printer friendly pageMUSIC 247J: Studies in Music, Media, and Popular Culture: The Soul Tradition in African American Music (AFRICAAM 19, AMSTUD 147J, CSRE 147J, MUSIC 147J)
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.)
Last offered: Winter 2015
MUSIC 247K: Studies in Music, Media, and Popular Culture: Music and Urban Film (MUSIC 147K)
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
Instructors:
Kronengold, C. (PI)
MUSIC 247L: Studies in Music, Media, and Popular Culture: Latin American Music and Globalization (CHILATST 147L, CSRE 147L, MUSIC 147L)
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
| Repeatable
2 times
(up to 8 units total)
Instructors:
Kronengold, C. (PI)
;
Schultz, A. (PI)
MUSIC 248J: Studies in Perf Practice: Reactions to the Record: Early Recordings, Lost Styles, and Music's Future (MUSIC 148J)
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: Spr
| Units: 3-4
| Repeatable
for credit
Instructors:
Arul, K. (PI)
;
Barth, G. (PI)
MUSIC 250A: Physical Interaction Design for Music
This lab and project-based course explores how we can physically interact with real-time electronic sound. Students learn to use and design sensors, circuits, embedded computers, communication protocols and sound synthesis. Advanced topics include real-time media, haptics, sound synthesis using physical model analogs, and human-computer interaction theory and practice. Course culminates in musical performance with or exhibition of completed design projects. A $50 lab fee will be added to your bill upon enrollment in this course. See
http://ccrma.stanford.edu/.
Terms: Aut
| Units: 3-4
| Repeatable
3 times
(up to 10 units total)
Instructors:
Leitman, S. (PI)
;
Watts, A. (TA)
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/.
Last offered: Winter 2013
MUSIC 251: Psychophysics and Music Cognition
Lecture, lab and experiment-based course in perception, psychoacoustics, cognition, and neuroscience of music. (WIM at 4 or 5 units only.)
Terms: Spr
| Units: 1-5
Instructors:
Fujioka, T. (PI)
;
Huberth, M. (PI)
MUSIC 252: Introduction to Music Notation Software
Learn to use music notation programs Finale®, Sibelius® and open-source alternatives.
Last offered: Autumn 2012
MUSIC 253: Symbolic Musical Information (CS 275A)
Focus on symbolic data for music applications including advanced notation systems, optical music recognition, musical data conversion, and internal structure of MIDI files.
Terms: Win
| Units: 2-4
Instructors:
Sapp, C. (PI)
;
Selfridge-Field, E. (PI)
MUSIC 254: Music Query, Analysis, and Style Simulation (CS 275B)
Leveraging off three synchronized sets of symbolic data resources for notation and analysis, the lab portion introduces students to the open-source Humdrum Toolkit for music representation and analysis. Issues of data content and quality as well as methods of information retrieval, visualization, and summarization are considered in class. Grading based primarily on student projects. Prerequisite: 253 or consent of instructor.
Terms: Spr
| Units: 2-4
Instructors:
Sapp, C. (PI)
;
Selfridge-Field, E. (PI)
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