MUSIC 399: D.M.A. Final Project
May be repeated for credit a total of 5 times.
Terms: Aut, Win, Spr, Sum
| Units: 1-10
| Repeatable
6 times
(up to 60 units total)
Instructors:
Applebaum, M. (PI)
;
Barth, G. (PI)
;
Berger, J. (PI)
...
more instructors for MUSIC 399 »
Instructors:
Applebaum, M. (PI)
;
Barth, G. (PI)
;
Berger, J. (PI)
;
Berger, K. (PI)
;
Cai, J. (PI)
;
Chafe, C. (PI)
;
DeMarinis, P. (PI)
;
Ferneyhough, B. (PI)
;
Fujioka, T. (PI)
;
Grey, T. (PI)
;
Hadlock, H. (PI)
;
Hinton, S. (PI)
;
Kapuscinski, J. (PI)
;
Mahrt, W. (PI)
;
Myers, H. (PI)
;
Rodin, J. (PI)
;
Sano, S. (PI)
;
Smith, J. (PI)
;
Ulman, E. (PI)
;
Wang, G. (PI)
MUSIC 408C: Architecture, Acoustics and Ritual in Byzantium (ARTHIST 208C, ARTHIST 408C, CLASSICS 175, MUSIC 208C, 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
| Repeatable
3 times
(up to 9 units total)
MUSIC 420A: Signal Processing Models in Musical Acoustics
Computational methods in musical sound synthesis and digital audio effects based on acoustic physical models. Topics: mass-spring-dashpot systems; electric circuit analogies; finite difference schemes; state-space models and the modal representation; impedance; ports; acoustic simulation using delay lines, digital filters, and nonlinear elements; interpolation and sampling-rate conversion; delay effects; wave digital filters; real-time computational models for musical instruments and effects, both acoustic and electronic. See
http://ccrma.stanford.edu/courses/420/. Prerequisites:
MUSIC 320A and
MUSIC 320B or equivalent;
PHYSICS 21 or equivalent course applying Newton's laws of motion; and
CS 106B or equivalent programming in C and C++.
Last offered: Spring 2015
MUSIC 421A: Audio Applications of the Fast Fourier Transform (FFT)
Spectrum analysis and signal processing using Fast Fourier Transforms (FFTs) with emphasis on audio applications. Topics: Fourier theorems; FFT windows; spectrum analysis; spectrograms; sinusoidal modeling; spectral modeling synthesis; FFT convolution; FIR filter design and system identification; overlap-add and filter-bank-summation methods for short-time Fourier analysis, modification, and resynthesis. See
http://ccrma.stanford.edu/courses/421/. Prerequisites:
Music 320A and
Music 320B or equivalent background in spectrum analysis and linear systems.
Terms: Spr
| Units: 3-4
Instructors:
Shi, Z. (PI)
;
Smith, J. (PI)
MUSIC 422: Perceptual Audio Coding
History and basic principles: development of psychoacoustics-based data-compression techniques; perceptual-audio-coder applications (radio, television, film, multimedia/internet audio, DVD, EMD). In-class demonstrations: state-of-the-art audio coder implementations (such as AC-3, MPEG) at varying data rates; programming simple coders. Topics: audio signals representation; quantization; time to frequency mapping; introduction to psychoacoustics; bit allocation and basic building blocks of an audio codec; perceptual audio codecs evaluation; overview of MPEG-1, 2, 4 audio coding and other coding standards (such asAC-3). Prerequisites: knowledge of digital audio principles, familiarity with C programming. Recommended: 320,
EE 261. See
http://ccrma.stanford.edu/.
Terms: Win
| Units: 3
Instructors:
Bosi, M. (PI)
;
Dunkel, R. (TA)
MUSIC 423: Graduate Research in Music Technology
Research discussion, development, and presentation by graduate students, visiting scholars, and CCRMA faculty in the areas of music and/or audio technology. Permission of instructor required. See
http://ccrma.stanford.edu/courses/423/ for latest information. May be repeated for credit.
Terms: Aut, Win, Spr
| Units: 1-10
| Repeatable
for credit
(up to 990 units total)
Instructors:
Abel, J. (PI)
;
Berners, D. (PI)
;
Lopez-Lezcano, F. (PI)
...
more instructors for MUSIC 423 »
Instructors:
Abel, J. (PI)
;
Berners, D. (PI)
;
Lopez-Lezcano, F. (PI)
;
Mysore, G. (PI)
;
Smith, J. (PI)
MUSIC 424: Signal Processing Techniques for Digital Audio Effects
Techniques for dynamic range compression, reverberation, equalization and filtering, panning and spatialization, digital emulation of analog processors, and implementation of time-varying effects. Single-band and multiband compressors, limiters, noise gates, de-essers, convolutional reverberators, parametric and linear-phase equalizers, wah-wah and envelope-following filters, and the Leslie. Students develop effects algorithms of their own design in labs. Prerequisites: digital signal processing, sampling theorem, digital filtering, and the Fourier transform at the level of 320 or
EE 261; Matlab and modest C programming experience. Recommended: 420 or
EE 264; audio effects in mixing and mastering at the level of 192.
Terms: Spr
| Units: 3-4
MUSIC 451A: Basics in Auditory and Music Neuroscience
Understanding basic concepts and techniques in cognitive neuroscience using electroencephalography (EEG) specific to auditory perception and music cognition via seminar and laboratory exercise work. Acquiring and practicing skills in experimental design, data analysis, and interpretation, writing for scientific reports and research proposals, and giving a critical review of others¿ scientific work. Seminar discusses related literature in neuroanatomy, neurophysiology, psychology, and neuroimaging. Laboratory focuses on electroencephalography (EEG) techniques, classic paradigms for recording evoked response, and associated data analysis methods.
Terms: Aut
| Units: 2-5
Instructors:
Fujioka, T. (PI)
MUSIC 451B: Advanced Research in Auditory and Music Neuroscience
Advancing research skills in cognitive neuroscience specific to auditory perception and music cognition by doing individual research project. Activities include surveying literature, designing own study, discussing other¿s research and giving constructive criticisms, writing research proposals, reports and critical reviews. Laboratory works covers advanced electroencephalography (EEG) recording and analysis techniques. Seminar discusses related literature in basic and clinical research in neurophysiology and neuropsychology. Final project is aimed at producing presentable data based on hypothesis-driven experiment. Prerequisite:
Music 451A.
Last offered: Winter 2015
MUSIC 451C: Auditory EEG Research III: Coordinated Actions and Hyperscanning
Advancing EEG research skills in cognitive neuroscience specific to music cognition by conducting a group research project. In particular, this course focuses on basics for 2-person EEG (hyperscanning) paradigms and explores how coordinated actions and social interactions during musical ensemble are processed in the two brains. Laboratory works covers advanced electroencephalography (EEG) recording and analysis techniques specifically for oscillation and phase coherence across brain areas and between subjects. Seminar activities include surveying literature, discussing research articles and giving criticisms, and writing research reports. Lab scheduled separately Prerequisite:
Music 451A
Terms: Win
| Units: 2-5
| Repeatable
4 times
(up to 20 units total)
Instructors:
Fujioka, T. (PI)
Filter Results: