291 - 300 of 384 results for: MUSIC

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.

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.)

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. An $80 lab fee will be added to your bill upon enrollment in this course. See https://ccrma.stanford.edu/courses/250a

This course explores creative and technical approaches to the design of digital musical instruments (DMIs) and other systems for interactive performance, composition and/or installations in audio, audiovisual, and other intermedia practice. Various paradigms of Human Computer Interaction (HCI) and techniques such as motion tracking, biosignal analysis, Music Information Retrieval (MIR), concatenation, and machine learning will be considered through analysis of examples of historical and current intermedia practice, framed by key concepts such as affordances and embodiment. It will focus on individual creative output and process, with a final project consisting of the realization of a creative work applying these principles. Please note that attendance of both sessions listed here is not required: the weekly sessions will consist of a lecture and discussion in the first half, and lab time with optional attendance in the second. We plan to concentrate principally on digital - including online - interactive/intermedial/immersive projects. This course is in the P3D program and, therefore, each student has the possibility of receiving a personal 3D printer for their home use. Further equipment loans from CCRMA for student projects involving physical media may be possible. Feedback on projects will be provided by Denning Visiting Artist Pamela Z, in addition to tutorials/consultations with the course co-instructors and teaching assistant.

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

Lecture, lab and experiment-based course in perception, psychoacoustics, cognition, and neuroscience of music. (WIM at 4 or 5 units only.)