2013-2014 2014-2015 2015-2016 2016-2017 2017-2018
Browse
by subject...
    Schedule
view...
 

611 - 620 of 837 results for: all courses

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

MUSIC 186B: American Song in the 20th Century and after (AMSTUD 186B, MUSIC 286B)

Critical and creative exploration of song in the Americas. About twenty-five key examples will guide discussion of the interactions between words, music, performance and culture. Weekly listening, reading and assignments will be organized around central themes: love, sex and romance; war and politics; labor and money; place; identity; society and everyday life. Genres include art song; blues, gospel, jazz and country; pop, soul, rock and hip-hop; bossa nova, nueva canción and salsa; electronic and experimental. Takehome and in-class assignments will include critical and creative writing, and music composition, production and performance; final projects may emphasize any of the above.
Terms: not given this year, last offered Spring 2015 | Units: 3-4 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit

MUSIC 208C: Architecture, Acoustics and Ritual in Byzantium (ARTHIST 208C, ARTHIST 408C, CLASSICS 175, MUSIC 408C, 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.
Terms: not given this year, last offered Spring 2014 | Units: 1-3 | UG Reqs: WAY-A-II | Repeatable for credit | Grading: Letter or Credit/No Credit

MUSIC 220B: Compositional Algorithms, Psychoacoustics, and Computational Music

The use of high-level programming language as a compositional aid in creating musical structures. Advanced study of sound synthesis techniques. Simulation of a reverberant space and control of the position of sound within the space. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit. See http://ccrma.stanford.edu/. Prerequisite: 220A.
Terms: Win | Units: 2-4 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit

NATIVEAM 122: Historiography & Native American Oral Traditions and Narratives

The writing of history, in particular the writing of history based on the critical examination of sources, scholars often ignore those from a Native American perspective. In the selection of what constitutes Native American history whether it is a Native American leader or hero¿s views, or the inclusion of specific details of events from a Native American perspective, the synthesis of these particulars into a narrative is often from a non-Native American perspective. Yet, aspects of Native American oral tradition continue to tell specific tribal histories that have survived and continue to withstand the test of time. Should these oral tradition narratives be included in the telling of Native American history?n nFor Native American peoples concepts of time differ from culture to culture where history may be defined differently from one group to another. Among these different groups time is organized in different ways, i.e. for the Lakota speaking peoples, Wintercounts are kept to record more »
The writing of history, in particular the writing of history based on the critical examination of sources, scholars often ignore those from a Native American perspective. In the selection of what constitutes Native American history whether it is a Native American leader or hero¿s views, or the inclusion of specific details of events from a Native American perspective, the synthesis of these particulars into a narrative is often from a non-Native American perspective. Yet, aspects of Native American oral tradition continue to tell specific tribal histories that have survived and continue to withstand the test of time. Should these oral tradition narratives be included in the telling of Native American history?n nFor Native American peoples concepts of time differ from culture to culture where history may be defined differently from one group to another. Among these different groups time is organized in different ways, i.e. for the Lakota speaking peoples, Wintercounts are kept to record significant events in Lakota history for each year counted as a winter (thirteen months); however time is accounted for, each nation appears to incorporate oral tradition narratives that provide a cultural perspective of a group¿s origins. nFrom a Western perspective, history is secular and objectively evaluative whereas for most Indigenous peoples, history is a moral endeavor (Walker, Lakota Society 113). Thus for the Lakota peoples: ¿History is never simply the past, but the past as it relates to the present. This past is preceded, accompanied, and followed by an ever present, sacred dimension which [is] outside the realm of human time¿Without it, mere human history would lack the larger relevance that is essential to the Lakota concept. For [the Lakota], history is sacred history¿ (Walker, Lakota Society 113). nnThis course will examine the principles and theories used in the writing of Native American history in order to determine what constitutes how history is told in today's narratives. A text edited by Hurtado and Iverson that encourages critical thinking about major problems in American Indian history introduces students to primary sources and analytical essays on important topics in U.S. history with regard to Native Americans. Other selected readings on historiography and Native American oral tradition narratives will be utilized. Through the assigned readings students can read and evaluate primary sources, analyze and interpret essays by well-known Native American historians and others; and are encouraged in class discussions to draw their own conclusions in how Native American history should be told. Students will write two shorter papers and one longer paper on the topics relevant to the title of this course.
Terms: Aut, Win | Units: 4 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit

NATIVEAM 134: Museum Cultures: Material Representation in the Past and Present (AMSTUD 134, ARCHLGY 134, ARCHLGY 234, ARTHIST 284B, CSRE 134, EDUC 214)

Students will open the "black box" of museums to consider the past and present roles of institutional collections, culminating in a student-curated exhibition. Today, museums assert their relevance as dynamic spaces for debate and learning. Colonialism and restitution, the politics of representation, human/object relationships, and changing frameworks of authority make museum work widely significant and consistently challenging. Through thinking-in-practice, this course reflexively explores "museum cultures": representations of self and other within museums and institutional cultures of the museum world itself.n3 credits (no final project) or 5 credits (final project). May be repeat for credit
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE | Repeatable for credit | Grading: Letter (ABCD/NP)
Instructors: Hodge, C. (PI)

NATIVEAM 143A: American Indian Mythology, Legend, and Lore (AMSTUD 143M, ENGLISH 43A, ENGLISH 143A)

(English majors and others taking 5 units, register for 143A.) Readings from American Indian literatures, old and new. Stories, songs, and rituals from the 19th century, including the Navajo Night Chant. Tricksters and trickster stories; war, healing, and hunting songs; Aztec songs from the 16th century. Readings from modern poets and novelists including N. Scott Momaday, Louise Erdrich, and Leslie Marmon Silko, and the classic autobiography, "Black Elk Speaks."
Terms: Aut | Units: 3-5 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit
Instructors: Fields, K. (PI)

NATIVEAM 211: The California Missions: Art History and Reconciliation (ARTHIST 211, CSRE 111)

Sites of the spirit and devotion, sites of genocide, foreboding actors in Alfred Hitchcock's Vertigo, the subject of fourth-grade school projects, the Spanish Missions of Alta California are complex sites of inquiry, their meanings and associations different for each visitor. This seminar examines the art and architecture of the California Missions built between 1769 and 1823. Constructed with local materials and decorated with reredos, paintings and sculptures from Mexico and Spain, the Missions are at once humble spaces and flagships of a belated global baroque. They were also the laboratories of indigenous artists and artisans. This course seeks to understand how Mission art was meant to function, how and why it was made, what its materials were, while asking what the larger role of art was in a global system of missions. Can the study of this art lead to the reconciliation of populations in North America and within the field of art history? The Missions require a specific reexamination of the relationship between European and colonial forms, not as objects of curiosity or diffusion but as viable and globally informed agents.
Terms: Spr | Units: 5 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)
Instructors: Kinew, S. (PI)

OBGYN 81Q: Perspectives on the Abortion Experience in Western Fiction

Explores the role of media in delivering abortion-related messages as well as the broader questions of how abortion and related issues are fundamentally integrated into the social fabric of US and global societies. Abortion remains one of the most controversial and polarizing challenges of our time. Yet, it has been a clinical, social, political, and cultural fact in a broad swath of societies for centuries. As is common for such lightning rod issues, the topic of abortion has featured prominently in novels and films. Each treatment provides a unique perspective on at least one aspect of abortion, whether it be clinical, social, political or cultural. How abortion is portrayed in novels and films provides the student of history, anthropology, and biology with insights into the author's or director's perspectives, and into societal attitudes and mores.
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit

OSPBER 17: Split Images: A Century of Cinema

20th-century German culture through film. The silent era, Weimar, and the instrumentalization of film in the Third Reich. The postwar era: ideological and aesthetic codes of DEFA, new German cinema, and post-Wende filmmaking including Run Lola Run and Goodbye Lenin. Aesthetic aspects of the films including image composition, camera and editing techniques, and relation between sound and image.
Terms: Win | Units: 3-4 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Kramer, K. (PI)
Filter Results:
term offered
updating results...
number of units
updating results...
time offered
updating results...
days
updating results...
UG Requirements (GERs)
updating results...
component
updating results...
career
updating results...
© Stanford University | Terms of Use | Copyright Complaints