printer friendly pageMUSIC 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)
;
O'Brien, T. (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. See
http://ccrma.stanford.edu/courses/423/ for latest information. May be repeated for credit a total of 11 times.
Terms: Aut, Win, Spr
| Units: 1-4
| Repeatable
12 times
(up to 48 units total)
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 451: Neuroscience of Auditory Perception and Music Cognition
Understand concepts and techniques in cognitive neuroscience specific to auditory perception and music cognition via seminar and laboratory work. Acquire/practice skills in experimental design, data analysis, interpretation, writing for scientific reports and research proposals, and giving a critical review of others¿ scientific work. Seminar discusses related literature in neuroanatomy, neurophysiology, neuropsychology, and brain-computer interface. Laboratory focuses on electroencephalography (EEG) techniques, classic paradigms for recording evoked response, and associated data analysis methods.
Terms: Win
| Units: 2-5
Instructors:
Fujioka, T. (PI)
MUSIC 132: Topics in Choral Music
This course seeks to combine score analysis/interpretation with rehearsing and conducting. Preference to advanced musicians (music majors or not) interested in the Choral Process: stylistic/structural analysis; interpretation: developing the mind's ear of the score; rehearsing: how to hear & how to fix; conducting. Choral literature will be drawn from western repertoire of the Renaissance to the present. Open to students who have a background in harmony with analytical aptitudes, choral or instrumental ensemble experience; background and experience in choral or orchestral conducting preferred but not required. Private instruction sessions scheduled with instructor.
Instructors:
Marvin, J. (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 200B: Proseminar in Ethnomusicology
A graduate-level introduction to the field of ethnomusicology. Issues and debates are traced through the history of the discipline, with emphasis on influences from anthropology, performance studies, linguistics, and cultural studies. Topics include music and: social organization, "culture," structure, practice, comparison, representation, globalization, identity, transcription, and embodiment.
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.
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