings, video viewing, concert attendance, and participation in special workshops with guest artists. Cunningham-based technique is particularly well-suited to dancers with prior training in ballet technique; dancers with prior training in any form are welcome. May be repeated for credit.
Terms: Aut, Win, Spr
| Units: 2
| UG Reqs: WAY-CE
| Repeatable
for credit
DANCE 149:
Advanced Ballet
Advanced Ballet at Stanford is offered for students who are interested in rigorous, complex, and artistically compelling ballet training. The class focuses on technique, but in the broad sense of how ballet as a movement system can be used for a wide range of dance disciplines. The class honors the historical training legacy that defines classical ballet, but is in no way shackled to that history in an antiquated fashion. The students are encouraged to explore the form as artists, to question its foundations, and find their own sense of agency within classical dance. Students with a strong background in ballet are encouraged to come, but also students with less ballet training are welcome as long as they have an email dialog with the lecturer beforehand. Any questions can be directed to Lecturer Alex Ketley at aketley@stanford.edu
Terms: Aut, Win, Spr
| Units: 2
| UG Reqs: WAY-CE
| Repeatable
for credit
DANCE 156T:
Movement and Digital Culture (TAPS 156T)
What is physical intelligence? How could we cultivate it? What technologies can extend sensory awareness, and which can suppress it? How can better understanding of human movement impact a creative/design process? The term 'hybrid action¿ introduces the notion of movement, expressed in both the physical and virtual worlds. Through interactive technologies, such as the Kinect and camera tracking, and literature from multiple fields, this class takes human movement as a practice-based, creative, theoretical, historical, and philosophical realm of study. The course introduces basic principles and practices of body awareness as a way to extend one¿s 'physical intelligence¿ and asks how studying movement can inform creative practices from computer programming to engineering to choreography, as well as applications in health and rehabilitation, cognitive and neuroscience, philosophy and literature. The class emphasizes hands-on, individual and collaborative projects through research and prototyping.
Last offered: Autumn 2014
| Units: 4
| UG Reqs: WAY-CE
DANCE 166:
History of Social Dance in Western Culture
Historic social dance from the past five centuries, including studio technique and history. Renaissance, Baroque, Regency Era, 19th Century, Ragtime Era, Swing Era and 1950s Rock'n'Roll social dances.
Last offered: Spring 2011
| Units: 1
| UG Reqs: WAY-CE, way_ce
DLCL 111Q:
Spanish-English Literary Translation Workshop (ILAC 111Q)
This course introduces students to the theoretical knowledge and practicalnskills necessary to translate literary texts from Spanish to English andnEnglish to Spanish. Topics may include comparative syntaxes, morphologies,nand semantic systems; register and tone; audience; the role of translationnin the development of languages and cultures; and the ideological andnsocio-cultural forces that shape translations. Students will workshop andnrevise an original translation project throughout the quarter.
Last offered: Winter 2015
| Units: 3
| UG Reqs: WAY-A-II, WAY-CE
DLCL 113Q:
Borges and Translation (ILAC 113Q)
Borges's creative process and practice as seen through the lens of translation. How do Borges's texts articulate the relationships between reading, writing, and translation? Topics include authorship, fidelity, irreverence, and innovation. Readings will draw on Borges's short stories, translations, and essays. Taught in Spanish. Prerequisite: 100-level course in Spanish or permission of instructor.
Terms: Aut
| Units: 3-5
| UG Reqs: WAY-A-II, WAY-CE
DLCL 121:
Performing the Middle Ages (FRENCH 151)
Through an analysis of medieval love, satirical and Crusade lyrics in the Old Occitan, Old French, and Galician-Portuguese traditions, we will study deictic address, corporeal subjectivity, the female voice, love debates, and the body as a figure of political conflict. Special attention will be given to the transmission of vernacular song from live performance to manuscripts. Authors include Ovid, Bernart de Ventadorn, Bertran de Born, La Comtessa de Dia, Thibaut de Champagne, Dante, and Pound. Taught in English.
Terms: Aut
| Units: 3-5
| UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-CE
DLCL 123:
Medieval Journeys: Tales of Devotion and Discovery (ARTHIST 105B)
This course explores the experience and imagination of medieval journeys through interdisciplinary, cross-cultural, and skills-based approaches. As a foundations class, this survey of medieval culture engages with an array of written texts from the period. Narratives of medieval journeys are studied across a wide range of categories, including pilgrimages, crusades, quests, and sagas. The journey as metaphor, along with the resulting and very real cultural interactions, will provide a main focus for examining this rich tradition of literature. Students will have the opportunity to produce a creative project that brings medieval ideas about travel into dialogue with modern conceptions. The course will satisfy the Ways-Creative Expression requirement as well as one of the following two: Ways-Analytical Interpretive or Ways-Engaging Difference.
Terms: Aut
| Units: 3-5
| UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-CE, WAY-EDP
DLCL 239:
Borges and Translation (ILAC 239)
Borges's creative process and practice as seen through the lens of translation. How do Borges's texts articulate the relationships between reading, writing, and translation? Topics include authorship, fidelity, irreverence, and innovation. Readings will draw on Borges's short stories, translations, and essays. Taught in Spanish. Prerequisite: 100-level course in Spanish or permission of instructor.
Terms: Aut
| Units: 3-5
| UG Reqs: WAY-CE
DLCL 293:
Literary Translation (ENGLISH 293)
An overview of translation theories and practices over time. The aesthetic, ethical, and political questions raised by the act and art of translation and how these pertain to the translator's tasks. Discussion of particular translation challenges and the decision processes taken to address these issues. Coursework includes assigned theoretical readings, comparative translations, and the undertaking of an individual translation project.
Terms: Win
| Units: 4
| UG Reqs: WAY-A-II, WAY-CE
EARTHSYS 149:
Wild Writing (EARTHSYS 249)
What is wilderness and why does it matter? In this course we will interrogate answers to this question articulated by influential and diverse American environmental thinkers of the 19th, 20th, and 21st centuries, who through their writing transformed public perceptions of wilderness and inspired such actions as the founding of the National Park System, the passage of the Wilderness Act and the Clean Air and Water Acts, the establishment of the Environmental Protection Agency, and the birth of the environmental and climate justice movements. Students will also develop their own responses to the question of what is wilderness and why it matters through a series of writing exercises that integrate personal narrative, wilderness experience, and environmental scholarship, culminating in a ~3000 word narrative nonfiction essay. This course will provide students with knowledge, tools, experience, and skills that will empower them to become more persuasive environmental storytellers and advocates.
Terms: Spr
| Units: 3
| UG Reqs: WAY-CE
EARTHSYS 154:
Intermediate Writing: Communicating Climate Change: Navigating the Stories from the Frontlines (PWR 91EP)
In the next two decades floods, droughts and famine caused by climate change will displace more than 250 million people around the world. In this course students will develop an increased understanding of how different stakeholders including scientists, aid organizations, locals, policy makers, activists, and media professionals communicate the climate change crisis. They will select a site experiencing the devastating effects and research the voices telling the stories of those sites and the audiences who are (or are not) listening. Students might want to investigate drought-ridden areas such as the Central Valley of California or Darfur, Sudan; Alpine glaciers melting in the Alps or in Alaska; the increasingly flooded Pacific islands; the hurricane ravaged Gulf Coast, among many others. Data from various stakeholders will be analyzed and synthesized for a magazine length article designed to bring attention to a region and/or issue that has previously been neglected. Students will write and submit their article for publication.nnFor students who have completed the first two levels of the writing requirement and want further work in developing writing abilities, especially within discipline-specific contexts and nonfiction genres. Individual conferences with instructor and peer workshops. Prerequisite: first two levels of the writing requirement or equivalent transfer credit. For more information, see https://undergrad.stanford.edu/programs/pwr/explore/notation-science-writing.
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE, WAY-SI
EARTHSYS 187:
FEED the Change: Redesigning Food Systems
Introductory course in design thinking and food system analysis offered through the FEED Collaborative. Targeted at upper-class undergraduates, this course provides a series of diverse, primarily hands-on experiences (design projects, field work, and storytelling) in which students both learn and apply the process of human-centered design to projects of real consequence in the food system. Students will also develop knowledge and basic tools for working effectively in teams and for analyzing complex systems. The goal of this course is to develop the creative confidence of students and, in turn, to work collaboratively with thought leaders in the local food system to design innovative solutions to the challenges they face. Admission is by application: http://feedcollaborative.org/classes/.
Terms: Aut
| Units: 2-3
| UG Reqs: WAY-CE
EARTHSYS 195:
Natural Hazards and Risk Communication
Introduction to the science behind natural hazards, the risks associated with these hazards, and effective methods of communicating them to a variety of audiences. Examination of methods of translation and communication. Investigation of the relative effectiveness of these methods for increasing preparedness and resiliency to natural hazards. Satisfies the Earth Systems WIM requirement.
Last offered: Spring 2015
| Units: 3
| UG Reqs: WAY-CE
EARTHSYS 200:
Sustaining Action: Research, Analysis and Writing for the Public
Preference to graduate students and senior undergraduates in environmental, natural and social sciences, engineering, journalism. Students help produce and publish SAGE, an eco advice column, by choosing, researching, and answering questions about sustainable living submitted by Stanford alumni and the general public. (Meets Earth Systems WIM requirement).
Terms: Win, Spr
| Units: 3
| UG Reqs: WAY-CE
ENGLISH 9CE:
Creative Expression in Writing
Primary focus on giving students a skill set to tap into their own creativity. Opportunities for students to explore their creative strengths, develop a vocabulary with which to discuss their own creativity, and experiment with the craft and adventure of their own writing. Students will come out of the course strengthened in their ability to identify and pursue their own creative interests. For undergrads only.
Terms: Aut, Win, Spr
| Units: 3
| UG Reqs: WAY-CE
ENGLISH 9CT:
Special Topics in Creative Expression
Focus on a particular topic or process of creative expression. Primary focus on giving students a skill set to tap into their own creativity. Opportunities for students to explore their creative strengths, develop a vocabulary with which to discuss their own creativity, and experiment with the craft and adventure of their own writing. Students will come out of the course strengthened in their ability to identify and pursue their own creative interests. For undergrads only
Terms: Win, Spr
| Units: 3
| UG Reqs: WAY-CE
ENGLISH 48N:
The American Songbook and Love Poetry
A study of performances (Billie Holiday, Frank Sinatra etc) of songs by classic American composers (Porter, Rogers and Hart, Cohen).
Terms: Win
| Units: 3
| UG Reqs: WAY-A-II, WAY-CE
ENGLISH 90:
Fiction Writing
The elements of fiction writing: narration, description, and dialogue. Students write complete stories and participate in story workshops. May be repeated for credit. Prerequisite: PWR 1 (waived in summer quarter).
Terms: Aut, Win, Spr, Sum
| Units: 5
| UG Reqs: WAY-A-II, WAY-CE
| Repeatable
2 times
(up to 10 units total)
Instructors: ;
Clark, H. (PI);
Frisch, S. (PI);
Hummel, M. (PI);
Kletter, D. (PI);
Petersen, K. (PI);
Pufahl, S. (PI);
Schloesser Tarano, N. (PI);
Smith, A. (PI);
Smith, R. (PI);
Tanaka, S. (PI);
Tshele, N. (PI);
Willey, P. (PI);
Wolff, T. (PI);
Kletter, D. (GP)
ENGLISH 90Q:
Sports Writing
Study and practice of the unique narratives, tropes, images and arguments that creative writers develop when they write about popular sport. From regional fandom to individualist adventuring, boxing and baseball to mascot dancing and table tennis, exceptional creative writers mine from a diversity of leisure activity a rich vein of ¿sports writing¿ in the creative nonfiction genre. In doing so, they demonstrate the creative and formal adaptability required to write with excellence about any subject matter, and under the circumstances of any subjectivity. Discussion of the ways in which writers have framed, and even critiqued, our interest in athletic events, spectatorship, and athletic beauty. Writers include Joyce Carol Oates, Roland Barthes, David James Duncan, Arnold Rampersad, John Updike, Maxine Kumin, Susan Sterling, Ernest Hemingway, Norman Mailer, Dervla Murphy, Haruki Murakami, Don DeLillo, Henry Louis Gates, Jr., Annie Dillard, John McPhee, and Laura Hillenbrand. Close readings of essays on form and sport, as well as book excerpts. Students will engage in class discussions and write short weekly papers, leading to a more comprehensive project at the end of the quarter.
Terms: Aut
| Units: 3
| UG Reqs: WAY-A-II, WAY-CE
ENGLISH 90V:
Fiction Writing
Online workshop course that explores the ways in which writers of fiction have used language to examine the world, to create compelling characters, and to move readers. We will begin by studying a selection of stories that demonstrate the many techniques writers use to create fictional worlds; we'll use these stories as models for writing exercises and short assignments, leading to a full story draft. We will study figurative language, character and setting development, and dramatic structure, among other elements of story craft. Then, each student will submit a full draft and receive feedback from the instructor and his/her classmates. This course is taught entirely online, but retains the feel of a traditional classroom. Optional synchronous elements such as discussion and virtual office hours provide the student direct interaction with both the instructor and his/her classmates. Feedback on written work ¿ both offered to and given by the student ¿ is essential to the course and creates class rapport.
Terms: Sum
| Units: 5
| UG Reqs: WAY-CE
ENGLISH 91:
Creative Nonfiction
(Formerly 94A.) Historical and contemporary as a broad genre including travel and nature writing, memoir, biography, journalism, and the personal essay. Students use creative means to express factual content.
Terms: Aut, Win, Spr, Sum
| Units: 5
| UG Reqs: WAY-A-II, WAY-CE
Instructors: ;
Evans, J. (PI);
Frisch, S. (PI);
Grey, K. (PI);
Hummel, M. (PI);
Kletter, D. (PI);
Marra, A. (PI);
Perham, B. (PI);
Schloesser Tarano, N. (PI);
Smith, A. (PI);
Tanaka, S. (PI);
Tshele, N. (PI);
Wrenn, G. (PI)
ENGLISH 91Q:
Twitter Fiction/Future Forms
Digital media--from Twitter to the Kindle--are roiling the literary marketplace. But could these new forms and content delivery methods also create new opportunities for creative work? Twitter is a hotbed of adopted personae and clearly false characters; sites from FiveChapters to Plympton are reviving the serial form; new apps feature inventive short fiction. Additionally, established writers, from Margaret Atwood to Jennifer Egan, are harnessing the forms offered by digital media to spur their own artistic invention. In this unsettled landscape, what does it even mean to write fiction? What does it mean to create stories without the assumption of the reader's undivided attention? And what do lessons from our literary history--from Gutenberg to the serial novels of the Victorian age--have to teach us about our current historical moment? These and many more questions will be our subject as we read the exciting work being done in this new world--and then become pioneers ourselves, by writing, workshopping, and publishing our own Twitter fiction and future forms.
Terms: Win
| Units: 3
| UG Reqs: WAY-A-II, WAY-CE
ENGLISH 92:
Reading and Writing Poetry
Prerequisite: PWR 1. Issues of poetic craft. How elements of form, music, structure, and content work together to create meaning and experience in a poem. May be repeated for credit.
Terms: Aut, Win, Spr, Sum
| Units: 5
| UG Reqs: WAY-A-II, WAY-CE
| Repeatable
2 times
(up to 10 units total)
ENGLISH 94:
Creative Writing Across Genres
For minors in creative writing. The forms and conventions of the contemporary short story and poem. How form, technique, and content combine to make stories and poems organic. Prerequisite: 90, 91, or 92.
Terms: Spr
| Units: 5
| UG Reqs: WAY-A-II, WAY-CE
ENGLISH 151F:
Angelheaded Hipsters: Beat Writers of San Francisco and New York
Reading of central writers of the Beat movement (Ginsberg, Kerouac, di Prima, Snyder, Whalen) as well as some related writers (Creeley, Gunn, Levertov). Issues explored include NY and SF, Buddhism and leftist politics, poetry and jazz. Some exposure to reading poems to jazz accompaniment. Examination of some of the writers and performers growing out of the Beats: Bob Dylan, rock music, especially from San Francisco, and jazz.
Terms: Win
| Units: 5
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
ENGLISH 157:
American Literary Journalism
Literary journalism merges the factual reporting of traditional journalism with the narrative techniques of fiction. This course will follow the development of this influential genre of writing in the U.S. from the 1890s to the present, with special attention to the particularly American emergence of this form in the non-fiction writing published in the New Yorker during the 1930s and 40s and the New Journalism of the 1960s and 70s. Engaging with the form¿s most prominent writers, themes, and techniques, we will investigate questions of objectivity and subjectivity, tensions between fact and fiction, and the genre¿s position as a particularly American cultural form.
Terms: Win
| Units: 5
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
ENGLISH 166:
Who were the Vikings? (GERMAN 166)
Who were the Vikings and what has been their influence on contemporary culture? This course provides a broad introduction to Viking society and culture as well as to their legacy in the modern world. We will look at Viking life, mythology, literature, art and archaeology as well as modern adaptations of Viking culture in music, literature, film and television. We will read some of the great works of Viking literature ¿ tales of Odin and Thor, of magic and monsters, of adventures across the seas - and examine online exhibitions of Vikings artefacts and settlements in Europe and Newfoundland. During the first half of the course, students will begin thinking about their final project ¿ a creative reimagining one of the texts or artefacts which we will discuss in class. The latter half of the course will focus on the development of the Vikings as a cultural model for modern creative expression. We will investigate how Norse themes, characters and forms were adapted in Germany, England and the USA in the nineteenth and twentieth centuries by writers, artists and composers such as Richard Wagner, William Morris, Henry Longfellow and J.R.R. Tolkien. The course will conclude with a discussion of how the Vikings (and Viking ideas) are represented today in popular culture, including the 1958 Kirk Douglas film, ¿the Vikings¿, the TV shows ¿The Vikings¿ and ¿Game of Thrones¿ and the Marvel comic books series. Students will be encouraged to examine the ways in which these texts engage with their historical models and consider how this might influence their own creative project.
Terms: Sum
| Units: 3-5
| UG Reqs: WAY-CE
ENGLISH 190:
Intermediate Fiction Writing
May be taken twice for credit. Lottery. Priority to last quarter/year in school, majors in English with Creative Writing emphasis, and Creative Writing minors. Prerequisite: 90 or 91.
Terms: Aut, Win, Spr
| Units: 5
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 10 units total)
ENGLISH 190T:
Special Topics in Intermediate Fiction Writing
Focus on a particular topic or process. Work includes aspects of reading short stories and novels, writing at least 30-50 pages of fiction, and responding to peers' work in workshop. May be repeated for credit. Prerequisite: 91 or 90.
Terms: Aut, Win, Spr
| Units: 5
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 10 units total)
ENGLISH 191:
Intermediate Creative Nonfiction
Continuation of 91. Workshop. The application of advanced storytelling techniques to fact-based personal narratives, emphasizing organic writing, discovering audience, and publication. Guest lecturers, collaborative writing, and publication of the final project in print, audio, or web formats. Prerequisite: 91 or 90.
Terms: Aut
| Units: 5
| UG Reqs: WAY-A-II, WAY-CE
| Repeatable
2 times
(up to 10 units total)
ENGLISH 192:
Intermediate Poetry Writing
May be taken twice. Lottery. Priority to last quarter/year in school, majors in English with Creative Writing emphasis, and Creative Writing minors. Prerequisite: 92.
Terms: Aut, Win, Spr
| Units: 5
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 10 units total)
ENGLISH 192T:
Topics in Intermediate Poetry Writing
Generation and discussion of student poems. How to recognize a poem's internal structure; how to seek models for work. Students submit portfolio for group critique. May be repeated for credit. Prerequisite: ENGLISH 92.
Terms: Aut
| Units: 5
| UG Reqs: WAY-A-II, WAY-CE
| Repeatable
2 times
(up to 10 units total)
ENGLISH 195B:
How to Write a Great Essay: A Writing Bootcamp for Undergraduates
Practical workshop for undergraduates on how to improve essay-writing skills. Focus on the finer points of vocabulary, grammar, mechanics, logic, timing, intellectual precision; how to connect with (and delight) an audience; how to magnify a theme; how to deflect counter-arguments; how to develop your own sophisticated authorial 'style'; how to write sentences (and papers!) your reader will care about and admire and maybe even remember. The course has been designed with humanities students and especially English majors in mind, but any student who hopes to improve his or her writing should be able to benefit from the practical instruction on offer. The course enrollment will be limited to 12 students and the class run as a workshop. The reading component will be comparatively light. Over the course of the quarter we will read two novels--J.M. Coetzee's novel Disgrace and Vladimir Nabokov's Lolita--modern fictional masterpieces both, and students will be writing blog notes and short papers for each book.
Terms: Aut
| Units: 5
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
ETHICSOC 201R:
The Ethics of Storytelling: The Autobiographical Monologue in Theory, in Practice, and in the World (TAPS 158L, TAPS 358L)
Recently a theatrical monologuist gained notoriety when it was revealed that key aspects of one of his "autobiographical" stories had been fabricated. In this class another autobiographical monologuist -- who has himself lied many times in his theater pieces, without ever getting caught -- will examine the ethics of telling our life stories onstage. Does theatrical "truth" trump factual truth? We will interrogate several autobiographical works, and then -- through autobiographical pieces created in class -- we will interrogate ourselves.
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE
FEMGEN 24N:
Sappho: Erotic Poetess of Lesbos (CLASSICS 16N)
(Formerly CLASSGEN 24N.) Preference to freshmen. Sappho's surviving fragments in English; traditions referring to or fantasizing about her disputed life. How her poetry and legend inspired women authors and male poets such as Swinburne, Baudelaire, and Pound. Paintings inspired by Sappho in ancient and modern times, and composers who put her poetry to music.
Last offered: Spring 2015
| Units: 4-5
| UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-CE, WAY-EDP
FEMGEN 144X:
Transforming Self and Systems: Crossing Borders of Race, Nation, Gender, Sexuality, and Class (ASNAMST 144, CSRE 144)
Exploration of crossing borders within ourselves, and between us and them, based on a belief that understanding the self leads to understanding others. How personal identity struggles have meaning beyond the individual, how self healing can lead to community healing, how the personal is political, and how artistic self expression based in self understanding can address social issues. The tensions of victimization and agency, contemplation and action, humanities and science, embracing knowledge that comes from the heart as well as the mind. Studies are founded in synergistic consciousness as movement toward meaning, balance, connectedness, and wholeness. Engaging these questions through group process, journaling, reading, drama, creative writing, and storytelling. Study is academic and self-reflective, with an emphasis on developing and presenting creative works in various media that express identity development across borders.
Terms: Aut
| Units: 5
| UG Reqs: WAY-CE, WAY-EDP
FEMGEN 172:
Out of Place: (W)riting Home (CSRE 172, TAPS 172, TAPS 272)
A creative writing workshop; all genres. This course will introduce students to the fundamentals of a productive creative writing practice, including ¿the beginner¿s mind¿ (as founded in Eastern spiritual practices); and, an indigenous approach to ¿authenticity¿ in one¿s work and one¿s words. Through w(riting), one returns to the body of home-knowledges, languages, and geographies to uncover what is profoundly original in us as artists, writers and thinkers.¿
Terms: Win
| Units: 4
| UG Reqs: WAY-CE
FEMGEN 177:
Writing for Performance: The Fundamentals (CSRE 177, TAPS 177, TAPS 277)
Course introduces students to the basic elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Patrick Shanley, August Wilson, Suzan-Lori Parks, Paula Vogel, Octavio Solis and others. Table readings of one-act length work required by quarter's end.
Terms: Aut, Spr
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-CE
FILMPROD 12AX:
Write and Shoot: Narrative Filmmaking
Write and Shoot: Narrative Filmmaking is a hybrid writing/production course that guides students through the process of completing a 2-3 minute narrative film. Students will write scripts for short fiction films, and then, by filming them, learn to apply the fundamentals of digital video production. Initial classwork will include visual writing exercises, DSLR cinematography instruction, script work, and basic fiction film production. Students will continue on in groups of three to develop, film, edit, and critique 2-3 minute narrative films based on a shared class theme or narrative premise. This course is truly INTENSIVE and requires a significant amount of work (including nights and weekends) outside of class and daily deadlines for submission of creative work.
Terms: Sum
| Units: 2
| UG Reqs: WAY-CE
FILMPROD 101:
Screen Writing I: Visual Writing
A writing workshop that is an exploration of visual storytelling. Beginning with visual literacy, the class progresses from basic cinematic techniques through scene exercises to revisions and ultimately to connecting scenes in order to build sequences of script pages. Open to all majors; may substitute for ENGL 190F prerequisite for FP101.
| Units: 4
| UG Reqs: WAY-CE
FILMPROD 101T:
Writing the Television Pilot
A writing workshop in which students are introduced to the basic structures and genre of television pilots and to writing within the screenwriting/television writing form. Students will develop, outline, and workshop their own original pilot episode and series bible. Serves as a prerequisite for FP104 Intermediate Screenwriting. Enrollment by decision of instructor.
Terms: Win
| Units: 5
| UG Reqs: WAY-CE
FILMPROD 103:
Adaptation
A close analysis of film adaptation, using various source materials to examine the demands form makes on content and the creative choices made in adaptation to film. Source materials will include plays, fiction, biography, history, graphic novels, and reference to video games and amusement park rides. A weekly film screening is a requirement of the course.
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE
FILMPROD 106:
Image and Sound: Filmmaking for the Digital Age
Despite the rise of emerging forms like two-minute YouTube videos, six second Vines, or interactive storytelling modules, many core principles of visual storytelling remain unchanged. In this hands-on film production class students will learn a broad set of filmmaking fundamentals (basic history, theory, and practice) and will apply them creating film projects using tools such as iPhones, consumer cameras and FCPX.
Terms: Aut, Win, Spr
| Units: 3
| UG Reqs: WAY-CE
FILMPROD 114:
Introduction to Film and Video Production
Hands-on. Techniques of film and video making including conceptualization, visualization, story structure, cinematography, sound recording, and editing. Enrollment limited to 12 students. Priority to junior/senior Film & Media Studies majors.Admission determined on the first day of class.
Terms: Aut, Win, Spr
| Units: 5
| UG Reqs: WAY-CE
FRENCH 151:
Performing the Middle Ages (DLCL 121)
Through an analysis of medieval love, satirical and Crusade lyrics in the Old Occitan, Old French, and Galician-Portuguese traditions, we will study deictic address, corporeal subjectivity, the female voice, love debates, and the body as a figure of political conflict. Special attention will be given to the transmission of vernacular song from live performance to manuscripts. Authors include Ovid, Bernart de Ventadorn, Bertran de Born, La Comtessa de Dia, Thibaut de Champagne, Dante, and Pound. Taught in English.
Terms: Aut
| Units: 3-5
| UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-CE
GERMAN 41N:
Inventing Modern Theatre: Georg Büchner and Frank Wedekind (TAPS 41N)
The German writers Georg Büchner (1813-1837) and Frank Wedekind (1864-1918). Many of the most important theater and film directors of the last century, including Max Reinhardt, G. W. Pabst, Orson Welles, Robert Wilson, and Werner Herzog, have wrestled with their works, as have composers and writers from Alban Berg and Bertolt Brecht through Christa Wolf and Thalia Field. Rock artists as diverse as Tom Waits, Lou Reed, Duncan Sheik, and Metallica have recently rediscovered their urgency. Reading these works in translation and examining artistic creations they inspired. Classroom discussions and written responses; students also rehearse and present in-class performances of excerpts from the plays. The aim of these performances is not to produce polished stagings but to creatively engage with the texts and their interpretive traditions. No previous theatrical experience required.
Last offered: Winter 2014
| Units: 3
| UG Reqs: WAY-A-II, WAY-CE
GERMAN 45:
Crimes Against Humanity (HISTORY 4S)
What is a crime against humanity and how can it be punished? Starting with the Nuremberg Trials, this seminar will consider how the juridical category of crimes against humanity came into existence and has evolved over the past half century. Thinking through core questions posed by Hannah Arendt, we will consider how crimes against humanity are to be understood in the context of modern jurisprudence, who perpetrates such crimes, and what relationship exists between crimes against humanity and modernity. Priority given to history majors and minors.
Terms: Spr
| Units: 5
| UG Reqs: WAY-CE, WAY-SI
GERMAN 166:
Who were the Vikings? (ENGLISH 166)
Who were the Vikings and what has been their influence on contemporary culture? This course provides a broad introduction to Viking society and culture as well as to their legacy in the modern world. We will look at Viking life, mythology, literature, art and archaeology as well as modern adaptations of Viking culture in music, literature, film and television. We will read some of the great works of Viking literature ¿ tales of Odin and Thor, of magic and monsters, of adventures across the seas - and examine online exhibitions of Vikings artefacts and settlements in Europe and Newfoundland. During the first half of the course, students will begin thinking about their final project ¿ a creative reimagining one of the texts or artefacts which we will discuss in class. The latter half of the course will focus on the development of the Vikings as a cultural model for modern creative expression. We will investigate how Norse themes, characters and forms were adapted in Germany, England and the USA in the nineteenth and twentieth centuries by writers, artists and composers such as Richard Wagner, William Morris, Henry Longfellow and J.R.R. Tolkien. The course will conclude with a discussion of how the Vikings (and Viking ideas) are represented today in popular culture, including the 1958 Kirk Douglas film, ¿the Vikings¿, the TV shows ¿The Vikings¿ and ¿Game of Thrones¿ and the Marvel comic books series. Students will be encouraged to examine the ways in which these texts engage with their historical models and consider how this might influence their own creative project.
Terms: Sum
| Units: 3-5
| UG Reqs: WAY-CE
HISTORY 4S:
Crimes Against Humanity (GERMAN 45)
What is a crime against humanity and how can it be punished? Starting with the Nuremberg Trials, this seminar will consider how the juridical category of crimes against humanity came into existence and has evolved over the past half century. Thinking through core questions posed by Hannah Arendt, we will consider how crimes against humanity are to be understood in the context of modern jurisprudence, who perpetrates such crimes, and what relationship exists between crimes against humanity and modernity. Priority given to history majors and minors.
Terms: Spr
| Units: 5
| UG Reqs: WAY-CE, WAY-SI
HISTORY 50N:
Who Killed Jane Stanford?
In 1905 Jane Stanford died of strychnine poisoning. Who may have killed her remains unknown. You will, in effect, be a grand jury. Like most of your real life intellectual work, the class will be collaborative. Together you will identify suspects and examine the often odd actions of central figures in the case: her personal secretary, physicians, and David Starr Jordan, the president of Stanford.
Last offered: Autumn 2014
| Units: 4
| UG Reqs: WAY-CE, WAY-SI
HUMBIO 177C:
Culture, Narrative, and Medicine (ANTHRO 178A)
This course examines the ways in which medicine is practiced in diverse cultural contexts with narrative skills of recognizing, interpreting and being moved by the stories of illness. It is an examination of the human experience of illness and healing through narratives as presented in literature, film, and storytelling. We explore how cultural resources enable and empower healing and how narrative medicine can guide the practice of culturally competent medical care.
Last offered: Autumn 2013
| Units: 5
| UG Reqs: GER:DB-SocSci, WAY-CE, WAY-EDP
ILAC 107N:
3D Modeling, Virtual Media, and the Poetics of the Self: The Art and Lives of Fernando Pessoa
Preference to freshmen. The poetry and prose of Fernando Pessoa, Portugal's greatest modern poet. As famous for his written work (in Portuguese and English) as for his complex understanding of selfhood (he would divide his own subjectivity into 106 different, autonomous selves), Pessoa remains a towering and largely perplexing figure even today. Class discussions will focus on close readings of Pessoa's work along with the implications of his theory of subjectivity for our understanding of modernity, art, and the self. Class field trip to San Francisco. Written assignments include a journal, blog posts, and a final paper written as someone else. Taught in English.
Last offered: Winter 2015
| Units: 3-5
| UG Reqs: WAY-A-II, WAY-CE
ILAC 108N:
Masterpieces: García Márquez
Extensive and detailed reading of the major works and a selection of the most significant critical texts about the author. Secondary readings by Vargas Llosa, Ludmer, Moretti, and Bloom. Topics include: macondismo, magical realism, canonicity, representations of violence, and autobiography.
Last offered: Spring 2015
| Units: 3-5
| UG Reqs: WAY-A-II, WAY-CE
ILAC 111Q:
Spanish-English Literary Translation Workshop (DLCL 111Q)
This course introduces students to the theoretical knowledge and practicalnskills necessary to translate literary texts from Spanish to English andnEnglish to Spanish. Topics may include comparative syntaxes, morphologies,nand semantic systems; register and tone; audience; the role of translationnin the development of languages and cultures; and the ideological andnsocio-cultural forces that shape translations. Students will workshop andnrevise an original translation project throughout the quarter.
Last offered: Winter 2015
| Units: 3
| UG Reqs: WAY-A-II, WAY-CE
ILAC 113Q:
Borges and Translation (DLCL 113Q)
Borges's creative process and practice as seen through the lens of translation. How do Borges's texts articulate the relationships between reading, writing, and translation? Topics include authorship, fidelity, irreverence, and innovation. Readings will draw on Borges's short stories, translations, and essays. Taught in Spanish. Prerequisite: 100-level course in Spanish or permission of instructor.
Terms: Aut
| Units: 3-5
| UG Reqs: WAY-A-II, WAY-CE
ILAC 239:
Borges and Translation (DLCL 239)
Borges's creative process and practice as seen through the lens of translation. How do Borges's texts articulate the relationships between reading, writing, and translation? Topics include authorship, fidelity, irreverence, and innovation. Readings will draw on Borges's short stories, translations, and essays. Taught in Spanish. Prerequisite: 100-level course in Spanish or permission of instructor.
Terms: Aut
| Units: 3-5
| UG Reqs: WAY-CE
ILAC 241:
Fiction Workshop in Spanish
Spanish and Spanish American short stories approached through narrative theory and craft. Assignments are creative in nature and focus on the formal elements of fiction (e.g. character and plot development, point of view, creating a scene, etc.). Students will write, workshop, and revise an original short story throughout the term. No previous experience with creative writing is required. Readings may include works by Ayala, Bolaño, Borges, Clarín, Cortázar, García Márquez, Piglia, Rodoreda, and others. Enrollment limited.
Last offered: Spring 2015
| Units: 3-5
| UG Reqs: WAY-A-II, WAY-CE
ILAC 242:
Poetry Workshop in Spanish
Latin American and Spanish poetry approached through elements of craft. Assignments are creative in nature and focus on lyric subgenres (e.g. ode, elegy, prose poetry) and formal elements of poetry (e.g. meter, rhythm, rhetorical figures, and tropes). Students write original poems over the course of the quarter. No previous experience with creative writing is required. Authors include Dario, Machado, Jimenez, Vallejo, Huidobro, Salinas, Pales Matos, Lorca, Aleixandre, Cernuda, Neruda, Girondo. Course is offered every other year. Taught in Spanish. Prerequisite: 100-level course taught in Spanish, or equivalent. Enrollment limited to 10 students.
Terms: Spr
| Units: 3-5
| UG Reqs: WAY-CE
ITALIC 93:
Immersion in the Arts: Living in Culture
ITALIC is a new residence-based program built around a series of big questions about the historical, critical and practical purposes of art and its unique capacities for intellectual creativity, communication, and expression. This year-long program fosters close exchanges among faculty, students and guest artists and scholars in class, over meals and during excursions to arts events. We trace the challenges that works of art have presented to categories of knowledge -- history, politics, culture, science, medicine, law -- by turning reality upside-down or inside-out, or just by altering one's perspective on the world. The arts become a model for engaging with problem-solving: uncertainty and ambiguity confront art makers and viewers all the time; artworks are experiments that work by different sets of rules. Students will begin to understand and use the arts to create new frameworks for exploring our (and others') experience.
Terms: Spr
| Units: 4
| UG Reqs: College, THINK, WAY-CE, WAY-EDP
ME 12AX:
Painting Engaging Stories
This course is an introduction to the practice of fine art as the catalyst for engaging in your everyday story. Using watercolor techniques students will investigate how the practice of fine art enhances your capacity to refocus and amplifies your ability to engage in the artistic expression of your story and the stories around you.<br><br>nDiscover how to apply painting techniques to make your observations and reflections a daily commitment through the studio driven methods of art and psychology. This course is designed to introduce students to multiple practices in the fine art of painting, using media such as water color, ink, and painting transfers. With an emphasis on aesthetics and the applied psychology of everyday experience, students will have the opportunity to increase their creative confidence. Work is designed to enhance your attention and sensory appreciation to everyday experiences, in-class and during short field trips.
Terms: Sum
| Units: 2
| UG Reqs: WAY-CE
ME 101:
Visual Thinking
Lecture/lab. Visual thinking and language skills are developed and exercised in the context of solving design problems. Exercises for the mind's eye. Rapid visualization and prototyping with emphasis on fluent and flexible idea production. The relationship between visual thinking and the creative process. Limited enrollment. Attend the first day of class.
Terms: Aut, Win, Spr
| Units: 4
| UG Reqs: GER:DB-EngrAppSci, WAY-CE
Instructors: ;
Edmark, J. (PI);
Fenton, P. (PI);
Boslough, A. (TA);
Boslough, A. (GP);
Brand-Sanchez, A. (GP);
Cuadra, A. (TA);
Daly, T. (TA);
Espinel, D. (TA);
Gilbert, C. (TA);
Hemmady, M. (TA);
Ikeler, M. (TA);
Kim, L. (TA);
Kim, L. (GP);
Kusimo, A. (TA);
Ladenheim, K. (TA);
Nikam, K. (TA);
Park, S. (TA);
Rotholz, Z. (TA);
Smith, C. (TA);
Stechschulte, L. (TA);
Turpin, A. (TA)
ME 103Q:
Product Realization: Making is Thinking
Product Realization encompasses those processes required to transform a concept into the creation of a functional, useful, and beautiful product. In this project-based seminar, students develop product realization confidence and intuition using the rich array of tools available in the Product Realization Lab as well as industry-standard design engineering software programs and course readings in design/realization philosophy. Interactions with the Stanford design engineering community as well as field trips to iconic Bay area design engineering firms round out students' experience. Learning Goals: Build confidence in transforming concepts into products through foundational texts and rigorous exercises, master integrated design/realization software and tools through hands-on learning and practice, and engage with the Stanford design engineering community on campus and well beyond.
Last offered: Spring 2014
| Units: 3
| UG Reqs: WAY-CE
MUSIC 10AX:
Science of Sound
Science of Sound will explore sound and sound-related technology from the perspectives of mathematics, physics, and acoustics. Scientists and engineers will have a chance to apply their technical knowledge to the field of music while musicians will learn how sound behaves physically and how it can be recorded, processed, and reproduced. Using the newly opened Bing Concert Hall as a focal point, we will study the science of sound recording, room acoustics, and multi-channel mixing and playback. Students will use what they learn to create short multi-channel compositions using special techniques to place sounds spatially. These pieces will be performed during the annual outdoor Summer CCRMA Transitions concert and again during the Fall 2014 CCRMA concert at Bing Concert Hall. We will use the textbook by Jay Kadis entitled Science of Sound Recording as our primary text and incorporate plenty of hands-on experience with sound equipment and electronics.
Terms: Sum
| Units: 2
| UG Reqs: WAY-CE
MUSIC 11A:
Orchestral Repertoire and Technique for Violin
Open to major and non-majors who would like to learn orchestral pieces and performance technique, including the works from the Stanford Symphony Orchestra's concert program. Priority is given to students who sign up for SSO and SPO. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Last offered: Spring 2015
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
6 times
(up to 6 units total)
MUSIC 12A:
Introductory Piano Class
"(A=level 1; B=level 2; C=level 3)There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee and signup information.Class is closed by design. Please register on the waitlist and show up on the first day of class to receive a permission number for enrollment. Preference to department majors. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
MUSIC 12B:
Introductory Piano Class
This class is closed by design. To enroll, please sign up on the Axess waitlist and show up on the first day to receive a permission number for re-enrollment. Your place on the waitlist will be considered a reservation. If the waitlist is closed, there are no more spaces in the class. (A=level 1; B=level 2; C=level 3) Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee and signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
MUSIC 12BS:
Introductory Piano Class, Level 2 (Group)
Piano: Introductory Level 2 (Group; 10 students to a section) (A=Level 1; B=Level 2; C=Level 3). Class is closed by design. Please register on the wait-list and show up on the first day of class to receive a permission number for enrollment. Complete registration form available for download at: http://tinyurl.com/q43c48g. May be repeated for credit 5 times. Zero unit enrollment option available with instructor permission. See website: (http://tinyurl.com/posmuhn) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Sum
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
5 times
(up to 5 units total)
MUSIC 12C:
Introductory Piano Class
This class is closed by design. To enroll, please sign up on the Axess waitlist and show up on the first day to receive a permission number for re-enrollment. Your place on the waitlist will be considered a reservation. If the waitlist is closed, there are no more spaces in the class. (A=level 1; B=level 2; C=level 3.) May be repeated for credit a total of 14 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee and signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 12CS:
Introductory Piano Class, Level 3 (Group)
Piano: Introductory Level 3 (Group; 10 students to a section) (A=Level 1; B=Level 2; C=Level 3). Class is closed by design. Please register on the wait-list and show up on the first day of class to receive a permission number for enrollment. Complete registration form available for download at: http://tinyurl.com/q43c48g. May be repeated for credit 5 times. Zero unit enrollment option available with instructor permission. See website: (http://tinyurl.com/posmuhn) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Sum
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
5 times
(up to 5 units total)
MUSIC 13AX:
VOICE 101
This course is intended for all singers: from the experienced to the vocally curious. Each student will have an opportunity to learn the basics of singing through voice lessons, vocal coachings, workshops and performances. In this intensive course, students will gain a better understanding of their voice and sing with confidence as a soloist. Pianists interested in collaborative piano are also encouraged to apply! Student pianists will develop accompanying skills required of a collaborative pianist working as an accompanist or as a rehearsal pianist. Pianists will study the original score, learn what to play, what to omit, what should be added to support singers' strengths, and most importantly enhance the overall ensemble. Learning to read a conductor's signals will be developed. In addition, pianists will learn the skills of a vocal coach and music director.
Terms: Sum
| Units: 2
| UG Reqs: WAY-CE
MUSIC 15N:
The Aesthetics of Data
Focus on visual and auditory display of data, specifically, the importance of aesthetic principles in effective data display, and the creative potential of scientific, biological, environmental and other data as inspiration for artistic expression.
Last offered: Autumn 2014
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-CE
MUSIC 17Q:
Perspectives in North American Taiko (ASNAMST 17Q)
Preference to sophomores. Taiko, or Japanese drum, is a newcomer to the American music scene. Emergence of the first N. American taiko groups coincided with increased Japanese American activism, and to some it is symbolic of Japanese American identity. N. American taiko is associated with Japanese American Buddhism. Musical, cultural, historical, and political perspectives of taiko. Hands-on drumming. Japanese music and Japanese American history, and relations among performance, cultural expression, community, and identity.
Terms: Spr
| Units: 4
| UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-CE, WAY-EDP
MUSIC 19A:
Introduction to Music Theory
For non-music majors and Music majors or minors unable to pass the proficiency test for entry to MUSIC 21. The fundamentals of music theory and notation, basic sight reading, sight singing, ear training, keyboard harmony; melodic, rhythmic, and harmonic dictation. Skill oriented, using piano and voice as basic tools to develop listening and reading skills.
Terms: Win
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
MUSIC 19B:
Intermediate Music Theory
This course is an introduction to music theory geared toward students who have basic literacy skills (i.e. fundamental notation, identifying major and minor scales, keys, etc). Using musical materials from repertoire selected from campus and area concerts, and incorporating the opportunity to attend these concerts, the course will introduce elements of harmony, melody, form, orchestration and arrangement. The course is an appropriate successor to Music 19A. Students who successfully complete Music 19B can go on directly to Music 21.
Terms: Spr
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
MUSIC 20A:
Jazz Theory (AFRICAAM 20A)
Introduces the language and sounds of jazz through listening, analysis, and compositional exercises. Students apply the fundamentals of music theory to the study of jazz. Prerequisite: 19 or consent of instructor.
Terms: Aut
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
MUSIC 20B:
Advanced Jazz Theory
Approaches to improvisation through listening and transcribing, and developing familiarity with important contributors to this music. Topics: scale theory, altered dominants, and substitute harmony. Prerequisite: 20A or consent of instructor.
Last offered: Winter 2015
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
MUSIC 20C:
Jazz Arranging and Composition
Jazz arranging and composition for small ensembles. Foundation for writing for big band. Prerequisite: 20A or consent of instructor.
Terms: Win
| Units: 3
| UG Reqs: WAY-A-II, WAY-CE
MUSIC 21:
Elements of Music I
Preference to majors. Introduction to tonal theory. Practice and analysis. Diatonic harmony focusing on melodic and harmonic organization, functional relationships, voice-leading, and tonal structures. Students must concurrently enroll in an Ear-training and musicianship lab (MUSIC 24a, 24b, or 24c as appropriate). Music majors must take 4 courses in ear training, and pass an ear training exit exam in their Junior year. Enrollment limited to 40. Prerequisites: (1) Piano Proficiency Exam (must be passed within the first two weeks of the term) or MUSIC 12A (may be taken concurrently); (2) Passing grade on a basic musical skills proficiency examination on the first day of class or MUSIC 19.
Terms: Aut, Win
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
MUSIC 22:
Elements of Music II
Preference to majors. Introduction to chromatic harmony focusing on secondary functions, modulations, harmonic sequences, mode mixture, and the Neapolitan, and augmented sixth chords. Analysis of musical forms and harmonizations complemented by harmonic and melodic dictation, sight singing, and other practical skills. Students must concurrently enroll in an Ear-training and musicianship lab (MUSIC 24a, 24b, or 24c as appropriate). Music majors must take 4 courses in ear training, and pass an ear training exit exam in their Junior year. Prerequisites: (1) MUSIC 21; (2) Piano Proficiency Exam or MUSIC 12B (may be taken concurrently).
Terms: Win, Spr
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
MUSIC 23:
Elements of Music III
Preference to majors. Continuation of chromatic harmony and complex forms of late Romantic period. Students must concurrently enroll in an Ear-training and musicianship lab (MUSIC 24a, 24b, or 24c as appropriate). Music majors must take 4 courses in ear training, and pass an ear training exit exam in their Junior year. Prerequisites: (1) MUSIC 22; (2) Piano Proficiency Exam or MUSIC 12C (may be taken concurrently).
Terms: Aut, Spr
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
MUSIC 32N:
Sculpting with Sounds, Images, and Words
Throughout history and from East to West, cultures abound in multimedia forms. Whether in Coldplay's Music Video or Fantasia, Pepsi TV adds or Wagner's opera, Miyazaki anime or traditional Noh Theater of Japan, the three modes of expression¿sounds, images, and words¿are interwoven in distinctive ways. What are their individual and combined powers? How can one harness them in an online context? Can Web be a stage for multimedia theater? What is unique about the poetry of intermodal metaphor? The course will be an opportunity to face these questions in creative web-based projects as well as through in-class viewing of multimedia works, analysis and debates, readings, and student presentations. The seminar will be taught at the Center for Computer Research in Music and Acoustics where students will have access to new media technologies. Prior experience in music, literature, art practice or computer programming is welcome but not required.
Terms: Spr
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-CE
MUSIC 34N:
Performing America: The Broadway Musical
Musical theater as a site for the construction of American identity in the twentieth century to the present. Issues of class, race, gender, and sexuality; intersections with jazz, rock, and pop; roles of lyricist, composer, director, choreographer, producer, performers. Individual shows (Showboat, Oklahoma, South Pacific, Guys and Dolls, West Side Story, Wicked, Bloody Bloody Andrew Jackson, Book of Mormon), show tunes in jazz performance, film musicals, and television. Opportunities for performance and attendance at local productions.
Terms: Spr
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
MUSIC 36N:
Humor in Music
Through theoretical readings the course will touch on psychological and neurological bases of humor, explore contingent, tactical, modal, and ontological difficulties in the apprehension of humor, and address ethical issues surrounding humor in music. In addition to in-class listening and screening sessions, analytic discussions will be led by students who will find and present examples of humor in music. Students will also be invited to compose original humorous song lyrics and to create collaborative works of musical humor.
Last offered: Autumn 2012
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
MUSIC 38N:
Singing Early Music
Preference to freshmen. 15th- and 16th-century musical repertories and their contexts; performance practice.
Last offered: Autumn 2014
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-CE
MUSIC 65A:
Voice Class I
Group (7 students to a section) beginning voice (A = level 1; B = level 2). May be repeated for credit. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. This class is closed by design. Please register on the waitlist and show up on the first day of class to receive a permission number for enrollment. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
for credit
MUSIC 65AS:
Voice Class 1: Beginning Voice, Level 1 (Group)
Group (7 students to a section) beginning voice (A = level 1; B = level 2). Complete registration form available for download at: http://tinyurl.com/q43c48g. May be repeated for credit 5 times. Zero unit enrollment option available with instructor permission. See website: (http://tinyurl.com/posmuhn) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Sum
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
5 times
(up to 5 units total)
MUSIC 65B:
Voice Class II
Group (7 students to a section) beginning voice for the non-major (A = level 1; B = level 2). May be repeated for credit. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. This class is closed by design. Please register on the waitlist and show up on the first day of class to receive a permission number for enrollment. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
for credit
MUSIC 65BS:
Voice Class 2: Beginning Voice, Level 2 (Group)
Group (7 students to a section) beginning voice (A = level 1; B = level 2). Complete registration form available for download at: http://tinyurl.com/q43c48g. May be repeated for credit 5 times. Zero unit enrollment option available with instructor permission. See website: (http://tinyurl.com/posmuhn) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Sum
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
5 times
(up to 5 units total)
MUSIC 72A:
Intermediate Piano Class
For intermediate students. May be repeated for credit a total of 14 times. Prerequisites: 12C or equivalent, audition. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee and signup information. This class is closed by design. Please register on the waitlist and show up on the first day of class to receive a permission number for enrollment. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 72AS:
Intermediate Piano Class (Group)
Piano: Intermediate Level (Group; 10 students to a section) Class is closed by design. Please register on the wait-list and show up on the first day of class to receive a permission number for enrollment. Complete registration form available for download at: http://tinyurl.com/q43c48g. May be repeated for credit 5 times. Zero unit enrollment option available with instructor permission. See website: (http://tinyurl.com/posmuhn) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Sum
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
5 times
(up to 5 units total)
MUSIC 72C:
Harpsichord Class
For beginning harpsichord students who have keyboard skills. May be repeated for credit a total of 14 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. Admission based on instructor consent. Contact instructor prior to enrolling to discuss availability. Class meets in Braun 201. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 72D:
Jazz Piano Class
By invitation only; priority to majors and jazz-ensemble participants. May be repeated for credit a total of 14 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 72G:
Gu-Zheng Class
Introduction to Chinese music through learning how to play Gu-Zheng, a 21-stringed traditional Chinese instrument. The cultural, social, and historical significance of Gu-Zheng. 15 Gu-Zheng techniques, how to read Chinese music and Gu-Zheng notation, and two simple classic Gu-Zheng pieces. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee information. All participants must enroll. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 74A:
Introductory Violin Class
(74A.1=Level 1 beginners; 74A.2=Level 2 continuing) Open to majors and non-majors. Focus is on beginning violin skills. Topics include brief history and physics of the instrument, and survey of repertoire. There is a fee for this class. Please visit http://music.stanford.edu for class fees and signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
4 times
(up to 99 units total)
MUSIC 74C:
Classical Guitar Class
May be repeated for credit a total of 14 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 74D:
Harp Class
May be repeated for credit a total of 14 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 75B:
Renaissance Wind Instruments Class
May be repeated for credit. There is a fee for this class. Please visit http://music.stanford.edu for class fees and signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
for credit
MUSIC 76:
Brass Instruments Class
May be repeated for credit a total of 14 times. There is a fee for this class. Please visit http://music.stanford.edu for class fees and signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 76A:
Tuba Class
Basic brass techniques as they apply to the tuba including warmups, breathing, and developing a daily routine. For beginning through intermediate players. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. May be repeated for credit
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 77:
Percussion Class
May be repeated for credit a total of 14 times. There is a fee for this class. Please visit http://music.stanford.edu for class fees and signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 112:
Creative Expression: Musical Theater (TAPS 112)
Students begin to create pieces that are fresh and innovative forms of musical theater that do not necessarily appeal to specifically popular audiences but perhaps to audiences more associated with high art, opera, or even contemporary independent music. Musical theater is an untapped resource of potential artistic innovation and has unfortunately become stuck in an ideal of universal accessibility. In present popular culture and the culture of contemporary art forms, musical theater almost exclusively refers to popular productions such as Phantom of the Opera, Rent, Wicked, Jesus Christ Superstar. Although excellent pieces of art in their own way, both dramaturgically and in their ability to evoke emotion through catchy melodies, for the most part each of them have their basis in popular and traditional musical idioms and theatrical forms, seldom exploring more advanced or avant-garde and experimental compositional and theatrical techniques.
Last offered: Winter 2014
| Units: 4
| UG Reqs: WAY-CE
MUSIC 123:
Undergraduate Seminar in Composition
Current trends in composition. May be repeated for credit a total of 7 times. Prerequisites: Music major; 23 or consent of instructor.
Terms: Spr
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
| Repeatable
8 times
(up to 24 units total)
MUSIC 124A:
Songwriters Workshop
Laboratory for composers of any kind of vernacular music: singer-songwriters; folk singers; laptop dance music composers; rock and pop bands; rappers; writers of instrumentals or music with lyrics; solo artists and collaborators; etc. Compositional strategies for songwriting, overview of exemplars, discussion of aesthetic issues, and development of artistic personae. Weekly critique session for students and faculty to share work and offer feedback. Music theory and literacy not required. Aimed, however, at those with at least some experience as writers, whether casual or extensive. For bands at least half of members must be enrolled.
Terms: Win
| Units: 1-2
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 30 units total)
MUSIC 127:
Instrumentation and Orchestration
Individual instruments, instrumental groups within the orchestra, and combinations of groups. Arrangements from piano to orchestral music. Score analysis with respect to orchestration. Practical exercises using chamber ensembles and school orchestra. Prerequisite: 23.
Terms: Aut
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-CE
MUSIC 128:
Stanford Laptop Orchestra: Composition, Coding, and Performance (CS 170)
Classroom instantiation of the Stanford Laptop Orchestra (SLOrk) which includes public performances. An ensemble of more than 20 humans, laptops, controllers, and special speaker arrays designed to provide each computer-mediated instrument with its sonic identity and presence. Topics and activities include issues of composing for laptop orchestras, instrument design, sound synthesis, programming, and live performance. May be repeated four times for credit.
Terms: Spr
| Units: 3-4
| UG Reqs: WAY-CE
| Repeatable
4 times
(up to 16 units total)
MUSIC 130A:
Introduction to Conducting
Baton techniques and rehearsal procedures. The development of coordination of the members of the body involved in conducting; fluency in beat patterns and meters; dynamics, tempi, cueing, and use of the left hand in conducting. Prerequisites: 122B and diagnostic musicianship exam given first day of class.
Last offered: Autumn 2014
| Units: 3
| UG Reqs: WAY-CE
MUSIC 130C:
Elementary Choral Conducting
Techniques specific to the conducting of choral ensembles: warm-ups, breathing, balance, blend, choral tone, isolation principles, recitative conducting, preparation, and conducting of choral/orchestral works. Prerequisite: 130A.
Last offered: Winter 2015
| Units: 3
| UG Reqs: WAY-CE
MUSIC 154A:
Sound Art I (ARTSTUDI 131)
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)
Terms: Aut
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-CE
MUSIC 155:
Intermedia Workshop (ARTSTUDI 239, MUSIC 255)
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
Terms: Win
| Units: 3-4
| UG Reqs: WAY-A-II, WAY-CE
| Repeatable
2 times
(up to 8 units total)
MUSIC 156:
"sic": Improvisation Collective
Small ensemble devoted to learning trans-idiomatic improvisation techniques and composing indeterminate pieces in a workshop setting. One major concert. Prerequisite: access to an instrument. Improvisational experience and conventional instrumental virtuosity not required. May be repeated for credit for a total of 3 times.
Terms: Win
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
4 times
(up to 4 units total)
MUSIC 160:
Stanford Symphony Orchestra
70- to 100-member ensemble performing major orchestral works; minimum one concert per quarter. Admission and enrollment based on audition. For audition and contact information, please refer to the SSO/SPO/SNE website at (http://sso.stanford.edu). All participants must enroll. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 160A:
Stanford Philharmonia
Prerequisite: audition, one year of 160, or consent of instructor. Admission and enrollment based on audition. For audition and contact information, please refer to the SSO/SPO/SNE website at (http://sso.stanford.edu). All participants must register. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 160B:
Stanford New Ensemble
Performing compositions of the 20th century, recent works of this century, and new works by Stanford faculty and student composers. Musicians collaborate with composers and artists visiting and performing at Stanford. One concert per quarter. Admission and enrollment based on audition. For audition and contact information, please refer to the SSO/SPO/SNE website at (http://www.stanford.edu/group/sso/cgi-bin/wordpress/member-login/). All participants must register. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 160C:
Stanford Baroque Soloists
Elite string group focusing on concerti by Corelli, Vivaldi and other Italians, Bach, Handel and other Germans, as well as theater music by Purcell and Lully. Each member expected to solo as well as play backup. Performances each quarter, played standing, student-led without conductor. Coaching will emphasize leadership and ensemble techniques, intonation and blend, particulars of eighteenth century notation and performance practice. Modern instruments, modern pitch, baroque bows as available. Limited to six violins, three violas, three cellos, bass, admission by audition. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. Contact instructor for audition and enrollment information: apmartin@stanford.edu. May be repeated for credit for total completion of 15 and total 15 units. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 161A:
Stanford Wind Symphony
40- to 50-member ensemble performing transcriptions of symphonic music, brass band music, and repertoire composed specifically for symphonic band. One concert per quarter. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 161B:
Jazz Orchestra
Jazz Orchestra is an undergraduate large ensemble performance class. Admission is by audition and/or permission of instructor. The class meets three times per week and presents a minimum of one formal concert per quarter with a major jazz artist. The class endeavors to provide students with the opportunity to perform, at the highest level, jazz compositions and arrangements of a serious nature, and provide opportunities for challenging and creative improvisational situations. Emphasis is placed on the understanding of the structural, psychological, and emotional components of the materials studied and performed. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. May be repeated for total of 15 times. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 161D:
Stanford Brass Ensemble
Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. Performance of works for full brass choir and for smaller ensembles of brass instruments. Once weekly rehearsals. May be repeated for credit. Prerequisite: audition and consent of instructor. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 162:
Symphonic Chorus
180- to 200-voice choral ensemble, performing major choral masterworks with orchestra. One concert per quarter. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 163:
Memorial Church Choir
Official choir of Memorial Church, furnishing music for Sunday services and special occasions in the church calendar. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 165:
Chamber Chorale
Select 24-voice choral ensemble, specializing in virtuoso choral repertoire from all periods of Western art music. Annual touring commitment required. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 167:
University Singers
Select, 50-voice choral ensemble, performing choral repertoire from all periods of Western art music. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 169:
Stanford Taiko
Select 15- to 18-member North American taiko ensemble, performing all-original repertoire for Japanese drums. Multiple performances in Winter and Spring quarters, also touring; instrument construction and maintenance. Admission by audition in Autumn Quarter only. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 170:
Collaborative Piano
Performance class in a workshop setting. Techniques of collaboration with vocalists and instrumentalists in repertoire ranging from songs and arias to sonatas and concertos. Prerequisite: private-lesson proficiency level in piano, or consent of instructor.
Terms: Aut
| Units: 1
| UG Reqs: WAY-CE
MUSIC 171:
Chamber Music
Admission based on audition. Weekly one-hour coachings from Music department faculty. Search for instructor section in Axess. Classical string quartets and piano/string groups are supervised by the St. Lawrence String Quartet. Two masterclasses and one performance per quarter are required. May be repeated for credit. All participants must enroll. Zero unit enrollment option available with instructor permission. See website for policy, procedure, and audition sign up: http://music.stanford.edu/ By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
for credit
Instructors: ;
Abrefah, A. (PI);
Arul, K. (PI);
Bar-David, E. (PI);
Barth, G. (PI);
Berger, T. (PI);
Brandenburg, M. (PI);
Catsalis, M. (PI);
Chauvel, M. (PI);
Clements, T. (PI);
Costanza, C. (PI);
Dahl, L. (PI);
Dalby, O. (PI);
Doheny, A. (PI);
Dornenburg, J. (PI);
Ellison, G. (PI);
Ferguson, C. (PI);
Fong, D. (PI);
Giovannetti, C. (PI);
Harms, D. (PI);
Harrison, S. (PI);
Hawley, A. (PI);
Henderson, D. (PI);
Hillhouse, W. (PI);
Holmes, M. (PI);
Jimenez, N. (PI);
Kenley, M. (PI);
Low, M. (PI);
Luftman, A. (PI);
Martin, A. (PI);
May, C. (PI);
McCain, J. (PI);
McCarthy, C. (PI);
Morgan, R. (PI);
Moyer, B. (PI);
Murphy, R. (PI);
Myers, H. (PI);
Nadel, J. (PI);
Nuttall, G. (PI);
Olivier, R. (PI);
Ragent, L. (PI);
Robertson, L. (PI);
Schultz, T. (PI);
Sharp, R. (PI);
Sohn, L. (PI);
Ulman, E. (PI);
Van Dyke, K. (PI);
Vandivier, R. (PI);
Veregge, M. (PI);
Wait, G. (PI);
Weldy, F. (PI);
Worley, J. (PI);
Zerlang, T. (PI)
MUSIC 172A:
Piano
Private lessons and group master class weekly. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 172B:
Organ
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 172C:
Harpsichord
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 172D:
Jazz Piano
By invitation only; priority to majors and jazz-ensemble participants. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 172E:
Fortepiano
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. edit Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 172F:
Carillon
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 172G:
Gu-Zheng
Private lessons weekly. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 173:
Voice
Private lessons and group master classes weekly. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174A:
Violin
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174B:
Viola
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174C:
Violoncello
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174D:
Contrabass
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174E:
Viola Da Gamba
Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174F:
Classical Guitar
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174G:
Harp
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174H:
Baroque Violin
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174J:
Jazz Guitar
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 175A:
Flute
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 175B:
Oboe
May be repeated for credit a total of 15 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 175C:
Clarinet
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 175D:
Bassoon
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 175E:
Recorder/Early Winds
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 175F:
Saxophone
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 175G:
Baroque Flute
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 175H:
Jazz Saxophone
May be repeated for credit a total of 15 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 176A:
French Horn
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 176B:
Trumpet
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 176C:
Trombone
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 176D:
Tuba
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 176E:
Jazz Trumpet
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 177:
Percussion
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 177A:
Drum Set Lessons
These lessons will be geared toward the individual student's desires and needs. All levels are welcome, but students should contact instructor to set up initial meeting, prior to enrolling in the course. Students will explore drumset technique, coordination, reading and a study various styles including, Jazz, Rock, R&B, Blues, Latin and Brazilian music. Students will use different texts as needed. These texts may include: Syncopation by Ted Reed, Modern Reading Text in 4/4 by Louis Bellson, A Funky Primer by Charles Dowd, Advanced Techniques for the Modern Drummer by Jim Chapin, and others. Students will also use material created by David for his classes "Around the World on a Drumset" and "Chart Reading Demystified." These lessons are designed to be both fun and challenging. Students will play along with recordings and are encouraged to bring in recordings of music that they enjoy. May be repeated for credit a total of 15 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
14 times
(up to 42 units total)
MUSIC 183A:
German Art Song Interpretation
By audition only. For advanced singers and pianists as partners. Performance class in a workshop setting. Composers include Beethoven, Schubert, Wolf and Strauss. May be repeated for credit a total of 2 times. Enrollment limit: 20 (ten singers maximum). Prerequisite: consent of instructor. Recommended prerequisite: 170 (pianists) or 182 (singers).
Terms: Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 2 units total)
MUSIC 183B:
French Art Song Interpretation
By audition only. For advanced singers and pianists as partners. Performance class in a workshop setting. Composers include Fauré, Debussy, Ravel and Poulenc. May be repeated for credit a total of 2 times. Enrollment limit: 20 (ten singers maximum). Prerequisite: consent of instructor. Recommended prerequisite: 170 (pianists) or 182 (singers).
Last offered: Spring 2015
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 2 units total)
MUSIC 184B:
Topics in Opera Stagecraft
This course is a practical workshop in vocal repertoire for the stage. Each quarter's offering emphasizes a specific genre or period, therefore the course can be repeated with permission of the instructor. In addition to broadening the student's knowledge of vocal repertoire, the following skills are developed: text preparation, foreign language translation and diction; rehearsal etiquette for performance and/or recording. Prerequisite: vocal or instrumental instruction, as the class is open to singers or collaborative artists. May be repeated for credit a total of 4 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Win
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
4 times
(up to 12 units total)
MUSIC 186B:
American Song in the 20th Century and after (AMSTUD 186B, MUSIC 286B)
Critical and creative exploration of song in the Americas. About twenty-five key examples will guide discussion of the interactions between words, music, performance and culture. Weekly listening, reading and assignments will be organized around central themes: love, sex and romance; war and politics; labor and money; place; identity; society and everyday life. Genres include art song; blues, gospel, jazz and country; pop, soul, rock and hip-hop; bossa nova, nueva canción and salsa; electronic and experimental. Takehome and in-class assignments will include critical and creative writing, and music composition, production and performance; final projects may emphasize any of the above.
Last offered: Spring 2015
| Units: 3-4
| UG Reqs: WAY-A-II, WAY-CE
MUSIC 187:
Music and Culture from the Land of Fire: Introduction to Azerbaijani Mugham
Nestled in the Caucasus, Azerbaijan is a crossroads between East and West; its rich musical heritage contains threads of Turkish, Central Asian, Persian, Caucasian, Russian, and Arabic traditions. In this course, master-musician Imamyar Hasanov teaches students to perform and appreciate Azeri music. Content includes classical mugham, Eastern theory, improvisation and microtonality. We¿ll discuss Azeri music culture, supplemented by guest lecturers and Skype¿ interviews with musicians in Azerbaijan. Open to students with any experience playing a musical instrument (including voice). No previous experience with Azeri music necessary. Supported by the SF World Music Festival.Questions? Email schultza@stanford.edu.
Last offered: Autumn 2014
| Units: 1-5
| UG Reqs: WAY-CE, WAY-EDP
MUSIC 192B:
Advanced Sound Recording Technology
Topics: noise reduction techniques; dynamics and time-delay audio effects; the principles of digital audio; disk- and tape-based digital recorders; digital audio workstations and editing; advanced multitrack techniques; SMPTE and MIDI time code and device synchronization; MIDI sequencing and synchronization. See http://ccrma.stanford.edu/courses/. Prerequisite: 192A.
Terms: Win
| Units: 3
| UG Reqs: GER:DB-EngrAppSci, WAY-CE
MUSIC 222:
Sound in Space
Historical background, techniques and theory on the use of space in music composition and diffusion. Listening and analysis of relevant pieces. Experimental work in spatialization techniques leading to short studies to be diffused in concert at the end of the quarter.
Last offered: Spring 2015
| Units: 1-4
| UG Reqs: WAY-CE
MUSIC 223:
Composition for Electronic Musicians
Composition for any combination of acoustic and electroacoustic instrumentation, computer-generated sound, invented instruments, sound-sculptures, and multi-disciplinary elements including theater and visual media. Project-based laboratory to advance original student works, supported by lectures on the fundamentals of composition. Concert performance of final works. Taught at CCRMA with a focus on engendering deliberate conversation on the enrichment of a cultural context for new media. Open to undergraduates and graduates.
Terms: Spr
| Units: 1-4
| UG Reqs: WAY-CE
| Repeatable
3 times
(up to 12 units total)
NATIVEAM 134:
Museum Cultures: Material Representation in the Past and Present (AMSTUD 134, ARCHLGY 134, ARCHLGY 234, ARTHIST 284B, CSRE 134, EDUC 214)
Students will open the "black box" of museums to consider the past and present roles of institutional collections, culminating in a student-curated exhibition. Today, museums assert their relevance as dynamic spaces for debate and learning. Colonialism and restitution, the politics of representation, human/object relationships, and changing frameworks of authority make museum work widely significant and consistently challenging. Through thinking-in-practice, this course reflexively explores "museum cultures": representations of self and other within museums and institutional cultures of the museum world itself.n3 credits (no final project) or 5 credits (final project). May be repeat for credit
Terms: Spr
| Units: 3-5
| UG Reqs: WAY-A-II, WAY-CE
| Repeatable
3 times
(up to 15 units total)
OSPFLOR 41:
The Florentine Sketchbook: A Visual Arts Practicum
The ever-changing and multifaceted scene of contemporary art through visual and sensorial stimulation. How art is thought of and produced in Italy today. Hands-on experience. Sketching and exercises on-site at museums and exhibits, plus workshops on techniques. Limited enrollment.
Terms: Aut
| Units: 4
| UG Reqs: WAY-CE
OSPFLOR 69:
Abstract Art: Creativity, Self-Expression and Depicting the Unimaginable
Overview of the birth and evolution of abstract art with visual background necessary to produce works of art free of a realistic representation. Movements and trends in abstract art; experimentation with different media and techniques.
Terms: Win
| Units: 4
| UG Reqs: WAY-CE
OSPFLOR 71:
A Studio with a View: Drawing, Painting and Informing your Aesthetic in Florence
Recent trends in art, current Italian artistic production, differences and the dialogue among visual arts. Events, schools, and movements of the 20th century. Theoretical background and practical training in various media. Work at the Stanford Center and on site at museums, exhibits, and out in the city armed with a sketchbook and camera. Emphasis is on drawing as the key to the visual arts. Workshops to master the techniques introduced. Limited enrollment.
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE
OSPFLOR 77:
The Convergence of the Arts and Sciences Since the Renaissance
The integration of scientific inquiry and artistic expression is widely considered to be a principal feature of the Renaissance. Anatomical drawing melded scientific and aesthetic goals. New astronomical and physical theories demanded novel means of representation and expression. Complex geometric proportions became integral to architecture, painting, and music. We will explore aesthetic, scientific, and perceptual principles that arose in 15th century Florence ¿ with particular focus on music, architecture, and the visual arts. Students' residency in Florence provides a distinct and unique opportunity to combine historical, cultural, and aesthetic perspectives on the arts and sciences. We will make full use of the city, with regular visits to museums and architectural landmarks, and attendance at concerts and performances. Students will conduct acoustic experiments to replicate and validate renaissance principles including the visual and musical representations developed by Galileo and Kepler. We will study basic perceptual principles in vision and audition as understood in Renaissance Italy and their neuro-scientific correlates as understood today.
Terms: Aut
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
OSPGEN 32:
The Amsterdam Trans-Idiomatic Arts Practicum
Reflection on the difference between "home" and "away" through the prism of art. Review arts events throughout Amsterdam in varying media and create similarly varied original art projects in response. Lectures, discussion, "atelier laboratories," walking tours, and regional field trips. Location: Amsterdam, The Netherlands
Terms: Sum
| Units: 2
| UG Reqs: WAY-CE
OSPGEN 77:
The Other France: Troubadours and the Politics of Cultural Heritage
The study of troubadours and medieval cultural heritage in southern France and northern Spain. Readings include troubadour poetry, histories of medieval France (Catharism and the Albigensian Crusade) and articles on modern interpretations of medieval culture. Meetings in Narbonne, France, with visit to sites associated with the troubadours in southern France and Catalonia, Spain.
Terms: Sum
| Units: 2
| UG Reqs: WAY-A-II, WAY-CE
OSPMADRD 46:
Drawing with Four Spanish Masters: Goya, Velazquez, Picasso and Dali
Approaches, techniques, and processes in drawing. Visits to Madrid museums to study paintings and drawings by Goya, Velázquez, Picasso, and Dalí and to explore the experience of drawing. Subject matter: the figure, still life, interiors, landscape, and non-representational drawing. No previous experience required. Enrollment limited.
Terms: Aut
| Units: 3
| UG Reqs: WAY-CE
OSPPARIS 12:
Paris Photography Workshop
Exploration of Paris through camera and lab techniques. Both theoretical and practical aspects of creative photography. Extensive field work. Students must bring camera or phone with camera. Enrollment limited. Taught in English.
Terms: Win
| Units: 3
| UG Reqs: WAY-CE
PWR 91CL:
Intermediate Writing: Creative Inquiry: New Genres for Science Writing
Despite the widespread assumption that scientists are weak communicators, many of today¿s most celebrated essayists hail from backgrounds in the hard sciences. Physician, poet and essayist, Lewis Thomas inspires readers to delve into the etymology of scientific discovery, and, in doing so, prompts radical reconsiderations of the cultural significance of innovation. Similarly, neurologist and writer, Oliver Sacks¿ compassionate ruminations on mental disability advance fresh thinking on the nature of difference. Inversely, many essayists hailing from ¿fuzzy¿ backgrounds, deploy techniques usually associated with scientific observation to electrify their prose: To wit, the works of brilliant stylists like Annie Dillard, Chang-rae Lee, and Mark Doty are characterized by the kind of deep observation that underpins scientific inquiry. These writers, like scientists, are first and foremost good at really looking.<br><br>nnIn this course, we will delve into a fluid, yet rigorous, research process based on the art of observation. Each student will begin the quarter by posing a question of personal or professional significance about how some aspect of the natural, social, technological or cultural world works. Using these questions as a starting point, students will then design a research process to first complicate, and then perhaps also answer, their initial question. The end product of the inquiry will be a self-fashioned experimental essay that can engage a discerning public audience. This is the perfect class for techies, wonks, and data junkies who want to cultivate the poet¿s cherished sensibilities.
Last offered: Spring 2015
| Units: 3
| UG Reqs: WAY-CE
PWR 91D:
Intermediate Writing: Your American Life
In this course, you'll read and listen to some of the most moving and insightful pieces of the last decade, explore the important differences between print and oral storytelling, and then script and record your own full-length audio piece. Along the way, we will explore many craft elements that apply equally to print and audio pieces. You will learn, for example, how to organize your material, choose an effective structure, blend dramatization and reflection, ground insights in concrete scenes, create a strong narrative arc, and manage elements such as characterization, description, and dialogue. We will also, of course, explore craft elements unique to the audio form and you will learn how to use your voice and other sonic elements to craft the kind of piece you might hear on This American Life.nnThrough a special arrangement with the Stanford Storytelling Project, in the spring of 2012 this course will feature special sessions with prominent contributors to This American Life. n Prerequisite: first two levels of the writing requirement or equivalent transfer credit. For more information, see http://www.stanford.edu/dept/undergrad/cgi-bin/drupal_pwr/advanced_pwr.
Last offered: Autumn 2013
| Units: 3
| UG Reqs: WAY-CE
PWR 91E:
Intermediate Writing: The Oral Tradition: Myth, Folklore, and Fairy Tale
Contemporary storytelling covers a variety of media - from movies to novels, theatre and beyond. What this course offers is an in depth study of the roots of that practice - the oral tradition.nnnOver the course we will explore many different motifs and structures that arise in the oral tradition, myth, folklore and fairy tale. What universal themes do we detect, and what separates the progression of a pacific north west Trickster story from an Arthurian romance? Why is it that in the early twenty first century many of our most acclaimed art forms carry narrative forms that are thousands of years old? Star Wars, Lord of the Rings and the recent broadway show Jerusalem, all follow scenic progressions informed by myth.nnnThe first encounter with the story will be an oral narrative - the myth told unscripted in the classroom. The stories, which range from the Arthurian romance Parzival to Trickster folk tales, will be told in several sections - with a running exegesis and student response alongside. Many of these stories are now transcripts and have become works of literature. We will explore both the complementary aspects of this development, and areas of tension.nnnDuring the course each student will embark on a project that demonstrates a thorough understanding of the topics covered, and utilizes those elements in their wider practice of writing and rhetoric. nnnThe project will be to research a story handed down within the family - an adventure of some distant relative, or a family migration from one country to another. Factoring in elements from the taught class, the student will mythologize the story: by writing an in depth commentary on its implications - factoring in contemporary, psychological and metaphorical associations. The second element will be to tell the story to the class. In these way we experience myth as a living principle, not something just from `a long time ago.¿
Last offered: Winter 2014
| Units: 3
| UG Reqs: WAY-CE
PWR 91EP:
Intermediate Writing: Communicating Climate Change: Navigating the Stories from the Frontlines (EARTHSYS 154)
In the next two decades floods, droughts and famine caused by climate change will displace more than 250 million people around the world. In this course students will develop an increased understanding of how different stakeholders including scientists, aid organizations, locals, policy makers, activists, and media professionals communicate the climate change crisis. They will select a site experiencing the devastating effects and research the voices telling the stories of those sites and the audiences who are (or are not) listening. Students might want to investigate drought-ridden areas such as the Central Valley of California or Darfur, Sudan; Alpine glaciers melting in the Alps or in Alaska; the increasingly flooded Pacific islands; the hurricane ravaged Gulf Coast, among many others. Data from various stakeholders will be analyzed and synthesized for a magazine length article designed to bring attention to a region and/or issue that has previously been neglected. Students will write and submit their article for publication.nnFor students who have completed the first two levels of the writing requirement and want further work in developing writing abilities, especially within discipline-specific contexts and nonfiction genres. Individual conferences with instructor and peer workshops. Prerequisite: first two levels of the writing requirement or equivalent transfer credit. For more information, see https://undergrad.stanford.edu/programs/pwr/explore/notation-science-writing.
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE, WAY-SI
PWR 91F:
Finding Your Story
Life challenges us to become aware of the stories that shape us--family stories, cultural mythologies, even popular movies, television shows, and songs--and then create and live our own story. We face this challenge throughout our lives but perhaps most acutely as we move into adulthood; this is the period when we most need to become conscious of stories and their power, to gather wisdom, practices, and resources for finding our own story. This class, designed with seniors in mind, will illuminate and explore these resources and give you the opportunity to reflect deeply, in discussion and writing, on what truly calls to you in this life. We will engage with some of the world's great stories--myths, parables, teaching tales, modern fiction, even aphorisms, koans, and riddles. In them we can find both elements that resonate with our own story and provocations that help us unearth and cultivate our native gifts--the genius in each of us. We will look at short excerpts from masterworks and myths from around the world, all voices in the largest conversation we have as humans, the one that asks: who am I? why am I here? what truly matters? how can I be happy? Together we will investigate how these stories, and stories like them, can be used to help us find our own story. Students in this course will have a special opportunity to meet personally with poet Billy Collins and singer Aimee Mann when they visit campus in April. Does not fulfill NSC requirement. For students who have completed the first level of the writing requirement and want further work in developing writing abilities, especially within discipline-specific contexts and nonfiction genres. Individual conferences with instructor and peer workshops. Prerequisite: first level of the writing requirement or equivalent transfer credit. For more information, see http://www.stanford.edu/dept/undergrad/cgi-bin/drupal_pwr/advanced_pwr.
Terms: Spr
| Units: 3
| UG Reqs: WAY-CE
PWR 91KS:
Intermediate Writing: Design Thinking and Science Communication
Effective communication of expert knowledge in the sciences to non-specialist audiences. Project-based work on a range and variety of communication challenges, contexts, and media. For students who have completed the first two levels of the writing requirement and want further work in developing writing abilities, especially within discipline-specific contexts and nonfiction genres. Individual conferences with instructor and peer workshops. Prerequisite: first two levels of the writing requirement or equivalent transfer credit. For more information, see https://undergrad.stanford.edu/programs/pwr/explore/notation-science-writing.
Terms: Aut
| Units: 4
| UG Reqs: WAY-CE
RELIGST 21:
Religion in Science Fiction and Fantasy
Science fiction and fantasy create alternate worlds that incorporate religious institutions and beliefs that illuminate how we think about religion now and for the future. Texts work off diverse religious traditions: Islam, Buddhism, Catholic and Protestant forms of Christianity, Mayan religion, and Voudou are some that appear. Themes of free will and determinism, immortality, apocalypse and redemption. Myth, ritual, prophecy, the messianic hero, monasticism and mysticism. Texts like Dune, Count Zero, Sandman, Grass and the like explore religion in the contemporary imagination. Main assignment: write a short story.
Last offered: Spring 2015
| Units: 5
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
SINY 114:
Writing in the City
The craft of fiction writing and introduction to the literary culture of New York. Writing exercises will tune students¿ senses to the rhythms of New York. Students produce their own short stories, which will be examined in workshop discussions.
Terms: Aut
| Units: 4
| UG Reqs: WAY-CE
SINY 116:
Off the iPhone and Into the City: Creating a Photography Project
Learn components of photography projects and image making including content selection, intention, context, and audience. Talks by professional photographers; field trips to in the city. Two response papers about an exhibition, publication, or long-form web project during their time in New York.
Terms: Aut
| Units: 4
| UG Reqs: WAY-A-II, WAY-CE
STS 103Q:
Reading and Writing Poetry about Science
Preference to sophomores. Students will study recent poetry inspired by the phenomena and history of the sciences in order to write such poems themselves. These poems bring sensuous human experience to bear on biology, ecology, astronomy, physics, earth science, and medicine, as well as on technological advances and calamities. Poets such as Linda Bierds, Mark Doty, Albert Goldbarth, Sarah Lindsay, W.S. Merwin, Adrienne Rich, Pattiann Rogers, Tracy K. Smith, Arthur Sze, and C. K. Williams. Grounding in poetics, research in individually chosen areas of science, weekly analytical and creative writing. Fulfills the Creative Expression requirement. Enrollment limited to 12.
Terms: Win
| Units: 4
| UG Reqs: WAY-CE
TAPS 15SC:
Courtroom Theater
In the new millennium, the popularity of TV courtroom drama has been staggering: according to a weekly Nielsen ratings conducted a few years ago, 30 million people watched CSI: Crime Scene Investigation in one night, 70 million watched at least one of the CSI shows, and 40 million watched two other forensic dramas (Without a Traceand Cold Case). These widely popular shows offer a somewhat distorted image of American criminal courtroom. In this class we will go "behind the scenes" to engage in a hands-on investigation of performances in the criminal trials. nWe will begin by visiting Bay Area courthouses to investigate the courtroom as a "set" for powerful legal dramas that are happening there on a daily basis. In these field trips we will also observe the courtroom proceedings and talk to judges and other legal professionals. After this introduction to the real-life courtroom, we will investigate landmark theatrical court dramas. Using mock trial techniques, we will approach playtexts as legal "cases." We will try to identify weaknesses and strengths of these cases, and then use them as mock trial scenarios. Ultimately, this class engages the questions of what does it take to build a solid courtroom case and how does it differ from a powerful piece of theater. While getting acquainted with both courtroom and theater techniques, we will keep a critical eye on (mis)representations of criminal courtroom in the popular media. No previous experience in acting or mock trials is necessary. The class satisfies the WAYS Creative Expression requirement. Sophomore College Course: Application required, due noon, April 5, 2016. Apply at http://soco.stanford.edu.
Terms: Sum
| Units: 2
| UG Reqs: WAY-CE
TAPS 16AX:
Personal Narrative: Crafting Performances from the Material of Your Life
In Personal Narrative, students will gain their own rigorous training in storytelling techniques, while both engaging in the New York theater community's deep and rich reservoir of personal storytellers and exploring the ways in which stories from their own lives can become powerful performances. Seminar discussions inspired by encounters with other artists' approaches to storytelling will set the stage for guided technical exercises, which will in turn introduce new questions for reading and analysis. In addition to readings, viewings, field trips, and exercise participation, students will be keep a journal reflecting on each day's work and the process of creating their personal narrative pieces. The Intensive will culminate in 1) a performance showcasing the original, fully crafted personal stories of all the participants, 2) the written text of each student's piece for future development, and 3) a short essay reflecting on the process of developing a personal narrative performance and critically assessing the different tools, techniques, and influences that helped in that journey.
Terms: Sum
| Units: 2
| UG Reqs: WAY-CE
TAPS 20A:
Acting for Non-Majors
A class designed for all interested students. Creative play, ensemble work in a supportive environment. Designed for the student to experience a range of new creative skills, from group improvisation to partner work. Introductory work on freeing the natural voice and physical relaxation. Emphasis on rediscovering imaginative and creative impulses. Movement improvisation, listening exercises, and theater games release the energy, playfulness and willingness to take risks that is the essence of free and powerful performance. Course culminates with work on dramatic text. This version of the class is offered in summer only. During the year, students should register for TAPS 124D.
Terms: Sum
| Units: 2
| UG Reqs: WAY-CE
TAPS 21:
StoryCraft
StoryCraft is a hands-on, experiential workshop offering participants the opportunity, structure and guidance to craft compelling personal stories to be shared in front of a live audience. The class will focus on several areas of storytelling: Mining (how do you find your stories and extract the richest details?); Crafting (how do you structure the content and shape the language?); and Performing (how do you share your stories with presence, authenticity and connection?).
Terms: Aut, Spr
| Units: 2
| UG Reqs: WAY-CE
TAPS 23:
Game Design: Making Play (TAPS 223)
Do you want to make games? This is a project-oriented workshop course that will teach you how to apply design thinking to create new kinds of play. We'll teach you about mechanics, playtesting, drama, narrative, and more. You'll work in teams to produce a new play form in whatever medium and style you like. We want zippy mobile games. We want intensely serious board games. We want socially conscious interactive theater games. We want kinds of fun we've never even imagined.
Last offered: Spring 2015
| Units: 3
| UG Reqs: WAY-CE
TAPS 30:
How Theater is Designed
Team-taught. An introduction to theatrical set, costume and lighting design. Emphasis on balancing practical skill with conceptual ideas for live stage performance. Hands-on projects.
Terms: Aut
| Units: 4
| UG Reqs: WAY-CE
TAPS 41N:
Inventing Modern Theatre: Georg Büchner and Frank Wedekind (GERMAN 41N)
The German writers Georg Büchner (1813-1837) and Frank Wedekind (1864-1918). Many of the most important theater and film directors of the last century, including Max Reinhardt, G. W. Pabst, Orson Welles, Robert Wilson, and Werner Herzog, have wrestled with their works, as have composers and writers from Alban Berg and Bertolt Brecht through Christa Wolf and Thalia Field. Rock artists as diverse as Tom Waits, Lou Reed, Duncan Sheik, and Metallica have recently rediscovered their urgency. Reading these works in translation and examining artistic creations they inspired. Classroom discussions and written responses; students also rehearse and present in-class performances of excerpts from the plays. The aim of these performances is not to produce polished stagings but to creatively engage with the texts and their interpretive traditions. No previous theatrical experience required.
Last offered: Winter 2014
| Units: 3
| UG Reqs: WAY-A-II, WAY-CE
TAPS 101P:
Intro to Directing and Devising Theatre
An introductory workshop class that explores a range of theatre exercises and techniques in order to create, perform, and compose theatre. Students will work with original texts such as Beckett, Pinter, Churchill as well as creating their own performance texts and scores to make original, devised performance. Students will be encouraged to think critically about various compositional themes and ideas including the relationship between form and content, aesthetics, proximity, audience, space. Students will work collaboratively learning how to problem solve and deal with creative challenges as they create original performance works. Students will work towards creating a short original performance piece.
Last offered: Winter 2015
| Units: 4
| UG Reqs: WAY-CE
TAPS 103:
Beginning Improvising
The improvisational theater techniques that teach spontaneity, cooperation, team building, and rapid problem solving, emphasizing common sense, attention to reality, and helping your partner. Based on TheatreSports by Keith Johnstone. Readings, papers, and attendance at performances of improvisational theater. Limited enrollment. Improv, Improvisation, creativity and creative expression.
Terms: Aut, Win, Spr
| Units: 3
| UG Reqs: WAY-CE
TAPS 112:
Creative Expression: Musical Theater (MUSIC 112)
Students begin to create pieces that are fresh and innovative forms of musical theater that do not necessarily appeal to specifically popular audiences but perhaps to audiences more associated with high art, opera, or even contemporary independent music. Musical theater is an untapped resource of potential artistic innovation and has unfortunately become stuck in an ideal of universal accessibility. In present popular culture and the culture of contemporary art forms, musical theater almost exclusively refers to popular productions such as Phantom of the Opera, Rent, Wicked, Jesus Christ Superstar. Although excellent pieces of art in their own way, both dramaturgically and in their ability to evoke emotion through catchy melodies, for the most part each of them have their basis in popular and traditional musical idioms and theatrical forms, seldom exploring more advanced or avant-garde and experimental compositional and theatrical techniques.
Last offered: Winter 2014
| Units: 4
| UG Reqs: WAY-CE
TAPS 113:
Creative Expression: Directing the Musical
This course would teach conductors, composers, sound engineers and directors what to consider when directing the music for a musical theater production. Students would learn to efficiently schedule and conduct rehearsals, create legible scores and parts, make a checklist for all the required nuances ie: Music stands, stand lights, stools etc. Additionally, it is evident that musicians, theater artists, dancers, lighting designers, costume designers and scenic designers all have very different cultures in the way they operate: punctuality, preparation, warm ups, expectations etc. In order to have a smooth and successful working relationship with all of these important members of a theatrical production, a musical director must understand these cultures and how to communicate with them using a language they all understand.
Last offered: Winter 2014
| Units: 3
| UG Reqs: WAY-CE
TAPS 115:
Musical Theater
In this workshop we will traverse the landscape of world of Musical Theater. It will serve as an introduction for the beginning actor and singer, and expand the more experienced performer¿s range in this genre. The world of Musical Theater is filled with stories of love, passion, joy, violence, heartbreak and rage. The class will include an introduction to vocal and movement skills for musical theater, beginning with exercises to build an ensemble and encourage a sense of play and relaxation in supportive environment. Our class must be a place where everyone feels safe. As ensemble members, we will be responsible for each other in this environment. nnStudents will choose one solo song, and perform in a group number from this exciting discipline. The instructor will work with the actors on technique, utilization of action, specificity of language, personalization, and emotional truth. A professional coach from the theater community will conduct vocal coaching. Physical warm-ups and choreography will be suited for both the dancer and non-dancer.n nThe class will culminate in the last week with live performance for friends and family.nnSTUDENTS ARE ENCOURAGED TO BRING THEIR OWN SUGGESTIONS. (Isn¿t there a role you¿ve always wanted to sing?)nnRequired text: Broadway Musicals Show by Show: Sixth Edition - Stanley Green; Paperback
Terms: Spr
| Units: 1-3
| UG Reqs: WAY-CE
TAPS 120A:
Acting I: Scene Study
A substantive introduction to the basics of the craft of acting, this course gives all incoming students the foundation of a common vocabulary. Students will learn fundamental elements of dramatic analysis, and how to apply it in action. Topics include scene analysis, environment work, psychological and physical scoring, and development of a sound and serviceable rehearsal technique. Scene work will be chosen from accessible, contemporary, and realistic plays. Outside rehearsal time required.
Terms: Aut
| Units: 1-3
| UG Reqs: WAY-CE
TAPS 120B:
Acting II: Period and Style
Learn how to expand character work, beyond what is immediately familiar. Continuing basic practices from the first part of the sequence, in this quarter they will look beyond the strictly contemporary, and may begin to approach roles drawn from more challenging dramatic texts. This might include plays chosen from mid-century American classics, World Theater, or other works with specific historic or cultural requirements. Actors begin to learn how a performing artist researches and how that research can be used to enrich and deepen performance. Prerequisite: 120A or consent of instructor.
Terms: Spr
| Units: 1-3
| UG Reqs: WAY-CE
TAPS 120V:
Vocal Production and Audition (TAPS 210V)
An introductory study of the vocal mechanism and the development of voice and articulation for the stage. Students will be introduced to the actor's tools of phonetics, verbal action and text analysis. Vocal technique will then be applied to the actor's process in preparation for audition. Actors will fully participate in the audition process, from beginning to end. Emphasis will be on relaxation, selection of appropriate material, and versatility to show contrast and range.
Last offered: Autumn 2013
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 6 units total)
TAPS 121C:
Physical Characterization
A practical course in movement, acting and character development for stage or screen. This course is appropriate for all artists; no prior movement training is required. We will explore expressive possibilities in the body in order to build characters with nuanced physicality and rich emotional life. Students will learn strategies for awakening the body, find a greater range of expression, and widen the variety of characters they can inhabit. We will conduct live observations and take inspiration from photographs, memories, dramatic texts and other sources to build vivid portraits of character in performance. Actors will work independently and as an ensemble, learning techniques derived from Michael Chekhov. We will also practice physical conditioning for the actor through a daily warm-up sequence that improves strength, flexibility and alignment.
Terms: Aut
| Units: 3
| UG Reqs: WAY-CE
TAPS 121S:
Shakespeare Performance Intensive
This course explores the unique demands of playing Shakespeare on the stage. Through deep exploration of language and performance techniques in sonnets, speeches and scenes in (an edited) full-length play, the student will learn how to bring Shakespeare's passions to life through research, analysis, and a dynamic use of voice, body and imagination.nnThis course is designed to increase the actor's physical, vocal, emotional, and intellectual responsiveness to the demands, challenges and joys of playing Shakespeare.
Last offered: Autumn 2013
| Units: 4
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 8 units total)
TAPS 122P:
Undergrad Performance Project: Oh What a Lovely War!
The Undergraduate Performance Project provides students the opportunity to study and perform in major dramatic works. The Winter 2016 Undergraduate Performance Project presents Oh What a Lovely War! Students learn to form an artistic ensemble, develop dramaturgical materials, learn professional arts protocols and practice, devise within the ensemble, and develop live performance ability. Audition required. Preference to majors/minors. Maybe repeated for credit.
Terms: Win
| Units: 4-9
| UG Reqs: WAY-CE
| Repeatable
3 times
(up to 15 units total)
TAPS 124D:
Acting for Non-Majors
Formerly TAPS 20. Creative play, ensemble work in a supportive environment. Designed for the student to experience a range of new creative skills, from group improvisation to partner work. Introductory work on freeing the natural voice and physical relaxation. Emphasis on rediscovering imaginative and creative impulses. Movement improvisation, listening exercises, and theater games release the energy, playfulness and willingness to take risks that is the essence of free and powerful performance. Course culminates with work on dramatic text.
Terms: Aut, Win, Spr, Sum
| Units: 1-3
| UG Reqs: WAY-CE, way_ce
TAPS 126:
Your American Life
This is a small seminar designed for students interested in creating scored sonic stories for radio or podcast. Students will examine the craft elements of the medium, popularized by programs like This American Life, Radiolab and Serial. You will write and produce your own piece, be it documentary, inquiry, or some combination of these genres. Plus you will have the opportunity to meet at work with some of the best storytellers in America.
Terms: Win, Spr
| Units: 4
| UG Reqs: WAY-CE
TAPS 127:
Introduction to Movement for Actors
The physical actor is ever working to develop a wider range of emotional expression, an unconscious attentiveness to fellow actors, and a compelling presence that conveys a sense of truth in action and in word. In this course, students will explore movement as a means of physical training and performance-building. This course is for those interested in dynamic storytelling; no prior acting or physical training is required. Our work consists of four main components: physical conditioning, practical technique, movement improvisation and the creation of several short performance pieces. Through mime technique (from Tomaschevski and Decroux) students will increase precision and control, create images with the body, and examine basic compositional elements. Students will also learn the fundamentals of contact improvisation for theater, which offers actors another way to explore text and make discoveries about character. Exercises in movement composition will sharpen tools necessary for creating original work and crafting strong performances on stage.
Terms: Aut
| Units: 3-4
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 8 units total)
TAPS 127S:
Acting Through Song
How does a singer develop the strategies to shape nuanced, emotional performances? What clues does the singer mine from lyrics and a score in order to communicate through song? This is a studio course in acting and movement techniques for vocal performers who want to expand their expressive range, refine multi-faceted performances, and cultivate compelling stage presence. nnThis course is suitable for any vocalist; classical singers, a cappella performers, musical theater actors and others are all welcome. The three foundational underpinnings of our work will be actor personalization technique, basic movement training and text analysis strategies. We will develop flexibility, relaxation and the freedom to follow expressive impulses while also deepening our knowledge of character, narrative and theme.nnStudents should be prepared to engage in intensive work with performance pieces, selected according to each student¿s preferred style and tradition. We will focus on close textual analysis and find connections between the ways performers use various written scores (for spoken dialogue, song lyrics and musical composition) as the blueprints for dynamic performances that tell a powerful story. The course will culminate in a public performance of material from a musical performance genre.
Terms: Win
| Units: 2-4
| UG Reqs: WAY-CE
TAPS 127X:
Advanced Movement for Actors: Conditioning, Improvisation and Composition
The physical actor is ever working to develop a wider range of emotional expression, an unconscious attentiveness to fellow actors, and a compelling presence that conveys a sense of truth in action and in word. Students explore movement as a means of physical training and performance-building. For those interested in dynamic storytelling; no prior acting or physical training is required. Four main components: physical conditioning, practical technique, movement improvisation, and the creation of several short performance pieces. The fundamentals of contact improvisation for theater, which offers actors another way to explore text and make discoveries about character. Exercises in movement composition sharpen tools necessary for creating original work and crafting strong performances on stage.
Last offered: Spring 2015
| Units: 3-4
| UG Reqs: WAY-CE
TAPS 128:
Acting for Film and Video
Acting techniques for working on film and with video.
Last offered: Spring 2014
| Units: 3
| UG Reqs: WAY-CE
TAPS 130:
ReDesigning Theater: Live & Digital Performance (ME 288)
This quarter¿s version of ReDesigning Theater looks at Live and Digital Performance. We will examine the use of digital technology in collaboration with live performance. Students will learn and employ the design thinking process as well as improv and theatrical techniques. We aim to create user-centric, interactive experiences where technology enables the audience to become part of and/or influence the outcome of the story or its presentation. Student projects will begin with the concepts enabled by personal technology such as smart phones and expand to animation, video projection, and other media. Students will work in small groups to investigate and experiment with formats that blur the lines between live and digital, performer and audience, and physical and virtual platforms. This project-based course is accessible to students of all backgrounds interested in exploring and transforming the frontiers of technology, art, and live performance.
Last offered: Autumn 2013
| Units: 3
| UG Reqs: WAY-CE
TAPS 132:
Costume Design
Process of designing costumes for the stage, covering script analysis, rendering techniques, character development and conceptual ideas. Project related work with smaller, pertinent exercises.Prerequisite: 30 or consent of instructor.
Last offered: Autumn 2014
| Units: 4
| UG Reqs: WAY-CE
TAPS 133:
Stage Scenery Design
Craft and Theory of stage scenery design including visual research, spatial organization, basic drafting, sketching and model-building. Prerequisite: 30, or consent of instructor.
Terms: Win
| Units: 3-4
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 8 units total)
TAPS 144:
Puppetry with a Twist (TAPS 344)
Creative course is an introduction to puppetry with a survey of important styles and techniques from around the world including Twist's own. Hands on and individualized experience with the aim of each student creating or contributing to a puppet or object/figure performance. Course is as broad as the individual's creative expression.
Last offered: Winter 2015
| Units: 3-4
| UG Reqs: WAY-CE
TAPS 150:
British Theatre Then and Now: 1890s-present
This introductory course covers some of the `golden ages¿ of British Theatre from 1890 to the present: the stylish and witty `New Drama¿ of the Edwardian era with writers such as George Bernard Shaw and Oscar Wilde exploring sex and politics in the wake of Ibsen¿s A Doll¿s House; the artistic innovations of the 1950s and 60s from seminal writers such as Samuel Beckett, Harold Pinter and Tom Stoppard; and more recent works by modern legends Caryl Churchill, David Hare, Alan Ayckbourn, and immersive or interactive theatre by companies such as Punch Drunk. We will also look at the ever changing relationship with Shakespeare across generations of British theatre artists, including directors such as Peter Brook and Deborah Warner.nIn this class students will explore the relationship between theatre, politics and culture across fascinating eras in British history as well as thinking about the role of theatre in our own lives and social contexts. We will ask the questions: What is theatre for? What meaning does it have for a contemporary audience? How can it reflect our times? Has the communal audience experience of going to the theatre changed in an age that is dominated by social media and broadcast technology? Has this changed the way that people make theatre? What do we as audiences want from the theatre? What do we as theatre makers want from audiences?nStudents will read plays weekly and also see screenings of several excellent film versions of the plays as well as participating in staged readings of scenes and class discussions. The class will also attend at least one live theatre event. This is a perfect class for students who enjoy active learning, approaching the texts as scholars and historians, but also working with the plays creatively, engaging the imagination as potential actors, directors, designers and/or dramaturgs.
Last offered: Winter 2015
| Units: 4-5
| UG Reqs: WAY-A-II, WAY-CE
TAPS 156:
Performing History: Race, Politics, and Staging the Plays of August Wilson (AFRICAAM 156, TAPS 356)
This course purposefully and explicitly mixes theory and practice. Students will read and discuss the plays of August Wilson, the most celebrated and most produced contemporary American playwright, that comprise his 20th Century History Cycle. Class stages scenes from each of these plays, culminating in a final showcase of longer scenes from his work as a final project.
Last offered: Autumn 2013
| Units: 4
| UG Reqs: WAY-CE, WAY-EDP
TAPS 156T:
Movement and Digital Culture (DANCE 156T)
What is physical intelligence? How could we cultivate it? What technologies can extend sensory awareness, and which can suppress it? How can better understanding of human movement impact a creative/design process? The term 'hybrid action¿ introduces the notion of movement, expressed in both the physical and virtual worlds. Through interactive technologies, such as the Kinect and camera tracking, and literature from multiple fields, this class takes human movement as a practice-based, creative, theoretical, historical, and philosophical realm of study. The course introduces basic principles and practices of body awareness as a way to extend one¿s 'physical intelligence¿ and asks how studying movement can inform creative practices from computer programming to engineering to choreography, as well as applications in health and rehabilitation, cognitive and neuroscience, philosophy and literature. The class emphasizes hands-on, individual and collaborative projects through research and prototyping.
Last offered: Autumn 2014
| Units: 4
| UG Reqs: WAY-CE
TAPS 158L:
The Ethics of Storytelling: The Autobiographical Monologue in Theory, in Practice, and in the World (ETHICSOC 201R, TAPS 358L)
Recently a theatrical monologuist gained notoriety when it was revealed that key aspects of one of his "autobiographical" stories had been fabricated. In this class another autobiographical monologuist -- who has himself lied many times in his theater pieces, without ever getting caught -- will examine the ethics of telling our life stories onstage. Does theatrical "truth" trump factual truth? We will interrogate several autobiographical works, and then -- through autobiographical pieces created in class -- we will interrogate ourselves.
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE
TAPS 170:
Directing and Dramaturgy: Composition and Adaptation for Theatre (TAPS 370)
This course explores dramaturgy and directing in the research and production of theatre primarily through practical creative projects with secondary readings on dramaturgy as a discipline. In this course we will consider the role of the dramaturg in its broadest sense, running across theatrical production from research to playwriting, adaptation, choreography, devising and directing. Students will work individually and in small groups researching, adapting, crafting and workshopping material.
Last offered: Spring 2013
| Units: 4-5
| UG Reqs: WAY-A-II, WAY-CE
TAPS 170B:
Directing Workshop: The Actor-Director Dialogue (TAPS 372)
This course focuses on the actor-director dialogue. We will work with actors and directors developing approaches to collaboration that make the actor-director dialogue in theater.
Last offered: Autumn 2014
| Units: 4
| UG Reqs: WAY-A-II, WAY-CE
| Repeatable
for credit
TAPS 171:
Performance Making (TAPS 371)
A studio course focused on creative processes and generating original material. Students will be encouraged to think critically about the relationship between form and content exploring the possibilities of site specific, gallery and theatre settings. Students will reflect throughout on the types of contact and communication uniquely possible in the live moment, such as interaction or the engagement of the senses. The emphasis is on weekly experimentation in the creation of short works rather than on a final production.
Terms: Aut
| Units: 4
| UG Reqs: WAY-CE
TAPS 172:
Out of Place: (W)riting Home (CSRE 172, FEMGEN 172, TAPS 272)
A creative writing workshop; all genres. This course will introduce students to the fundamentals of a productive creative writing practice, including ¿the beginner¿s mind¿ (as founded in Eastern spiritual practices); and, an indigenous approach to ¿authenticity¿ in one¿s work and one¿s words. Through w(riting), one returns to the body of home-knowledges, languages, and geographies to uncover what is profoundly original in us as artists, writers and thinkers.¿
Terms: Win
| Units: 4
| UG Reqs: WAY-CE
TAPS 173:
Solo Performance (TAPS 373W)
Students learn how to draw from the specificity of their own unique experiences, connecting with ideas, issues and questions that resonate with race, class, gender, environmental, and global issues. The course gives students the creative and critical tools to enable them to connect the personal with the political and see the solo voice as a powerful, potent form of artistic expression. Students have the opportunity to hone their own creative talents in writing, devising, composing, producing and creating work.
Last offered: Winter 2013
| Units: 4-5
| UG Reqs: WAY-CE
TAPS 173D:
Theater Production Lab: Dramaturgy and Development (TAPS 373)
This course explores dramaturgy and directing in the research and production of theatre primarily through practical creative projects with secondary readings on dramaturgy as a discipline. In this course we will consider the role of the dramaturg in its broadest sense, running across theatrical production from research to playwriting, adaptation, choreography, devising and directing. Students will work individually and in small groups researching, adapting, crafting and workshopping material.
Terms: Aut
| Units: 4
| UG Reqs: WAY-CE
TAPS 177:
Writing for Performance: The Fundamentals (CSRE 177, FEMGEN 177, TAPS 277)
Course introduces students to the basic elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Patrick Shanley, August Wilson, Suzan-Lori Parks, Paula Vogel, Octavio Solis and others. Table readings of one-act length work required by quarter's end.
Terms: Aut, Spr
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-CE
TAPS 178:
Page to Stage: Playwriting and Solo Performance (TAPS 278)
Dramatic writing: scripted and solo, and as performed by actors or by the playwright. Physical and psychological theatrical action. Development of skills in dialogue, story structure, style, and personal voice. Script readings and directed staging sessions.
Last offered: Spring 2013
| Units: 3-5
| UG Reqs: WAY-CE
TAPS 178B:
Intensive Playwriting (CSRE 178B, TAPS 278)
Intermediate level study of fundamentals of playwriting through an intensive play development process. Course emphasizes visual scripting for the stage and play revision. Script analysis of works by contemporary playwrights may include: Suzan-Lori Parks, Tony Kushner, Adrienne Kennedy, Edward Albee, Maria Irene Fornes and others. Table readings of full length work required by quarter¿s end.
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE
TAPS 179F:
Flor y Canto: Poetry Workshop (CHILATST 179F, CSRE 179F, TAPS 279F)
Poetry reading and writing. The poet as philosopher and the poet as revolutionary. Texts: the philosophical meditations of pre-Columbian Aztec poetry known as flor y canto, and reflections on the poetry of resistance born out of the nationalist and feminist struggles of Latin America and Aztlán. Required 20-page poetry manuscript.
Last offered: Winter 2014
| Units: 3-5
| UG Reqs: WAY-CE
TAPS 180P:
Color (ARTSTUDI 180)
Hands-on study of color to develop color sensitivity and the ability to manipulate color to exploit its expressive potential. Guided experimentation and observation. Topics include color relativity, color and light, color mixing, color harmony, and color and content. (lower level)
Last offered: Autumn 2013
| Units: 3-4
| UG Reqs: WAY-CE
TAPS 203:
Advanced Improvisation
Further development of improvisational skills.
Last offered: Winter 2015
| Units: 3
| UG Reqs: WAY-CE
TAPS 210V:
Vocal Production and Audition (TAPS 120V)
An introductory study of the vocal mechanism and the development of voice and articulation for the stage. Students will be introduced to the actor's tools of phonetics, verbal action and text analysis. Vocal technique will then be applied to the actor's process in preparation for audition. Actors will fully participate in the audition process, from beginning to end. Emphasis will be on relaxation, selection of appropriate material, and versatility to show contrast and range.
Last offered: Autumn 2013
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 6 units total)
TAPS 236:
Directing Scenes: The Director's Toolkit
This first half of this course, a practicum, introduces you to basic concepts in directing live theatre, such as creating strong spatial relationships on stage or in a performance space, interpreting and building a concept for a scene, and beginning to work with actors. You will then spend the second half of the course directing 2-3 modern and contemporary scenes, with actors.
Last offered: Autumn 2013
| Units: 4
| UG Reqs: WAY-CE
TAPS 272:
Out of Place: (W)riting Home (CSRE 172, FEMGEN 172, TAPS 172)
A creative writing workshop; all genres. This course will introduce students to the fundamentals of a productive creative writing practice, including ¿the beginner¿s mind¿ (as founded in Eastern spiritual practices); and, an indigenous approach to ¿authenticity¿ in one¿s work and one¿s words. Through w(riting), one returns to the body of home-knowledges, languages, and geographies to uncover what is profoundly original in us as artists, writers and thinkers.¿
Terms: Win
| Units: 4
| UG Reqs: WAY-CE
TAPS 278:
Intensive Playwriting (CSRE 178B, TAPS 178B)
Intermediate level study of fundamentals of playwriting through an intensive play development process. Course emphasizes visual scripting for the stage and play revision. Script analysis of works by contemporary playwrights may include: Suzan-Lori Parks, Tony Kushner, Adrienne Kennedy, Edward Albee, Maria Irene Fornes and others. Table readings of full length work required by quarter¿s end.
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE
TAPS 279F:
Flor y Canto: Poetry Workshop (CHILATST 179F, CSRE 179F, TAPS 179F)
Poetry reading and writing. The poet as philosopher and the poet as revolutionary. Texts: the philosophical meditations of pre-Columbian Aztec poetry known as flor y canto, and reflections on the poetry of resistance born out of the nationalist and feminist struggles of Latin America and Aztlán. Required 20-page poetry manuscript.
Last offered: Winter 2014
| Units: 3-5
| UG Reqs: WAY-CE
THINK 21:
Folklore and Literature in Russia and Beyond: Vampires, Talking Cats, and Frog Princesses
What is 'folklore' and what is its purpose? How do we decide if something is authentically 'folk' and does it matter? Why are Eastern Europe and Russia associated with the idea of folklore? For the past two centuries, writers, composers, and artists have found inspiration in folklore: the stories, songs, and beliefs of their grandparents, their servants (or their slaves), and their neighbors. This class asks what folklore means and what purposes - political and philosophical as well as artistic - it can serve. We begin with examples from around the world: the German Brothers Grimm as well as the Americans John and Alan Lomax. Then we turn to Eastern Europe and the role it has played in the Western European and American imagination as the home of the archaic and the authentic, from the vampires of Transylvania to the oral epics of the Bosnian Serbs to the nostalgic idea of the Jewish shtetl to the fantasy of Soviet communism as a survival of a pre-capitalist order. Students will analyze both folk and elite texts, and will experiment with gathering oral texts and transforming them just like the writers we studied.
Last offered: Winter 2015
| Units: 4
| UG Reqs: College, THINK, WAY-A-II, WAY-CE
THINK 49:
Stories Everywhere
Do we perceive the world through stories? Are we made of stories? Can we make sense of the world without narrative? The telling of stories is not just a form of entertainment but an essential human activity that moves and persuades us, compelling us to action and reflection. In this course, we will probe how moral, cognitive and historical forces give stories their power. You will be introduced to the basic theory and art of storytelling, enabling you to understand and master the fundamentals of narrative structure, plot, and character. This will allow you to practice producing your own stories through both interpretative and creative writing assignments. The class will also give students the chance to participate in various story-making activities and work with the Stanford Storytelling Project, San Francisco StoryCorps, School of the Arts and the Stanford Innocence Project to create assignments that would be useful to both private and nonprofit organizations.
Terms: Spr
| Units: 4
| UG Reqs: College, THINK, WAY-A-II, WAY-CE
THINK 50:
Empathy
This course will introduce freshmen to a range of ways of thinking about empathy. How do we know and understand the other? How does knowledge of another's experience and circumstances enable us to make moral decisions and take moral actions? It will take students on an intellectual investigation of the topic of empathy from the Buddhist emphasis on compassion in the fifth century BCE to Jesus' teaching of parables in the first century CE to Enlightenment philosophy to Silicon Valley¿s adoption of empathy in the twenty-first century. The main focus will be on the modern period (from the 18th to 20th century) and students will be asked to approach different genres of text through the lens of empathy. The course will culminate with a one-week creative workshop on the question of empathy.
Terms: Aut
| Units: 4
| UG Reqs: College, THINK, WAY-CE, WAY-EDP
URBANST 113:
Introduction to Urban Design: Contemporary Urban Design in Theory and Practice
Comparative studies in neighborhood conservation, inner city regeneration, and growth policies for metropolitan regions. Lect-disc and research focusing on case studies from North America and abroad, team urban design projects. Two Saturday class workshops in San Francisco: 2nd and 4th Saturdays of the quarter. Terms: Win | Units: 5 | UG Reqs: GER:DBSocSci | Grading: Letter (ABCD/NP)
Terms: Win
| Units: 5
| UG Reqs: GER:DB-SocSci, WAY-CE, WAY-SI
