21 - 30 of 360 results for: MUSIC

Piano: Introductory Level 3 (Group; 10 students to a section) (A=Level 1; B=Level 2; C=Level 3). Class is closed by design. Please register on the wait-list and show up on the first day of class to receive a permission number for enrollment. Complete registration form available for download at: http://tinyurl.com/q43c48g. May be repeated for credit 5 times. Zero unit enrollment option available with instructor permission. See website: ( http://tinyurl.com/posmuhn) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.

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.). There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee and signup information. Zero unit enrollment option available with instructor permission. See website: ( http://music.stanford.edu) for policy and procedure.

The margins of musical culture; nonconformist, maverick, and eccentric creative impulses that expand the definition of art. Laboratory atmosphere and daily rehearsals in which students create collaborative works with a final public concert involving collaborations with local musicians and presentations of student-composed works created during the course.

Introductory Piano (zero-unit option). Complete registration form available for download at: http://tinyurl.com/q43c48g. Zero unit enrollment option available with instructor permission. See website: ( http://tinyurl.com/posmuhn) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.

This seminar is an introduction to regional and popular music of South Asia¿India, Pakistan, Sri Lanka, Bangladesh, and Nepal. An immense variety of South Asian music¿everything from drumming to wedding songs to movie scores¿is woven into the social lives of both audiences and performers. Through their music, people across South Asia express social criticism, bring about political change, engage in worship, mark rites of passage, and cope with rapid and unsettling socio-economic changes. For example, Marathi kirtan, a form of devotional song/storytelling from Western India, has been used to teach spiritual lessons and oppose colonial occupation; musicians from South Indian oppressed castes enlist drums to protest their low social status; and the ever-popular Bollywood dance music creates a sense of home for Indians living abroad. In this seminar you will have the opportunity to acquire listening skills that will enhance your appreciation of the variety and depth of South Asian folk and popular music. We will draw on areas such as folklore and ethnomusicology to gain an understanding about what makes these musical practices thrive. And we will go on three field trips, which will give you an opportunity to engage first-hand with South Asian music and musicians in our local community. No musical experience is required.

Preference to sophomores. Social history, cultural studies, China studies, international relations, and music. From the Italian Jesuit, Matteo Ricci who presented a clavichord to the Chinese emperor to the emergence of a modern generation of Chinese musicians.

This seminar explores how the themes, characters, stories, and, above all, the songs of the Broadway musical have played a key role in forming ideas of American identity from the early 20th century to the present. Musical theater is a perennial site for negotiating social themes of race, class, gender roles, and sexual identity. The American musical has been in constant dialogue with vernacular song and dance idioms, from ragtime and early jazz to rock, pop, disco, hip-hop, and electronic dance music. Jazz musicians have regularly looked to musical theater for their ¿standards,¿ as have talent shows from the vaudeville era to American Idol. Disney musicals, the television series Glee and Smash, and the High School Musical franchise all illustrate how ¿musicals¿ serve as a medium for negotiating personal identity from childhood through early adulthood, staging the conflicts and attachments that define our everyday lives while connecting these with the culture we live in through the collective medium of song. nWe will look at a variety of influential historical musicals (Oklahoma, Guys and Dolls, Gypsy, The Music Man, West Side Story) and a few recent shows such as Wicked, Hairspray, Bloody Bloody Andrew Jackson, American Idiot, and The Book of Mormon, asking what the relation is between individual numbers and the overall themes and structures of the shows. How do lyrics and music combine in a successful song, and how does a song contribute to shape of the show? How do the dynamics of live theater relate to the presentation of musicals in the mediums of film and television? In addition to working on selected songs and scenes with the help of Stanford voice and drama faculty, students will attend, discuss, and review Bay area productions (San Jose, San Francisco), including the Broadway by the Bay (Redwood City) production of Cabaret opening on September 13, 2013. Grading will be based on class discussion, production analysis and reviews, and a choice between a final creative project and a short research paper.

Got a startup idea at the intersection of tech and new media? Dream of creating the next Pandora, Pixar or PlayStation? Maybe a passion project you've been hacking on?

Real StartUp is an individually tailored program for student initiated teams to incubate a start up project at the intersection of tech and media - music, video, gaming, digital arts, etc. Teams of 2-4 students will be selected and work collaboratively with industry mentors from Pandora, Apple, Twitter, Adobe, Autodesk, DTS, Universal Audio, and more. Teams will develop deep industry connections and entrepreneurial insights for commercializing creative technologies.

Preference to freshmen. Women's musical activities across times and cultures; how ideas about gender influence the creation, performance, and perception of music.