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61 - 70 of 226 results for: MUSIC

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.
Terms: Win | Units: 3 | UG Reqs: WAY-CE
Instructors: Wait, G. (PI)

MUSIC 140: Studies in Medieval Music (MUSIC 240)

Prerequisites: MUSIC 21, MUSIC 40. (WIM at 4-unit level only.)
Last offered: Autumn 2011 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable for credit

MUSIC 141: Studies in Renaissance Music (MUSIC 241)

Prerequisites: MUSIC 21, MUSIC 40. (WIM at 4-unit level only.)
Last offered: Winter 2011 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable for credit

MUSIC 143: Studies in Classic Music (MUSIC 243)

Prerequisites: MUSIC 22, MUSIC 41. (WIM at 4-unit level only.)
Last offered: Spring 2009 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable for credit

MUSIC 144: Studies in Romantic Music (MUSIC 244)

Prerequisites: MUSIC 23, MUSIC 42 (WIM at 4-unit level only.)
Last offered: Winter 2012 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable for credit

MUSIC 146: Music and Urban Film (MUSIC 246)

How music and sound work in urban cinema. What happens when music's capacity to transform everyday reality combines with the realism of urban films? Provides an introduction to traditional theories of film music and film sound; considers how new technologies and practices have changed the roles of music in film. Readings discuss film music, realistic cinema, urban musical practices and urban culture. Viewing includes action/adventure, Hindi film, documentary, film noir, hip hop film, the musical, and borderline cases by Jean-Luc Godard, Spike Lee, Wong Kar-Wai and Tsai Ming-Liang. Pre- or corequisite (for music majors): MUSIC 22. (WIM at 4 unit level only.)
Last offered: Spring 2012 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-EDP

MUSIC 147A: Music Ethnography of the Bay Area (MUSIC 247A)

An introduction to music ethnography through student research on musical life in the Bay Area. Focus is on the intersections of music, social life, and cultural practice by engaging with people as they perform music and culture in situ. Techniques taught include participant-observation, interviewing and oral history, writing fieldnotes, recording, transcription, analysis, and ethnographic writing. Pre-/corequisite (for music majors): MUSIC 22. (WIM at 4- or 5-unit level only.)
Last offered: Spring 2012 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-EDP

MUSIC 149: Reactions to the Record: Interpreting Beethoven (MUSIC 249)

Seminar. Beethoven performance styles in the era of recordings in light of their roots in cultural trends, including shifting hierarchies between composer and performer, work and notation, text and act. Early recordings as documents of musical values and conceptions different from those around us today. Methodologies of performance analysis explored and used to contextualize sources, which include historic recordings from Stanford's Archive of Recorded Sound, performance documents, and field research with performers, composers, critics, and listeners. Repertoire includes works for orchestra, piano, strings, chamber ensemble and voice. Previous research from seminar participants has been featured in Reactions to the Record symposia. May be repeated for credit. Pre- or corequisite (for music majors): MUSIC 22. (WIM at 4-unit level only.)
Terms: Win | Units: 3-4 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable for credit

MUSIC 150: Musical Acoustics

The physics of vibrating systems, waves, and wave motion. Time- and frequency-domain analysis of sound. Room acoustics, reverberation, and spatialization. The acoustics of musical instruments: voice, strings, and winds. Emphasis is on the practical aspects of acoustics in making music. Hands-on and computer-based lab. See http://ccrma.stanford.edu/courses/150/.
Terms: Win | Units: 3 | UG Reqs: GER:DB-EngrAppSci

MUSIC 154: History of Electronic Music

What is electronic music? Acousmatic, computer music, algorithmic composition, tape music, glitch, electronic, musique concrète, noise, laptop music, DJ'ing, organized sound...what do these labels mean? This course will provide a brief historical survey of electroacoustic music and discuss some of the most salient questions associated with it, from both a compositional and musicological point of view. Topics to be covered include: definitions of musical sounds; Schaefferian theory and musique concrète; serialism and elektronische Musik; tape music and computer music in the USA; analysis of electroacoustic music; sampling and intellectual property; algorithmic and computer-assisted composition; live-electronics and improvisation. The course does not require previous experience in the field. Classes will be based on discussion of selected listening and reading materials, as well as hands-on digital experimentation with sounds.
| UG Reqs: WAY-A-II | Repeatable 2 times (up to 6 units total)
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