141 - 150 of 384 results for: MUSIC

1960s and 70s Black music, including rhythm and blues, Motown, Southern soul, funk, Philadelphia soul, and disco. Its origins in blues, gospel, and jazz to its influence on today's r&b, hip hop, and dance music. Soul's cultural influence and global reach; its interaction with politics, racism, gender, place, technology, and the economy. Synchronous and asynchronous remote learning, with class discussions, small-group activities, guest presenters, and opportunities for activism. Pre-/co-requisite (for music majors): MUSIC 22. (WIM at 4 units only.)

In November 2023---more than fifty years after dissolving and despite (at least) two dead members---the Beatles released another international hit single. What explains this seemingly immortal appeal? This class investigates the significance of the Beatles by studying not only the group itself, but also their broad stock of influences---Carole King, James Jamerson, Karlheinz Stockhausen, and more---their international reception, and the wider musical world of disappointing solo careers, knock-offs, spoofs, pastiche, and earnest influence. Using a variety of analytical methods, we will theorize the Beatles as a musical face of the post-War order and its vicissitudes. This course fulfills the Writing in the Major (WIM) requirement at 4 units only.

This course explores the links between U.S. recording industry histories, intellectual property law, and evolving ideas about cultural and economic value in Black music. Subtopics will include unfair contracts in the 1920s "race records" industry; copyright and jazz standards; white imitation of 1950s rhythm and blues performance; sampling lawsuits during hip-hop's Golden Age; and current debates about AI, race, and the future of musical creativity. In addition to music-historical texts, our readings will include selected legal documents, which students will learn to analyze for their cultural and rhetorical significance. Time permitting, we will also visit Stanford's Archive of Recorded Sound. This course fulfills the Writing in the Major (WIM) requirement at 4 units only.

What does America sound like? Despite various initiatives to consolidate a uniquely "American" musical idiom---from Antonín Dvorák's "New World" Symphony, to rap-rocker Kid Rock's "We The People"---American music is gloriously diverse and polyglot, an accurate reflection of the country's myriad peoples and places. But American music does not only reflect its geography---it offers fantasies about it too. The parlor songs of the mid-19th century, for example, relied on myths of Edenic Southern plantations. We have learned what "the West" sounds like from Gene Autry, Aaron Copland, and the soundtracks to spaghetti westerns. And contemporary suburban hip-hop fans are as intimately familiar with places like the "Boogie Down" Bronx, Compton, and "Shaolin," as their urban ancestors were with the "Swanee River." Finally, American music does not only reflect and fantasize about its geography---it frequently /is/ its geography! The Missippi Delta; Tin Pan Alley; the Brill Building; Motown---these name both physical places and robust ideas of how music can be made. Through listening, reading, and writing, this class will take stock of American musical geography in all of its forms. The final project will be a collective one: a new edition of the "Stanford Undergraduate Musical Mapping of America," or "SUMMA" ,comprising individual chapters contributed by each member of the class. WIM at 4 units only.

This course explores the dynamic relationship between identity, difference, and sound. We examine how sonic phenomena and performance are entangled with social processes of meaning-making, and how music and sound mediate our understandings of self, otherness, and belonging. Beginning with the premise that identity is a social practice - continuously constructed, performed, and negotiated - we analyze how categories such as race, ethnicity, gender, and culture are encoded in and through sound. Through critical theory, Black feminist thought, post-colonial perspectives, and decolonial frameworks, we interrogate the structures and systems (e.g., coloniality/modernity, capitalism, nationalism) that shape processes of subject formation and difference. This course invites students to consider how alternate epistemologies emerge through sound and performance, opening up possibilities for imagining and enacting lives and worlds beyond dominant regimes of knowledge and recognition. WIM at 4 units only.

A survey of how art addressed and addresses issues of social justice across history and cultures

A small ensemble of the Leland Stanford Junior University Marching Band open to members of the LSJUMB by audition and consent of instructor. Members perform at multiple Stanford Athletics events, multiple community events, and travel to some away and post-season games. Weekly rehearsals focus on introduction of new student arrangements and the LSJUMB's repertoire of rock, funk, and traditional styles. May be repeated for credit a total of 12 times.

A small ensemble of the Leland Stanford Junior University Marching Band open to members of the LSJUMB by audition and consent of instructor. Members perform at multiple Stanford Athletics events, multiple community events, and travel to some away and post-season games. Weekly rehearsals focus on introduction of new student arrangements and the LSJUMB's repertoire of rock, funk, and traditional styles. May be repeated for credit a total of 12 times.

The course experiments with webapp development alongside our usual instruments for music making using generative AI coding assistance. In an ensemble setting, the idea is to co-design new instruments alongside new music. Performed on custom tailored, on-the-fly webapps, as well as what's already in our home studios, rehearsals will take place over JackTrip (a Network Music Performance application developed at CCRMA). We'll perform for the public a number of times(first time in late January) and rehearse with an online ensemble at three other schools. Ensemble only for 1 unit. Research and ensemble for 3 units.