printer friendly pageMUSIC 248: Musical Shakespeare: Theater, Song, Opera, and Film (HUMNTIES 192G, MUSIC 148)
The role of music in productions, adaptations, and interpretations of Shakespeare's plays as theater, opera, and film from the Elizabethan era through the present. Emphasis is on the role of songs, stage music, and music in operatic and film adaptations. Incidental music, orchestral tone poems, and art-song settings of lyrics from the plays. Plays include
Romeo and Juliet, Othello, Macbeth, Hamlet, The Tempest, Midsummer Night's Dream, and
Twelfth Night. Pre-/corequisite (for music majors):
MUSIC 22. (WIM at 4- or 5-unit level only.)
Last offered: Winter 2009
| Repeatable
for credit
MUSIC 249: Reactions to the Record: Early Recordings, Lost Styles, and Music's Future (MUSIC 149)
Seminar. The transformation of musical style, audience expectations, the composer-performer relationship, and the musical score from the late 1800s to the present. Sources include: recordings from Stanford's Archive of Recorded Sound; recordings of (Brahms, Debussy, Rachmaninoff, Saint-Saëns, Prokofiev, Bartók; concert programs; interviews; and reviews. Readings include Hamilton's
After the Golden Age and Philip's
Performing Music in the Age of Recording. Emphasis is on voice, strings, piano, chamber music, and orchestra. Guest residencies in conjunction with January 2009 symposium; see
http://music.stanford.edu/Events/StanfordMusicSymposium/. May be repeated for credit. Pre-/corequisite (for music majors):
MUSIC 22. (WIM at 4-unit level only.)
Last offered: Autumn 2008
| Repeatable
for credit
MUSIC 250A: HCI Theory and Practice
HCI issues as they relate to music applications in composition and performance. Project-oriented, examining issues from the technical and theoretical perspectives of computer science, haptics, and music theory. See
http://ccrma.stanford.edu/.
Terms: Aut
| Units: 3-4
MUSIC 250B: HCI Performance Systems
Continuation of 250A, concentrating on interactive computer-music performance systems. See
http://ccrma.stanford.edu/courses/250b/. Prerequisite: 250A.
Terms: Win
| Units: 1-4
Instructors:
Leitman, S. (PI)
;
Wilkerson, C. (PI)
MUSIC 251: Psychophysics and Music Cognition
Lecture, lab and experiment-based course in perception, psychoacoustics, cognition, and neuroscience of music. (WIM at 4 or 5 units only.)
Terms: Win
| Units: 1-5
| UG Reqs: GER:DB-Hum
Instructors:
Berger, J. (PI)
;
Oh, J. (TA)
MUSIC 253: Musical Information: An Introduction
The kinds of musical information used in sound, graphical, and analytical applications. Emphasis is on independent concepts and principles in music representation and research objectives (repertory analysis, performance analysis, theoretical models, similarity, and stylistic simulation). Examples from Western art music. Prerequisites: one year of music theory or equivalent; methods courses in fields such as musical analysis, symbolic systems, information processing, sound engineering, or intellectual property issues.
Terms: Win
| Units: 1-4
Instructors:
Selfridge-Field, E. (PI)
MUSIC 254: Applications of Musical Information: Query, Analysis, and Style Simulation
Participants explore the issues introduced in 253 in greater depth and take initiative for research projects related to a theoretical or methodological issue, a software project, or a significant analytical result. Prerequisite: 253 or consent of instructor.
Terms: Spr
| Units: 2-4
Instructors:
Selfridge-Field, E. (PI)
MUSIC 256A: Music, Computing, and Design I: Software Paradigms for Computer Music
Software design and implementation for computer audio. Strategies, best practices, and tradeoffs in building audio software systems of various sizes (S, M, L, XL), with a focus on interactive (real-time) systems. Lectures examine high-level designs as well as dissect code in a hands-on manner. Course work includes small programming assignments and a final software project. This course is the prerequisite for
MUSIC 256B. Prerequisite: experience in C/C++ and/or Java.
Terms: Aut
| Units: 1-4
Instructors:
Wang, G. (PI)
MUSIC 256B: Mobil Music
Aesthetic, design, and implementation of mobile music, centered around the modern super smartphones such as the iPhone). Similarities and intrinsic differences between mobile and traditional computing and design for music. Topics include mobile software design, social and cloud computing, mobile interface design, and programming phones, in the service of music. Prerequisite:
MUSIC 256A.
Terms: Win
| Units: 1-4
Instructors:
Wang, G. (PI)
;
Bryan, N. (TA)
MUSIC 269: Research in Performance Practices
Directed reading and research. May be repeated for credit a total of 5 times.
Terms: Aut, Win, Spr, Sum
| Units: 1-5
| Repeatable
6 times
(up to 30 units total)
Instructors:
Bar-David, E. (PI)
;
Berger, T. (PI)
;
Dornenburg, J. (PI)
...
more instructors for MUSIC 269 »
Instructors:
Bar-David, E. (PI)
;
Berger, T. (PI)
;
Dornenburg, J. (PI)
;
Martin, A. (PI)
;
Myers, H. (PI)
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