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
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.
Terms: Aut
| Units: 5
| UG Reqs: GER:DB-SocSci, WAY-CE, WAY-EDP
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
ARTSTUDI 130:
Interactive Art: Making it with Arduino
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 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 141S:
PLEIN AIR DRAWING
The natural world has sublime, and beauty, as well as structure, unscenic nature, and surprise. This course will take students out into the landscape to draw both sides of this equation. What does it mean to once again remind us of the glory of nature and its both scenic, and unscenic qualities? We will begin to understand the history of sublime painting and drawing, as well as the concept of natural reality in light of Darwin, John Muir, Rachel Carson, and others. The contemporary world interrupts the notion of nature by adding man-made technology and domestication into the landscape; how does this impact representation? We will visit areas on the Stanford campus such as the Jasper Ridge, the Stanford Dish, the equestrian site: the Red Barn, Outdoor sports stadium, Hoover tower view, Vistas, Forests, Skies, and the edges of human encroachment will be areas worthy of exploring. Also, carcass, birds, and other animals in the landscape will be subjects as well. Staging the landscape with props and drawing these is another way to update the Plein Air experience. Studying the nuances of nature both its horror and its beauty is the contemporary subject of Plein Air drawing today. Summer.
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.
Last offered: Winter 2013
| 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: Aut, Win
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 160:
Design I : Fundamental Visual Language
Formal elements of visual expression (color, composition, space, and process) through hands-on projects. Two- and three-dimensional media. Emphasis is on originality and inventiveness. Content is realized abstractly. Centered in design; relevant to visual art study and any student seeking to develop visual perception. (lower level)
Terms: Aut, Win, Spr
| Units: 3-4
| 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)
Terms: Aut
| Units: 3-4
| 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, Sum
| 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)
Terms: Sum
| 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, explore meaningful image production and produce quality digital prints. Course topics include: image capture, composition, artificial & natural light, image correction, data storage, night photography, and photography as a communicative tool.
Terms: Spr
| 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, Spr
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 174B:
Internet Art
The history, practice and technique of creating art online. New ways of thinking about interactivity and technology through individual projects, lectures, group discussion, and direct experience of contemporary Internet Art and its historical roots. Goal is for students to think personally about contemporary technological culture via artistic experiments using the Internet. Topics include technical labs on HTML, CSS, image editing, and animation, and collaborative interventions using social media as a galvanizing force for community projects. Final exhibition organized by the class, challenging students to translate art created online into a gallery space. Field trip to see art exhibitions in the area, as well as the Computer History Museum in San Jose. Virtual travel to online exhibitions; contemporary Internet Artists give experimental lectures and performances via Skype.
Terms: Aut, 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
| 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
| 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)
Terms: Aut
| 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)
| Units: 4
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 8 units total)
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: Spr
| Units: 3-4
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 8 units total)
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: Win
| Units: 4
| UG Reqs: WAY-A-II, WAY-CE
ASNAMST 144:
Transforming Self and Systems: Crossing Borders of Race, Nation, Gender, Sexuality, and Class (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: Win
| 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 mandatory field trips will culminate in the production of individual and group projects.
Terms: Win
| 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 introduces students to the design of medical technologies and the non-technical factors that impact their clinical adoption and market success. Guest speakers include engineers, doctors, and other professionals who have helped bring ideas from concept to clinical use. Hands-on design projects will challenge students to invent their own solutions to clinical needs. No previous engineering training is required.
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: Win
| Units: 4
| 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: 4
| 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: Aut, Win
| 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.
Terms: Win
| Units: 3-5
| UG Reqs: WAY-CE
CLASSGEN 24N:
Sappho: Erotic Poetess of Lesbos (FEMGEN 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.
Terms: Spr
| 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 sophomores and juniors.
Terms: Aut, Spr
| Units: 5
| UG Reqs: WAY-CE
COMM 117:
Digital Journalism (COMM 217)
(Graduate students register for COMM 217.) Seminar and practicum. The implications of new media for journalists. Professional and social issues related to the web as a case of new media deployment, as a story, as a research and reporting tool, and as a publishing channel. Prerequisite: Journalism M.A. student or consent of instructor.
Terms: Win
| Units: 4-5
| UG Reqs: WAY-CE
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: Magazine Journalism (COMM 277D)
(Graduate students register for COMM 277D.) How to report, write, edit, and read magazine articles, emphasizing long-form narrative. Tools and templates of story telling such as scenes, characters, dialogue, and narrative arc. How the best magazine 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.
Terms: Spr
| 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
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: 1-5
| UG Reqs: WAY-CE
| Repeatable
4 times
(up to 20 units total)
CS 178:
Digital Photography
Scientific, artistic, and computing aspects of digital photography. Topics: lenses and optics, light and sensors, optical effects in nature, perspective and depth of field, sampling and noise, the camera as a computing platform, image processing and editing, history of photography, computational photography. Counts as a CS elective in the Graphics track. Prerequisites: introductory calculus; students must have a digital camera with manual control over shutter speed and aperture. Loaner cameras may be available. No programming experience required. GER:DB-EngrAppSci
Terms: Spr
| Units: 3-5
| UG Reqs: GER:DB-EngrAppSci, WAY-CE
CSRE 144:
Transforming Self and Systems: Crossing Borders of Race, Nation, Gender, Sexuality, and Class (ASNAMST 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: Win
| Units: 5
| UG Reqs: WAY-CE, WAY-EDP
CSRE 172:
Out of Place: (W)riting Home (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: Aut
| Units: 4
| UG Reqs: WAY-CE
CSRE 177:
Writing for Performance: The Fundamentals (TAPS 175)
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: Spr
| Units: 5
| 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: Win
| Units: 5
| 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.
Terms: Win
| Units: 3-5
| UG Reqs: WAY-CE
DANCE 27:
Faculty Choreography
This new dance will be episodic, consisting of both solo/duo sections and small group sections, layered. Material will be developed Autumn quarter, performed in a mid-week showing of faculty/student works in an informal concert setting, 9th week of Winter quarter. nThe work will be physically & technically demanding. Students may enroll pending casting, by audition and/or invitation.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE, way_ce
| Repeatable
for credit
DANCE 30:
Chocolate Heads Movement Band Performance Workshop
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, Spr
| Units: 1
| UG Reqs: WAY-CE, way_ce
| Repeatable
for credit
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
| 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
| 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
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, overcoming creative blocks, and stress reduction to relax into a more creative state of mind. Class sessions will alternate between theory and 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. Students will study historical and current research on creativity, develop nonverbal kinesthetic languages, work on changing perception and breaking out of routine patterns, incorporate musicality into their dance creations, gain proficiency in adapting to changing situations, and develop individual styles of creativity, rather than looking for one "best" methodology. Dance forms will include modern dance, social dance (cross-step waltz) and jazz dance. Previous dance experience is not required.
Terms: Aut
| 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
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: 3-5
| UG Reqs: WAY-A-II, WAY-CE
EARTHSYS 187:
FEED the Change: Redesigning Food Systems (MS&E 187)
Introductory course to design and systems thinking, with an emphasis on food systems. Series of diverse experiences (lectures, workshops, teaching, field trips, storytelling, and more) teaching how to use human-centered design to approach problem solving, how to begin analyzing complex systems, and how to work effectively in teams. Explore passions and interests, as well as different elements of the design process. Work in teams on real projects, and teach other students about food and design thinking. 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.
Terms: Spr
| Units: 3
| UG Reqs: WAY-CE
EARTHSYS 200:
Sustaining Action: Research, Analysis and Writing for the Public (ENVRES 200)
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. Prerequisite: admission by application, available from instructor, thayden@stanford.edu. (Meets Earth Systems WIM requirement).
Terms: Aut, 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.nn
Terms: Aut, Win, Spr
| Units: 3
| UG Reqs: WAY-CE
ENGLISH 10AX:
Fiction Writing
"Of the many definitions of a story, the simplest may be this: it is a piece of writing that makes the reader want to find out what happens next. Good writers, it is often said, have the ability to make you keep on reading them whether you want to or not¿the milk boils over, the subway stop is missed." - Bill Buford, former fiction editor of The New YorkernThis course will introduce students to an assortment of short stories by past and contemporary masters, from Ernest Hemingway to ZZ Packer. We will explore the basic elements of fiction writing, including story structure, point of view, dialogue, and exposition, always keeping in mind the overarching goal of trying to get the reader to turn the page in anticipation. Some summer reading and participation in an online blog will prepare us for discussions we'll have together when the class begins. The course will indeed be "intensive," as we will write a complete draft of a short story in the first week and then distribute these stories for feedback sessions in the second week. Along the way, we'll write additional short exercises to stimulate our imaginations and to practice elements of craft. Field trips will include visits to some of the vibrant literary hotspots in San Francisco as well as a conversation with Stephen Elliott, editor of The Rumpus and a writer and member of the Writer's Grotto collective.
Terms: Sum
| Units: 2
| UG Reqs: 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: ;
Antopol, M. (PI);
Clark, H. (PI);
Frisch, S. (PI);
Kealey, T. (PI);
Kletter, D. (PI);
Marra, A. (PI);
McIlvain, R. (PI);
Pufahl, S. (PI);
Schloesser Tarano, N. (PI);
Soileau, S. (PI);
Tanaka, S. (PI);
Dooling, K. (GP)
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: ;
Antopol, M. (PI);
Carlson-Wee, K. (PI);
Clark, H. (PI);
Ekiss, K. (PI);
Evans, J. (PI);
Frisch, S. (PI);
Hummel, M. (PI);
Kletter, D. (PI);
Pufahl, S. (PI);
Schloesser Tarano, N. (PI);
Wrenn, G. (PI)
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
| 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: Aut, Win, Spr
| Units: 5
| UG Reqs: WAY-A-II, WAY-CE
ENGLISH 102A:
The Material Book
When was the form of the book invented? Why has it proven the most significant and long-lived of all text technologies? This course will (literally) deconstruct the material book and examine its inventiveness; its metaphorical capaciousness; its role as icon, fetish, container, weapon and monument of collective memory. We shall focus on pairs of medieval manuscripts and contemporary artists' books to investigate the book's meaning, learning also how to produce simple handmade books in a series of creative workshops.
Terms: Spr
| Units: 5
| UG Reqs: GER:DB-Hum, 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: Aut
| Units: 5
| UG Reqs: GER:DB-Hum, WAY-A-II, 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 190G:
The Graphic Novel
Interdisciplinary. Evolution, subject matter, form, conventions, possibilities, and future of the graphic novel genre. Guest lectures. Collaborative creation of a graphic novel by a team of writers, illustrators, and designers. Prerequisite: consent of instructor.
Terms: Aut
| Units: 5
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 10 units total)
ENGLISH 190H:
The Graphic Novel
Continuation of English 190G. Interdisciplinary. Evolution, subject matter, form, conventions, possibilities, and future of the graphic novel genre. Guest lectures. Collaborative creation of a graphic novel by a team of writers, illustrators, and designers. Prerequisite: consent of instructor.
Terms: Win
| 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: 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, Win, Spr
| 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, Spr
| Units: 5
| UG Reqs: 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. Just like any other complex and demanding human activity --scuba diving, working out a mathematical proof, learning to pole vault, cooking the perfect soufflé, arguing a court case--the ability to write clear and compelling prose requires practice, alertness, psychological intensity, and a certain amount of imaginative and emotional daring. Focus will be 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.
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.
Last offered: Winter 2013
| Units: 4
| UG Reqs: WAY-CE
FEMGEN 24N:
Sappho: Erotic Poetess of Lesbos (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.
Terms: Spr
| Units: 4-5
| UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-CE, WAY-EDP
FILMPROD 10AX:
Filmmaking
This course will introduce students to the fundamentals of digital video production. The class will explore the process of expressing ideas in an audio-visual medium from the concept stage through post-production. Each student will acquire hands-on experience in directing, shooting, sound design, and editing on Final Cut Pro; examples of narrative, documentary, and experimental work will be screened and discussed in class. There will be three short exercises: 1) Audio Self-Portrait; 2) Continuity exercise, in which a story is conceptualized and executed in-camera with no additional editing; and 3) Final Project: working in pairs, students will create a visual essay that explores a process, place, person, or theme. This course is truly INTENSIVE and requires a significant amount of work (including nights and weekends) outside of class. There are daily deadlines for submission of creative work.
Terms: Sum
| Units: 2
| UG Reqs: WAY-CE
FILMPROD 11AX:
Intro to Visual Writing
Intro to Visual Writing is a screenwriting workshop that takes students from basic visual literacy to scene writing and longer sequences, culminating in a completed short screenplay or beginning of a feature film. Students will engage in exercises in basic visual literacy (composition, shot selection, camera movement) and more advanced visual thinking (storyboarding); learn the fundamentals of writing in screenplay form (both format and content); and complete a number of scene writing exercises which build toward longer sequential storytelling. Throughout the course students will learn to give and take constructive criticism in a writing workshop, a crucial skill for the collaborative world of film.
Terms: Sum
| Units: 2
| 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 104:
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.
Terms: Win
| Units: 4
| UG Reqs: WAY-CE
FILMPROD 106:
Image and Sound
Do two-minute YouTube videos with millions of hits, six second vines, or interactive storytelling modules alter our understanding of film structure? Even while these emerging forms stretch the boundaries of what it means to be a filmmaker, many of the core principles of visual storytelling remain unchanged. In this hands-on film production class, students will learn filmmaking fundamentals, and explore how to apply those principles when creating film projects using tools such as iPhones, consumer cameras, and FCP X. Within the course, we will also explore how new tools and technologies offer opportunities for innovation in aesthetic and narrative forms.
Terms: 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.
Terms: Aut, Spr
| Units: 5
| UG Reqs: 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.
Terms: Win
| Units: 3
| UG Reqs: WAY-A-II, WAY-CE
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.
Terms: Aut
| Units: 5
| UG Reqs: GER:DB-SocSci, WAY-CE, WAY-EDP
ILAC 241:
Fiction Workshop in Spanish
Enrollment limited. 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. Prerequisite: SPANLANG 102 or permission from instructor.
Last offered: Winter 2013
| Units: 3-5
| UG Reqs: WAY-A-II, 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 10AX:
Design Thinking and the Art of Innovation
Design Thinking and the Art of Innovation is a hands-on seminar that introduces students to the multi-disciplinary practice of product, service, and experience design through the lenses of both art and engineering. A project-based, studio-driven class promises a deep dive into Design Thinking, Stanford's unique approach to problem finding and problem solving. Along with a survey of tools such as need finding and ethnography, structured brainstorming, rapid prototyping, visual communication, and story-telling, the class will include thought provoking and inspirational field trips to San Francisco's MOMA and other Bay Area museums, The San Francisco Ferry Building, and IDEO, the internationally renowned design and innovation firm headquartered in Palo Alto.nnThis course is designed to introduce students to cutting edge techniques and processes used in the field of design. Through emphasis on design problems where aesthetics, technology, human behavior, and business needs overlap, students will both increase visual literacy and develop creative competence. The course provides an overview of contemporary professional design practice and exposes students to the world of design and the "wicked problems" that are the grist for the mill of design work.
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. Enrollment limited to 60.
Terms: Aut, Win, Spr
| Units: 4
| UG Reqs: GER:DB-EngrAppSci, WAY-CE
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.
Terms: Spr
| Units: 3
| UG Reqs: WAY-CE
MS&E 187:
FEED the Change: Redesigning Food Systems (EARTHSYS 187)
Introductory course to design and systems thinking, with an emphasis on food systems. Series of diverse experiences (lectures, workshops, teaching, field trips, storytelling, and more) teaching how to use human-centered design to approach problem solving, how to begin analyzing complex systems, and how to work effectively in teams. Explore passions and interests, as well as different elements of the design process. Work in teams on real projects, and teach other students about food and design thinking. Admission is by application: http://feedcollaborative.org/classes/.
Terms: Aut
| Units: 2-3
| UG Reqs: WAY-CE
MUSIC 5G:
Introduction to Gu-Zheng
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. 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.(AU)
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
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 12A:
Introductory Piano Class
"(A=level 1; B=level 2; C=level 3)There is a fee for this class. Please visit nhttp://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"
Terms: Aut, Win, Spr, Sum
| 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.
Terms: Aut, Win, Spr, Sum
| Units: 1
| UG Reqs: WAY-CE
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
Terms: Aut, Win, Spr, Sum
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
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.
Terms: Aut
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-CE
MUSIC 17Q:
Perspectives in North American Taiko
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.
Last offered: Spring 2013
| 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: Aut
| 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
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 2013
| 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. Satisfactory passage of ear-training proficiency exam, part of the course's final, is a requirement for course completion and for continuation in the major sequence. 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
Preference to freshmen. Contemporary culture abounds in multimedia forms, in which sounds, images and words are interwoven in unique ways. What are their individual and combined powers? How would you harness them? Participants face these questions in creative projects as well as through in-class viewing, analysis and debates, readings, guest lectures and student presentations. The seminar is taught at the Center for Computer Research in Music and Acoustics where students have access to new media technologies.
Terms: Aut
| 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: Winter 2013
| 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 closedby design. Please register on the waitlist and show up on the first day of class to receive a permission number for enrollment.
Terms: Aut, Win, Spr, Sum
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
for credit
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.
Terms: Aut, Win, Spr, Sum
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
for credit
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.
Terms: Aut, Win, Spr, Sum
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 72C:
Harpsichord Class
For beginning harpsichord students who have keyboard skills. May benrepeated for credit a total of 14 times. There is a fee for this class.nPlease 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.
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.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 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.
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.
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.
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.
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. This course includes a fee of $175 for Music majors and minors, and $200 for non Music majors.
Terms: Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
12 times
(up to 1 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.
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.
Terms: Aut, Win
| 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: Aut, Spr
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
| Repeatable
8 times
(up to 24 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: 1-5
| UG Reqs: WAY-CE
| Repeatable
4 times
(up to 20 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: 121 and diagnostic musicianship exam given first day of class; preference to students who have completed 122B.
Last offered: Autumn 2012
| 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 2013
| 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. May be repeated for credit a total of 15 times.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 160A:
Stanford Philharmonia Orchestra
Prerequisite: audition, one year of 160, or consent of instructor. May be repeated for credit.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
for credit
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. May be repeated for credit.
Terms: Aut, Win
| 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. Contact instructor for audition and enrollment information: mailto:1martinagel@earthlink.net
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
12 times
(up to 12 units total)
MUSIC 161A:
Stanford Wind Ensemble
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.
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.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 161D:
Stanford Brass Ensemble
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.
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.
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.
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.
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.
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.
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
Audition required. Weekly one-hour coachings from Music department faculty. 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.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
for credit
Instructors: ;
Arul, K. (PI);
Bar-David, E. (PI);
Barth, G. (PI);
Berger, T. (PI);
Catsalis, M. (PI);
Costanza, C. (PI);
Dahl, L. (PI);
Doheny, A. (PI);
Dornenburg, J. (PI);
Ferguson, C. (PI);
Fewer, M. (PI);
Fong, D. (PI);
Harms, D. (PI);
Harrison, S. (PI);
Kenley, M. (PI);
Low, M. (PI);
Martin, A. (PI);
Murphy, R. (PI);
Myers, H. (PI);
Nadel, J. (PI);
Nuttall, G. (PI);
Ragent, L. (PI);
Robertson, L. (PI);
Schultz, T. (PI);
Sharp, R. (PI);
Sohn, L. (PI);
St. John, S. (PI);
Van Dyke, K. (PI);
Veregge, M. (PI);
Weldy, F. (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.
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.
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.
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.
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. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.
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.
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.
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.
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.
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.
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.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174E:
Viola Da Gamba
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.
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.
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.
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.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174J:
Jazz Guitar
Individual lessons in jazz guitar.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
12 times
(up to 36 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.
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 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 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 2013
| 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.
Terms: Aut, Win
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
12 times
(up to 36 units total)
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.
Terms: Spr
| 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 2013
| 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.
Last offered: Spring 2012
| Units: 1-4
| UG Reqs: WAY-CE
| Repeatable
3 times
(up to 12 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: 3-5
| 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: 3-5
| UG Reqs: 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 complete similarly varied original art projects in response. Lectures, discussion, "atelier laboratories," walking tours, and regional field trips. Location: Amsterdam, 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
OSPOXFRD 77:
Solo Performance
Create original solo performance and theatre work. Skills to draw from the specificity of unique individual experiences, connecting with ideas, issues and questions that resonate with race, class, gender, environmental and global issues. Creative and critical tools to to connect the personal with the political and see the solo voice as a powerful and potent form of artistic expression. Focus on and hone individual creative talents in writing, devising, composing, producing and creating work. Examine the work of a range of solo artists practicing in the UK; attend live performances and if possible, meet and interview some of the artists. 15-minute solo performance culminates quarter.
Terms: Win
| Units: 5
| UG Reqs: GER:DB-Hum, 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. Enrollment limited.
Terms: Aut
| 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.
Terms: Aut
| 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.¿
Terms: Win
| Units: 3
| UG Reqs: WAY-CE
PWR 91F:
Intermediate Writing: 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.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 http://www.stanford.edu/dept/undergrad/cgi-bin/drupal_pwr/advanced_pwr.
Terms: Win, 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: Win
| Units: 3
| 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, ancient Sumerian and 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, Snow Crash, Count Zero and the like explore religion in the contemporary imagination. Main assignment: write a short story.
Terms: Spr
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
TAPS 14SC:
Law and Drama
Theater and courtroom are, arguably, two among very few institutions within western culture which privilege live adversarial process as their principal expressive and truth-finding technique. Even though at the beginning of the 21st century new media technologies became an integral part of court proceedings and theater performances, both theater and law stake their legitimacy on live proceedings with uncertain outcomes. In this class, we will pay special attention to transformative instances of exchange between these two ancient civil institutions. In other words, we will be asking not only what aspects of legal procedure can theater dramatize, but also at which points the court can (and does) come to resemble theater. n We will investigate the intricate relationship between law and drama by analyzing a wide range of dramatic works (from Aeschylus¿s Oresteia to current theater productions that use legal transcripts as their source texts) and accounts of real-life cases. We will consider how law is presented through film and popular entertainment depictions of the legal system, take field trips to local courtrooms to compare dramatized to real-life trials, observe simulcasts from international war crimes tribunals, and try to analyze forum theater techniques though their enactment in the class.
Terms: Sum
| Units: 2
| UG Reqs: WAY-CE
TAPS 20:
Acting for Non-Majors (TAPS 124D)
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 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.
Terms: Sum
| Units: 2
| UG Reqs: WAY-CE
TAPS 21:
StoryCraft
Workshop on Performance in Storytelling. Meets on these dates:nThursdays, April 24, May 1 and May 8 - 6:30-9:00pm in RobleGym room 33.nThursday, May 15 from 6-10:30pm in The Nitery for a final performance.
Terms: Win, Spr
| Units: 1
| 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.
Terms: Spr
| 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.
Terms: Win
| Units: 3
| UG Reqs: WAY-A-II, 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.
Terms: Aut, Win
| 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.
Terms: Win
| Units: 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, Win
| Units: 1-3
| UG Reqs: WAY-CE
TAPS 120B:
Acting II: Advanced Scene Study
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: Win
| 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.
Terms: Aut
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 6 units total)
TAPS 121C:
Physical Characterization
Workshop incorporating styles of movement and characterization for the stage. Tools to aid in theatrical transformation. Triggers include psychological gesture, shifting centers, full face photographs, collected live studies, vocal shifts, and rhythmic and metabolic changes.
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.nnnThis course is designed to increase the actor's physical, vocal, emotional, and intellectual responsiveness to the demands, challenges and joys of playing Shakespeare.
Terms: Aut
| Units: 4
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 8 units total)
TAPS 122P:
Undergrad Performance Project: Attempts on Her Life by Martin Crimp
The Undergraduate Performance Project provides students the opportunity to study and perform in major dramatic works. The Fall 2013 Undergraduate Acting Project presents the edgy, satirical play: `Attempts on Her Life¿ by the acclaimed contemporary British playwright Martin Crimp. 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: Aut
| Units: 2-9
| UG Reqs: WAY-CE
| Repeatable
3 times
(up to 15 units total)
TAPS 124D:
Acting for Non-Majors (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 stories for radio/podcast or live performance - spoken, sonic stories. We will examine the main features and craft of these kinds of stories, popularized by radio programs like This American Life and live shows like The Moth and you will then write and produce your own piece, be it memoir, documentary, inquiry, or some combination of these genres. Students will have the opportunity to meet at work with some of the best storytellers in America - this term, you will get to meet and work with Julie Snyder, senior producer of This American Life.
Terms: Win
| Units: 4
| UG Reqs: WAY-CE
TAPS 127:
Dynamics of Conflict: Contact and Combat in Performance
How do experiments in movement help artists mine a play for its meanings? How does physical staging illuminate for the audience truths about characters, relationships and the arc of a scene? What can actors learn about themselves and their ensemble through physical improvisation and composition? This course is for students interested in movement and dynamic storytelling; no prior training is required. We will explore the fundamentals of contact improvisation and stage combat as a means of strengthening mind-body connection and preparing the actor for more nuanced, compelling, emotionally-rooted work on the stage. Our training consists of four main components: physical conditioning, practical technique, movement improvisation and the creation of several short performance pieces.
Terms: Win
| Units: 4
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 8 units total)
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.
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE
TAPS 128:
Acting for Film and Video
Acting techniques for working on film and with video.
Terms: Spr
| 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.
Terms: Aut
| 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: Winter 2013
| 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. Concludes with a class showing/performance of the student's work.
Terms: Spr
| Units: 3-4
| UG Reqs: 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.
Terms: Aut
| Units: 4
| UG Reqs: WAY-CE, WAY-EDP
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.
Last offered: Winter 2013
| Units: 4
| UG Reqs: WAY-CE
TAPS 170:
Directing & 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.
Terms: Win
| 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, 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: Aut
| 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 175:
Writing for Performance: The Fundamentals (CSRE 177)
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: Spr
| Units: 5
| 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: Win
| Units: 5
| 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.
Terms: Win
| 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)
Terms: Aut
| Units: 3-4
| UG Reqs: WAY-CE
TAPS 203:
Advanced Improvisation
Further development of improvisational skills.
Terms: Win
| 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.
Terms: Aut
| 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.
Terms: Aut
| Units: 4
| UG Reqs: WAY-CE
TAPS 272:
Out of Place: (W)riting Home (CSRE 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: Aut
| Units: 4
| UG Reqs: WAY-CE
TAPS 273:
Directing & Dramaturgy: Composition and Adaptation for Theatre (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.
Last offered: Spring 2013
| 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: Win
| Units: 5
| 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.
Terms: Win
| 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?nnnFor the past two centuries, elite writers, composers, and artists have found inspiration in 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 Alan and John 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 as the writers we study did.
Terms: Win
| Units: 4
| UG Reqs: College, THINK, WAY-A-II, WAY-CE
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: Jan 19 and Feb 2. 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
