printer friendly pageMUSIC 201: CCRMA Colloquium
Weekly review of work being done in the field, research taking palce at CCRMA, and tools to make the most of the CCRMA technical facilities.
Terms: Aut
| Units: 1
| Repeatable
18 times
(up to 18 units total)
Instructors:
Worthey, N. (PI)
MUSIC 208C: Architecture, Acoustics and Ritual in Byzantium (ARTHIST 208C, ARTHIST 408C, CLASSICS 175, MUSIC 408C, REES 208C, REES 408C, RELIGST 208C, RELIGST 308C)
Onassis Seminar "Icons of Sound: Architecture, Acoustics and Ritual in Byzantium". This year-long seminar explores the creation and operations of sacred space in Byzantium by focusing on the intersection of architecture, acoustics, music, and ritual. Through the support of the Onassis Foundation (USA), nine leading scholars in the field share their research and conduct the discussion of their pre-circulated papers. The goal is to develop a new interpretive framework for the study of religious experience and assemble the research tools needed for work in this interdisciplinary field.
Last offered: Spring 2014
| UG Reqs: WAY-A-II
| Repeatable
3 times
(up to 9 units total)
MUSIC 220A: Fundamentals of Computer-Generated Sound
What are the basic tools that computer music researchers and artists use to create sound? This course will include a summary of digital synthesis techniques (additive, subtractive, wavetable, frequency modulation and physical-modeling), signal processing techniques for digital effects, (reverberation, panning, filters), and basic psychoacoustics. Programming experience is recommended, but not required. Course will use the ChucK computer music language. Majors (undergraduate or graduate) must take for 4 units. See
http://ccrma.stanford.edu/.
Terms: Aut
| Units: 2-4
MUSIC 220B: Compositional Algorithms, Psychoacoustics, and Computational Music
The use of high-level programming language as a compositional aid in creating musical structures. Advanced study of sound synthesis techniques. Simulation of a reverberant space and control of the position of sound within the space. See
http://ccrma.stanford.edu/. Prerequisite: 220A.
Terms: Win
| Units: 2-4
| UG Reqs: WAY-A-II
Instructors:
O'Brien, T. (PI)
;
Wang, G. (PI)
MUSIC 220C: Research Seminar in Computer-Generated Music
Individual projects in composition, psychoacoustics, or signal processing. See
http://ccrma.stanford.edu. May be repeated for credit. Prerequisite: 220B.
Terms: Spr
| Units: 2-4
| Repeatable
for credit
Instructors:
Chafe, C. (PI)
;
Chechile, A. (PI)
MUSIC 220D: Research in Computer-Generated Music
Independent research projects in composition, psychoacoustics, or signal processing. See
http://ccrma.stanford.edu/. May be repeated for credit. Prerequisite: 220C.
Terms: Aut, Win, Spr, Sum
| Units: 1-10
| Repeatable
for credit
Instructors:
Abel, J. (PI)
;
Berger, J. (PI)
;
Berners, D. (PI)
...
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Instructors:
Abel, J. (PI)
;
Berger, J. (PI)
;
Berners, D. (PI)
;
Bosi, M. (PI)
;
Chafe, C. (PI)
;
Fujioka, T. (PI)
;
Kadis, J. (PI)
;
Kapuscinski, J. (PI)
;
Leitman, S. (PI)
;
Lopez-Lezcano, F. (PI)
;
Mysore, G. (PI)
;
Rossing, T. (PI)
;
Selfridge-Field, E. (PI)
;
Slaney, M. (PI)
;
Smith, J. (PI)
;
Wang, G. (PI)
MUSIC 221: Topics in the History of Theory
The intersection of music theory and compositional practice in different eras of Western music history. Primary sources in music theory and issues such as notation, rhythm, mode, dissonance treatment, counterpoint, tonality, form, rhetoric, affect and imitation, expression, linear analysis, 12-tone and set theory, in light of relevant repertoire and modern scholarship. May be repeated for credit a total of 5 times.
Last offered: Winter 2012
| Repeatable
6 times
(up to 30 units total)
MUSIC 222: Sound in Space
Historical background, techniques and theory on the use of space in music composition and diffusion. Listening and analysis of relevant pieces. Experimental work in spatialization techniques leading to short studies to be diffused in concert at the end of the quarter.
Last offered: Spring 2015
| UG Reqs: WAY-CE
MUSIC 223: Composition for Electronic Musicians
Composition for any combination of acoustic and electroacoustic instrumentation, computer-generated sound, invented instruments, sound-sculptures, and multi-disciplinary elements including theater and visual media. Project-based laboratory to advance original student works, supported by lectures on the fundamentals of composition. Concert performance of final works. Taught at CCRMA with a focus on engendering deliberate conversation on the enrichment of a cultural context for new media. Open to undergraduates and graduates.
Terms: Spr
| Units: 1-4
| UG Reqs: WAY-CE
| Repeatable
3 times
(up to 12 units total)
Instructors:
Applebaum, M. (PI)
;
Canfield-Dafilou, E. (TA)
MUSIC 223T: Computer Music Improvisation and Algorithmic Performance
This seminar will investigate how to approach configuring a set of composition tools for real time composition. Composition programming, ensemble rehearsal, and performance. Determining algorithmic composition beginning by imagining a process or a structure, applying a mapping process to transform that structure (which resides in the conceptual domain), into sound (which may reveal the original conception). Investigation of gestural mapping that occurs when a sonic result is achieved by an act of interpretation, whether it be reading a score and/or improvising.
Last offered: Autumn 2012
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