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, Spr
| Units: 3
| UG Reqs: WAY-A-II, GER:DB-Hum, WAY-CE
Instructors:
Berger, T. (PI)
;
Kuo, E. (PI)
;
Rose, F. (PI)
;
Wang, R. (PI)
;
Golubkova, A. (TA)
;
Yu, J. (TA)
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-CE, WAY-A-II
Instructors:
Berger, T. (PI)
;
Wang, R. (TA)
MUSIC 20B: Advanced Jazz Theory
Approaches to improvisation and composed jazz lines through listening, transcribing, analysis, and compositional exercises. Topics include: chord/scale theory, melodic minor harmony, altered chords, and substitute harmony. Prerequisite: 20A or consent of instructor.
Terms: Win, Spr
| Units: 3
| UG Reqs: WAY-A-II, WAY-CE, GER:DB-Hum
Instructors:
Nadel, J. (PI)
MUSIC 22: Intermediate Tonal Theory
Preference to majors. Introduction to chromatic harmony focusing on secondary functions, modulations, and harmonic sequences. 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); or consent of instructor.
Terms: Win, Spr
| Units: 3
| UG Reqs: WAY-A-II, WAY-CE, GER:DB-Hum
MUSIC 23: Advanced Tonal Theory
Preference to majors. Continuation of chromatic harmony such as mode mixture, Neapolitan, augmented sixth chords, enharmonic modulation, complex forms of the late Romantic and early Modern period, and the transition to post-tonal theory (church modes, octatonic, pentatonic, whole-tone scales, amongst other topics). 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); or consent of instructor.
Terms: Aut, Spr
| Units: 3
| UG Reqs: WAY-A-II, WAY-CE, GER:DB-Hum
MUSIC 24B: Ear Training II
Class is closed by design. Please contact instructor Erika Arul (mailto:earul@stanford.edu) for permission to enroll. Preference to Music majors and minors.
Terms: Aut, Win, Spr
| Units: 1-2
Instructors:
Arul, E. (PI)
;
Lee, P. (PI)
;
Limric, B. (PI)
;
Lee, P. (TA)
;
Limric, B. (TA)
;
Xiong, J. (TA)
MUSIC 24C: Ear Training III
Class is closed by design. Please contact instructor Erika Arul (mailto:earul@stanford.edu) for permission to enroll. Preference to Music majors and minors.
Terms: Aut, Win, Spr
| Units: 1-2
MUSIC 24Z: Ear Training
Class is closed by design. Please contact instructor Erika Arul (mailto:earul@stanford.edu) for permission to enroll. Preference to Music majors and minors.
Terms: Aut, Win, Spr
| Units: 0
Instructors:
Arul, E. (PI)
MUSIC 31N: Behind the Big Drums: Exploring Taiko (ASNAMST 31N)
Preference to Freshman. Since 1992 generations of Stanford students have heard, seen, and felt the power of taiko, big Japanese drums, at Admit Weekend, NSO, or Baccalaureate. Taiko is a relative newcomer to the American music scene. The contemporary ensemble drumming form, or kumidaiko, developed in Japan in the 1950s. The first North American taiko groups emerged from the Japanese American community shortly after and coincided with increased Asian American activism. In the intervening years, taiko has spread into communities in the UK, Europe, Australia, and South America. What drives the power of these drums? In this course, we explore the musical, cultural, historical, and political perspectives of taiko through readings and discussion, conversations with taiko artists, and learn the fundamentals of playing. With the taiko as our focal point, we find intersections of Japanese music, Japanese American history, and Asian American activism, and explore relations between performance, cultural expression, community, and identity.
Terms: Spr
| Units: 3
| UG Reqs: WAY-A-II, WAY-EDP
Instructors:
Sano, S. (PI)
;
Uyechi, L. (PI)
MUSIC 33N: Beethoven
This seminar is designed as an in-depth introduction to the music of Ludwig van Beethoven. In addition to exploring the composer's principal works in a variety of genres (symphonies, piano sonatas, string quartets, opera, etc.), we will consider broader questions of biography and reception history. How have images of the composer and the fortunes of his music changed over time? How did his compositions come to define the paradigm of Western classical music? What impact has he had on popular culture? The class is open to all levels of musical expertise; the ability to read music is not a requirement. Come prepared to discover -- or rediscover -- some great music!
Terms: Spr
| Units: 3
| UG Reqs: WAY-A-II
Instructors:
Hinton, S. (PI)
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