MUSIC 21: Introduction to Tonal Theory
Preference to majors. Introduction to tonal theory. Practice and analysis. Diatonic harmony focusing on melodic and harmonic organization, functional relationships, voice-leading, and tonal structures. Students must concurrently enroll in an ear-training and musicianship lab (
MUSIC 24A, 24B, or 24C as appropriate). Enrollment limited to 40. General prerequisites (all students): Passing grade on a basic musical skills proficiency examination on the first day of class or
MUSIC 19. Special considerations for Music majors or would-be majors: Piano proficiency exam by Spring Quarter of junior year is required. Those considering the Music major and do not have basic keyboard skills should enroll as soon as possible in
MUSIC 12A: Introductory Piano Class. Music majors must take 4 courses in ear training, and pass an ear training exit exam in their Junior year.
Terms: Aut, Win
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
Instructors:
Aquilanti, G. (PI)
;
Berger, T. (PI)
;
Brown, B. (TA)
;
Frisch, S. (TA)
;
H. Javaheri, M. (TA)
MUSIC 22: Intermediate Tonal Theory
Preference to majors. Introduction to chromatic harmony focusing on secondary functions, modulations, and harmonic sequences. Analysis of musical forms and harmonizations complemented by harmonic and melodic dictation, sight-singing, and other practical skills. Students must concurrently enroll in an ear-training and musicianship lab (
MUSIC 24A, 24B, or 24C as appropriate). General prerequisites (all students):
MUSIC 21. Special considerations for Music majors or would-be majors: Piano proficiency exam by Spring Quarter of junior year is required. Those considering the Music major and do not have basic keyboard skills should enroll as soon as possible in
MUSIC 12A: Introductory Piano Class. Music majors must take 4 courses in ear training, and pass an ear training exit exam in their Junior year.
Terms: Win, Spr
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
MUSIC 23: Advanced Tonal Theory
Preference to majors. Continuation of chromatic harmony such as mode mixture, Neapolitan, augmented sixth chords, enharmonic modulation, complex forms of the late Romantic and early Modern period, and the transition to post-tonal theory (church modes, octatonic, pentatonic, whole-tone scales, amongst other topics). Students must concurrently enroll in an ear-training and musicianship lab (
MUSIC 24A, 24B, or 24C as appropriate). General prerequisites (all students):
MUSIC 22. Special considerations for Music majors or would-be majors: Piano proficiency exam by Spring Quarter of junior year is required. Those considering the Music major and do not have basic keyboard skills should enroll as soon as possible in
MUSIC 12A: Introductory Piano Class. Music majors must take 4 courses in ear training, and pass an ear training exit exam in their Junior year.
Terms: Aut, Spr
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
MUSIC 24A: Ear Training I
Class is closed by design. Please contact instructor Erika Arul (mailto:earul@stanford.edu) for permission to enroll. Preference to Music majors and minors.
Terms: Aut, Win
| Units: 1-2
Instructors:
Arul, E. (PI)
;
Smith, W. (TA)
MUSIC 24B: Ear Training II
Class is closed by design. Please contact instructor Erika Arul (mailto:earul@stanford.edu) for permission to enroll. Preference to Music majors and minors.
Terms: Aut, Win, Spr
| Units: 1-2
Instructors:
Arul, E. (PI)
;
Smith, W. (TA)
MUSIC 24C: Ear Training III
Class is closed by design. Please contact instructor Erika Arul (mailto:earul@stanford.edu) for permission to enroll. Preference to Music majors and minors.
Terms: Aut, Win, Spr
| Units: 1-2
Instructors:
Arul, E. (PI)
;
Smith, W. (TA)
MUSIC 24Z: Ear Training
Class is closed by design. Please contact instructor Erika Arul (mailto:earul@stanford.edu) for permission to enroll. Preference to Music majors and minors.
Terms: Aut, Win, Spr
| Units: 0
Instructors:
Arul, E. (PI)
;
Smith, W. (TA)
MUSIC 25: Decoding Anime
Anime as an artistic form often boasts highly imaginative graphics, striking music, vibrant characters, and fantastical stories. The course aims at decoding the expressive power of anime by applying a method of multimedia analysis that focuses on the interaction between its component elements: story, image, sound and music. Through close reading of works by five leading and innovative directors the students will develop tools to analyze anime and interpret it in a larger cultural context.
Terms: Spr
| Units: 3
| UG Reqs: WAY-A-II
Instructors:
Rose, F. (PI)
;
Montemayor Elosua, M. (TA)
MUSIC 26N: Japanese Arts: a Creative Exploration
Discover the captivating originality of Japanese contemporary culture, which boldly stands apart from the trends of globalization! What fuels this extraordinary uniqueness? Is it rooted in the rich and sophisticated traditions like rock gardens, haiku, tea ceremonies, martial arts, ikebana, and Noh theater? Or does it lie in the elusive aesthetic concepts of wabi, sabi, yugen, ma, and jo-ha-kyu? Join us on an exciting journey as we explore the vibrant world of Japanese arts through hands-on experiences and comparative analysis. You'll have the opportunity to engage in creative projects and workshops that delve into traditional Japanese art forms. Unleash your creativity and broaden your horizons - let's immerse ourselves in the beauty and depth of Japanese culture together!
Terms: Spr
| Units: 3
| UG Reqs: WAY-A-II, WAY-CE
Instructors:
Kapuscinski, J. (PI)
MUSIC 31N: Behind the Big Drums: Exploring Taiko (ASNAMST 31N)
Preference to Freshman. Since 1992 generations of Stanford students have heard, seen, and felt the power of taiko, big Japanese drums, at Admit Weekend, NSO, or Baccalaureate. Taiko is a relative newcomer to the American music scene. The contemporary ensemble drumming form, or kumidaiko, developed in Japan in the 1950s. The first North American taiko groups emerged from the Japanese American community shortly after and coincided with increased Asian American activism. In the intervening years, taiko has spread into communities in the UK, Europe, Australia, and South America. What drives the power of these drums? In this course, we explore the musical, cultural, historical, and political perspectives of taiko through readings and discussion, conversations with taiko artists, and learn the fundamentals of playing. With the taiko as our focal point, we find intersections of Japanese music, Japanese American history, and Asian American activism, and explore relations between performance, cultural expression, community, and identity.
Terms: Spr
| Units: 3
| UG Reqs: WAY-A-II, WAY-EDP
Instructors:
Sano, S. (PI)
;
Uyechi, L. (PI)