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591 - 600 of 823 results for: all courses

MUSIC 146K: Studies in Ethnomusicology: Music of South Asia (MUSIC 246K)

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 Bangladesh. 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. Pre-/corequisite (for music majors): MUSIC 22. (WIM at 4 or 5 units only.)
Terms: not given this year | Units: 3-5 | UG Reqs: GER:EC-GlobalCom, WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

MUSIC 146L: Studies in Ethnomusicology: Musics of Africa and the African Diaspora (AFRICAAM 146L, AFRICAST 246L, MUSIC 246L)

An introduction to musics of Africa and the African Diaspora. Topics include: music and nationalism, religion, embodiment, diaspora, migration, resistance, gender, globalization, and race. Musical regions and nations may include: Zimbabwe, South Africa, West Africa, Central Africa, Somalia, Ethiopia, the Caribbean, and the United States. This is a seminar-based course in which students will write short reflective papers and a final, research-based paper.Pre- or co-requisite for WIM credit: Music 22. WIM at 4 or 5 letter-graded units only.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

MUSIC 147J: Studies in Music, Media, and Popular Culture: The Soul Tradition in African American Music (AFRICAAM 19, AMSTUD 147J, CSRE 147J, MUSIC 247J)

The African American tradition of soul music from its origins in blues, gospel, and jazz to its influence on today's r&b, hip hop, and dance music. Style such as rhythm and blues, Motown, Southern soul, funk, Philadelphia soul, disco, Chicago house, Detroit techno, trip hop, and neo-soul. Soul's cultural influence and global reach; its interaction with politics, gender, place, technology, and the economy. Pre-/corequisite (for music majors): MUSIC 22. (WIM at 4 units only.)
Terms: not given this year, last offered Winter 2015 | Units: 3-4 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

MUSIC 147K: Studies in Music, Media, and Popular Culture: Music and Urban Film (MUSIC 247K)

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.)
Terms: not given this year | Units: 3-4 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)

MUSIC 147L: Studies in Music, Media, and Popular Culture: Latin American Music and Globalization (CHILATST 147L, CSRE 147L, MUSIC 247L)

Focuses on vernacular music of Latin America and the Caribbean, including Mexico, Cuba, Dominican Republic, Peru, Brazil, Colombia, and Argentina. Musical examples discussed in relation to: globalization, migration, colonialism, nationalism, diaspora, indigeneity, politics, religion, dance, ethnicity, and gender. How music reflects and shapes cultures, identities, and social structures. Genres addressed: bachata, bossa nova, cumbia, forro, ranchero, reggaeton, rock, salsa, tango, and others. Seminar, guest performances, reading, listening, and analysis. Pre-/corequisite (for music majors): MUSIC 22. (WIM at 4 units only.)
Terms: not given this year, last offered Autumn 2015 | Units: 3-4 | UG Reqs: WAY-A-II, WAY-ED | Repeatable for credit | Grading: Letter or Credit/No Credit

MUSIC 148J: Studies in Perf Practice: Reactions to the Record: Early Recordings, Lost Styles, and Music's Future (MUSIC 248J)

This is a seminar on the transformation of musical style 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 will be studied as documents of musical values and conceptions different from those around us today. Methodologies of performance analysis will be 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. Outstanding contributions from seminar members may be featured in the Music Department¿s May 2014 Reactions to the Record symposium. May be repeated for credit. Pre- or corequisite (for music majors): MUSIC 22. (WIM at 4-unit level only.)
Terms: not given this year | Units: 3-4 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable for credit | Grading: Letter (ABCD/NP)

MUSIC 150R: Robert Schumann and the Idea of Musical Romanticism

The creative personality and musical compositions of Robert Schumann (1810-1856) as exemplars of the idea of Romanticism in European culture of the early nineteenth century. Survey of major genres (solo piano, Lieder, symphonies, chamber music, choral music) in dialogue with Romantic literary and visual cultures. Students prepare at least one or two works by Schumann or contemporary figures (Mendelssohn, Chopin, Brahms, Clara Schumann) for presentation in lecture-recital format. Prerequisites: Music 22 or equivalent (intermediate music theory), intermediate or higher performance ability in piano, strings, or voice
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit
Instructors: Grey, T. (PI)

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.
Terms: not given this year | Units: 1-5 | UG Reqs: WAY-A-II | Repeatable for credit | Grading: Letter or Credit/No Credit

MUSIC 155: Intermedia Workshop (ARTSTUDI 239, MUSIC 255)

Students develop and produce intermedia works. Musical and visual approaches to the conceptualisation and shaping of time-based art. Exploration of sound and image relationship. Study of a wide spectrum of audiovisual practices including experimental animation, video art, dance, performance, non-narrative forms, interactive art and installation art. Focus on works that use music/sound and image as equal partners. Limited enrollment. Prerequisites: consent of instructors, and one of FILMPROD 114, ARTSTUDI 131, 138, 167, 177, 179, or MUSIC 123, or equivalent. May be repeated for credit
Terms: Win | Units: 3-4 | UG Reqs: WAY-A-II, WAY-CE | Repeatable for credit | Grading: Letter or Credit/No Credit

MUSIC 185: Technologies of Musical Expression

Music is made and experienced through technology created for it. These technologies allow for expression but influence the result. This course will utilize special collections, acoustical tools, music-making apps, live musicians, and media both historical and modern to reflect on the ways people make music expressive. The course is designed around creative projects and hands on experiences with digital and analogue media, player pianos, archival manuscripts, and sound sculptures to stimulate discussion about the role of technology in our musical experiences. Projects can include performances using digital and analogue media, performance art, creating player piano rolls, or performance ethnographies, etc. WAYS credit for 3 units and grade only.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit
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