271 - 280 of 384 results for: MUSIC

Weekly review of work being done in the field, research taking place at CCRMA, and tools to make the most of the CCRMA technical facilities.

Students perform with music and video in synergy. This course explores various theories and practices of engaging audiovisual media in the context of stage performance. Examples come from the scenes of experimental music and multimedia performance. Other audiovisual categories to be approached: avant-garde film, visual music, video art, music video, etc. Readings, listening-viewings, discussions, and analyses of relevant works provide a conceptual framework. Labs and assignments give students hands-on experience in crafting and performing their own audiovisual works. The course culminates with a public show. A background in either music or visual arts is strongly recommended, but not required.

Explores the relationship between chant and images in medieval art. Examples are sourced from both Byzantium and the Latin West including the Holy Sepulchre in Jerusalem, Hagia Sophia in Constantinople, Ste. Foy at Conques, and Santiago de Compostela. We will explore how music sharpens the perception of the spatial, visual programs and liturgical objects.

To understand the ethical, commercial, aesthetic dimensions of AI in music and copyright law today, we must consider the history of copyright law and popular music in the United States. Music copyright law was established in 1831 when sheet music became protected under federal law. During this time (the antebellum period and the exponential growth of slavery), blackface minstrelsy emerged as the first commercial form of American popular music in both live performance and through sheet music publications. Because blackface minstrelsy was founded upon the exploitation and negation of Black people primarily enslaved in America, they themselves may have either been considered property or had limited recourse to claim property for themselves. Music copyright law and property laws in general have continued to develop out of this context, though this history is often left out of litigation. In this course will revisit the history of copyright law from the inaugural Copyright Act of 1790 through the Digital Millenium Copyright Act (1988). In doing so we will interrogate the function and form of music copyright law today, while also considering ethical and economic questions around how the technologies that facilitate (e.g., phonograph recordings and artificial intelligence) and aesthetics that make up popular music are protected (or not) under copyright law (and why). Course open to undergraduate and graduate students.

This course engages multimodal approaches to music ethnography through student-driven research into the musical ecologies of the Bay Area. Students explore the entanglements of sound, space, and social life through collaborative, project-based work with local artists. The course cultivates ethical, reflexive, and sustained modes of inquiry, attending closely to issues of power and representation in ethnographic practice.

What are the basic tools that computer music researchers and artists use to create sound? This course will include a summary of digital synthesis techniques (additive, subtractive, wavetable, frequency modulation and physical-modeling), signal processing techniques for digital effects, (reverberation, panning, filters), and basic psychoacoustics. Programming experience is recommended, but not required. Majors (undergraduate or graduate) must take for 4 units. See https://ccrma.stanford.edu/courses/220a/.

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. To satisfy a Ways requirement, this course must be taken for at least 3 units. See http://ccrma.stanford.edu/. Prerequisite: 220A.

Individual projects in composition, psychoacoustics, or signal processing. See http://ccrma.stanford.edu. May be repeated for credit. Prerequisite: 220B.

Independent research projects in composition, psychoacoustics, or signal processing. See http://ccrma.stanford.edu/. May be repeated for credit. Prerequisite: 220C.