131 - 140 of 384 results for: MUSIC

Explores the presence and impact of music across a variety of educational settings, with a focus on the historical function of music education, the current role of music education, and potential future models of music education.

The art of reading and conducting scores from the Impressionist, late Romantic, and Modern periods to the present, with emphasis on orchestral and choral works that involve changing meters, advanced harmonic vocabulary, and modern instrumental and vocal practices. Topics include clef reading and transposition, baton technique, and rehearsal procedure. Prerequisite: MUSIC 130B, or 130C; or instructor's permission.

Playing music at a high level is deeply physical. To perform our best and avoid injury, we need both physical conditioning and mental resilience. This course helps musicians build long-term health through topics like strength, posture, sleep, recovery and nutrition. While designed for musicians, the material applies more broadly to optimizing motor skill development, injury prevention, and sustainable work practices. Students will participate in interactive lectures, individualized assessments, and hands-on activities focused on building strength and developing habits that support healthy, sustainable high-level performance over the long term.

What was the sonic experience of living in late-medieval and early-modern Europe? This course will explore the sights and sounds of daily life for cultural elites as well as the average urban resident. Although it is often vocal polyphony that first comes to mind when thinking about Renaissance music, acoustic environments were complex, noisy, and diverse. This course aims to reflect that heterogeneity: topics include bells, processions, music and architecture, instrumental music, plainchant, visual depictions of music-making, and uses of music to project power, as well as sacred and secular vocal polyphony. Students will zoom in on cities, courts, and churches, especially the musical centers of Bruges, Florence, Ferrara, the Imperial Court of Holy Roman Emperor Charles V, and Bavaria. The course will examine music by some of the most important composers of the era, including Guillaume Du Fay, Josquin des Prez, Philippe Verdelot, Nicolas Gombert, and Orlando di Lasso. WIM at 4 units only.

This seminar narrows the divide between performance and musicology. With nineteenth-century pianism as an extended case study, this course will explore representative and less common composers, works, and performers. Subtopics will include historical performance practices, notation, critical editions, period pianos, hermeneutics, recording analysis, and the cultural politics of performing and listening. Students will hone writing, research, and performance skills through a variety of assignments, seminar discussions, and in-class exercises, culminating with a lecture-recital. Possible field trips will include Stanford's Archive of Recorded Sound and selected live performances. Prerequisites: Intermediate to advanced performance ability; intermediate or higher music theory. WIM at 4 units only.

Music and Musicians in the Age of EnlightenmentnPrerequisites: MUSIC 22, MUSIC 41. (WIM at 4-unit level only.)

This seminar examines musical and music-theatrical interpretations of the Faust legend in the Romantic era. Would you sell your soul for immortality, pleasure, knowledge, power? What would you sacrifice, and what could redeem you? Through Faust-themed pieces by Schubert, Berlioz, Schumann, Gounod, Liszt, and Mahler we will examine aesthetic, harmonic, and dramatic techniques of Romantic music, and trace developments in nineteenth-century ideas about music, morality, religion, fate, gender, and eroticism.

How might one study and interpret recorded performances as 'texts'? We will explore the intersections of performance and musicology through guided weekly writing assignments, considering 'data' about recorded performances as heard and physically felt (tempo, articulation, dynamics, gestures, implied technique...) along with culture, history, compositional analysis, performers' biographies, lived experiences, and creative personalities. Students will select and interpret recorded performances/works within the Western classical tradition to shape a final lecture-recital performance. Class examples come chiefly from piano repertory; however, other instrumentalists and vocalists may tailor final projects accordingly. Prerequisites: Intermediate to advanced performance ability, Music 22 (suggested). WIM at 4 units only.

This course will explore the links between aspects of South-East Asian cultures and their influence on modern and contemporary Western art and literature, particularly in France; examples of this influence include Claude Debussy (Gamelan music), Jacques Charpentier (Karnatak music), Auguste Rodin (Khmer art) and Antonin Artaud (Balinese theater). In the course of these interdisciplinary analyses - focalized on music and dance but not limited to it - we will confront key notions in relation to transculturality: orientalism, appropriation, auto-ethnography, nostalgia, exoticism and cosmopolitanism. We will also consider transculturality interior to contemporary creation, through the work of contemporary composers such as Tran Kim Ngoc, Chinary Ung and Tôn-Thât Tiêt. Viewings of sculptures, marionette theater, ballet, opera and cinema will also play an integral role. To satisfy a Ways requirement, this course must be taken for at least 3 units. WIM credit in Music at 4 units and a letter grade.