printer friendly pageMUSIC 154B: Aesthetics of Experimental Electronic Music, 1980 to Today
In this course, students will listen to, analyze, and interpret experimental electronic music since 1980. We will explore how technologies influence music making, audiences¿ experiences, distribution outlets and performance contexts for electronic music. How do artists generate meaning and expressivity when using experimental tools and styles? Emphasis on developing vocabulary and frameworks for informed discourse surrounding electronic music, drawing from both academic and journalistic traditions. Topics include electronic dance music, dubstep, hip hop, internet music culture, drone, noise, microsound, electroacoustic, and sound art. Highly recommended for music majors taking the MST specialization. For upper-level undergraduates and graduate students.
Instructors:
Chang, V. (PI)
;
Herndon, H. (PI)
MUSIC 186: Religion and Music in South Asia (MUSIC 286, RELIGST 259)
How music and other arts in South Asia are intertwined with religion. Classical, devotional, folk, and popular examples introduce Gods as musicians, sound as God, music as yoga, singing as devotion, music as ¿ecstasy¿-inducing, music as site for doctrinal argument, music and religion as vehicles for nationalism. Co-taught by professors of Music and Religious Studies, focusing Hinduism and Islam in India, Pakistan, and the diaspora. Music practice along with academic study; guest artists and films; no background required.
| UG Reqs: GER:DB-Hum, GER:EC-GlobalCom
MUSIC 192C: Session Recording
Independent engineering of recording sessions. May be repeated for credit a total of 14 times. Prerequisites: 192A,B.
| Repeatable
15 times
(up to 30 units total)
Instructors:
Kadis, J. (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.
| Repeatable
6 times
(up to 30 units total)
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.
MUSIC 250B: Interactive Sound Art
A project based course where students will create Interactive Sound Art Installations focusing on the acoustical properties of reverberation. See
http://ccrma.stanford.edu/courses/250b/.
MUSIC 252: Introduction to Music Notation Software
Learn to use music notation programs Finale®, Sibelius® and open-source alternatives.
MUSIC 260: Music of South Asia
Focuses on the history, theory, and practice of South Asian music with particular emphasis on the classical traditions of North and South India. Also addresses regional folk, popular, and devotional musical styles of India, Pakistan, and Afghanistan. Topics include: raga, tala, vocal and instrumental genres, improvisation, aesthetics, music transmission, musical nationalism, social organization of musicians, music and ritual, music and gender, and technology. Lecture with discussion, some singing (no experience necessary), guest performances, reading, listening, and analysis.
MUSIC 272G: Advanced Gu-Zheng
Private lesson weekly. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit
http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (
http://music.stanford.edu) for policy and procedure.
| Repeatable
15 times
(up to 45 units total)
MUSIC 277: Advanced Percussion
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit
http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (
http://music.stanford.edu) for policy and procedure.
| Repeatable
15 times
(up to 45 units total)
Instructors:
Veregge, M. (PI)
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