371 - 380 of 384 results for: MUSIC

On-the-job training under the guidance of experienced, on-site supervisors. Meets the requirements for curricular practical training for students on F-1 visas. Students submit a concise report detailing work activities, problems worked on, and key results. May be repeated for credit. Prerequisite: qualified offer of employment and consent of adviser.

Students have to identify a research advisor and enroll in this course with her/him to develop the dissertation proposal. By the end of this required course or its series (repeatable for three times), students are expected to have identified a) a special area exam committee, b) the structure of the dissertation proposal, and c) the scope of the thesis with the depth and breadth of the research field.

May be repeated for credit a total of 5 times.

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.

History and basic principles: development of psychoacoustics-based data-compression techniques; perceptual-audio-coder applications (radio, television, film, multimedia/internet audio, DVD, EMD). In-class demonstrations: state-of-the-art audio coder implementations (such as AC-3, MPEG) at varying data rates; programming simple coders. Topics: audio signals representation; quantization; time to frequency mapping; introduction to psychoacoustics; bit allocation and basic building blocks of an audio codec; perceptual audio codecs evaluation; overview of MPEG-1, 2, 4 audio coding and other coding standards (such asAC-3). Prerequisites: knowledge of digital audio principles, familiarity with C programming. Recommended: 320, EE 261. See http://ccrma.stanford.edu/.

Research discussion, development, and presentation by graduate students, visiting scholars, and CCRMA faculty in the areas of music and/or audio technology. Permission of instructor required. See http://ccrma.stanford.edu/courses/423/ for latest information. May be repeated for credit.

Techniques for dynamic range compression, reverberation, equalization and filtering, panning and spatialization, digital emulation of analog processors, and implementation of time-varying effects. Single-band and multiband compressors, limiters, noise gates, de-essers, convolutional reverberators, parametric and linear-phase equalizers, wah-wah and envelope-following filters, and the Leslie. Students develop effects algorithms of their own design in labs. Prerequisites: digital signal processing, sampling theorem, digital filtering, and the Fourier transform at the level of 320 or EE 261; Matlab and modest C programming experience. Recommended: 420 or EE 264; audio effects in mixing and mastering at the level of 192.

Techniques for dynamic range control, equalization and filtering, delay effects and reverberation, digital emulation of analog processors, and implementation of time-varying effects. Single-band and multiband compressors, limiters, noise gates, de-essers; parametric, shelf, and resonant equalizers, wah-wah, phasor, and envelope-following filters, filter banks; echo, chorus, flange, tape delay; room acoustics analysis and comb, allpass, and feedback delay network reverberators. Students implement common digital audio effects in real-time audio plugins, and work on their own projects. Prerequisites: the Discrete Fourier Transform, z-Transform, and difference equations at the level of 320A; modest C programming and Python or Matlab experience. Recommended: EE 264; audio effects in mixing and mastering at the level of 192.

This practicum allows students to support research in how physical, neural, and social differences affect performance and power dynamics within educational and professional music environments. Research includes studying the impact of keyboard size, integrating AI into musical instruction, exploring the neural mechanisms underlying motor skills, studying neural synchrony across neural, biomechanical, and sensory networks, and exploring vibrotactile coordinated reset stimulation to improve motor performance in musicians and focal dystonia patients. Students will collect and/or analyze data and collaborate with each other and researchers in weekly meetings, lab hours, and tasks.