printer friendly pageMUSIC 140G: Identity and Popular Music (CSRE 140G, FEMGEN 140G)
Major political issues of our time are played out in popular music. How do we come to identify with it and how does it influence our sense of self? This course investigates the intersection of identifications such as gender, sexuality, nationality, race, ethnicity, age, class, and ability in a variety of popular music from mid-century to the present. No special knowledge of music is required.
Terms: Spr
| Units: 3-5
Instructors:
Goldin-Perschbacher, S. (PI)
MUSIC 144: Studies in Romantic Music (MUSIC 244)
Terms: Win
| Units: 3-4
| UG Reqs: GER:DB-Hum, WAY-A-II
| Repeatable
for credit
Instructors:
Berger, K. (PI)
;
Chang, V. (TA)
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.)
Terms: Win
| Units: 3-4
| UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-EDP
MUSIC 147A: Listening to the Local: 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 units only.)
Terms: Spr
| Units: 3-5
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-EDP
Instructors:
Schultz, A. (PI)
;
Callery, E. (TA)
MUSIC 147C: Latin American Music and Globalization (MUSIC 247C)
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: Aut
| Units: 3-4
| UG Reqs: WAY-A-II, WAY-EDP
| Repeatable
2 times
(up to 8 units total)
MUSIC 148: Musical Shakespeare: Theater, Song, Opera, and Film (MUSIC 248)
The role of music in productions, adaptations, and interpretations of Shakespeare's plays as theater, opera, and film from the Elizabethan era through the present. Emphasis is on the role of songs, stage music, and music in operatic and film adaptations. Incidental music, orchestral tone poems, and art-song settings of lyrics from the plays. Plays include
Romeo and Juliet, Othello, Macbeth, Hamlet, The Tempest, Midsummer Night's Dream, and
Twelfth Night. Pre-/corequisite (for music majors):
MUSIC 22. (WIM at 4- or 5-unit level only.)
Last offered: Winter 2009
| UG Reqs: GER:DB-Hum
| Repeatable
for credit
MUSIC 149: Reactions to the Record: Early Recordings, Lost Styles, and Music's Future (MUSIC 249)
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: Aut, Spr
| Units: 3-4
| UG Reqs: GER:DB-Hum, WAY-A-II
| Repeatable
for credit
Instructors:
Arul, K. (PI)
;
Barth, G. (PI)
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