301 - 310 of 384 results for: MUSIC

Leveraging off three synchronized sets of symbolic data resources for notation and analysis, the lab portion introduces students to the open-source Humdrum Toolkit for music representation and analysis. Issues of data content and quality as well as methods of information retrieval, visualization, and summarization are considered in class. Grading based primarily on student projects. Prerequisite: 253 or consent of instructor.

Students develop and produce intermedia works. Musical and visual approaches to the conceptualisation and shaping of time-based art. Exploration of sound and image relationship. Study of a wide spectrum of audiovisual practices including experimental animation, video art, dance, performance, non-narrative forms, interactive art and installation art. Focus on works that use music/sound and image as equal partners. Limited enrollment. Prerequisites: consent of instructors, and one of FILMPROD 114, ARTSTUDI 131, 138, 167, 177, 179, or MUSIC 123, or equivalent. May be repeated for credit

An exploration of the repertoire for piano and keyboards, providing experience with and context for this literature while engaging practical, technical and analytical features of the works. Each quarter will cover focused areas defined by time, place, composer, stylistic tradition, formal type, etc. Students will perform works in class, as well as listen to and compare performances through videos and recordings. Assignments include reading, listening, and a final project. Prerequisite: Private lesson proficiency level in piano, or consent of instructor.

This course explores the artful design of software tools, toys, games,ninstruments, and experiences. Topics include programming, audiovisualndesign, strategies for crafting interactive systems, game design, asnwell as aesthetic and social considerations of shaping technology in ournworld today. Course work features several programming assignments withnan emphasis on critical design feedback, reading responses, and an"design your own" final project. Prerequisite: experience in C/C++/Javanor Unity/C#.  See https://ccrma.stanford.edu/courses/256a/

Every interaction with technology quietly rewires your brain and ultimately how our neural resources adapt to support our behavior and performance - and right now, that process is accelerating faster than most realize. We're in the middle of an inflection point with both great opportunities and critical blind spots: technologies are becoming more immersive to our senses, closed-loop in how they adapt to our physiological and mental states, and rapidly replacing or augmenting the past cognitive and behavioral demands we've needed for centuries. From headphones to AI agents, video games to immersive media, wearables and sensing systems to athletic performance tools or virtuosic skill trainers; we are designing technology that is ubiquitous in our lives and at the same time deeply influencing how our sensory, neural, and cognitive systems are shaped. The systems we are building aren't just products. They're neural architects. So how do you design for that? How do you intentionally architect brain change through the technology we build and simultaneously understand the neural and behavioral implications of the technology we are using? This course is a multi-pronged approach to those questions with an emphasis on sound and sensory experiences. We'll consider the neural plasticity implications of AI and specific modern technologies. With an emphasis on sound, music, and sensory systems, we will explore how we can proactively apply a "neural-change first" approach to how we build and design the innovations that we use in our daily lives and confront the tradeoffs: some technologies make us faster but quietly erode core cognitive skills, while others genuinely augment how we think, learn, and perform. The same neural mechanisms that transform a violinist's brain after hundreds of hours of practice can be activated when users engage deeply with targeted software or hardware. How can that process be engineered and accelerated?You'll build toward answering that. This course covers fundamentals of psychophysics and sensory neuroscience (auditory, visual, motor) and cognitive learning, as well as key technology development considerations for relevant technologies. The course will go through case studies of sound and other sensory-rich consumer technology development breaking down the neural impact of current and past multimodal technology groups and understand the implications for how their function interacts with their user's neural systems. Focus will be on a group seminar and select projects to understand the: neural, cognitive, and behavioral implications of specific technology function. For the main project: you'll design and prototype a multi-sensory technology of your choosing with explicit, science-backed neuroplasticity goals for the behavioral and neural changes you intend to produce. Hardware provided as needed. Right now the technologies and tools we use in our daily lives are changing. Let's be our own architects for what it means for our brains.

The physics and acoustics of music and musical instruments. The basics of sound propagation, reflection, and resonance and how this is perceived as musical sound. The specific acoustical phenomena of wind, string, and percussion instruments as well as the voice. There will be a lecture portion as well as hands-on lab sections with different musical instruments. Music 158 must be taken for 3 units for undergraduates to count for WAYS.

A cross-disciplinary and cross-cultural research seminar focused on methods to study, evaluate and analyze how humans engage with music both as listeners and as performers.

Directed reading and research. May be repeated for credit a total of 5 times.

For Music majors and minors only. Private lessons and group master class weekly. May be repeated for credit a total of 15 times. Admission by audition only. Visit https://music.stanford.edu/play/practice-play/lessons for audition information. This class is closed by design and requires a permission number from the instructor.