51 - 60 of 384 results for: MUSIC

Throughout history and across cultures, multimedia forms of expression have flourished from East to West. Whether it's Coldplay's music videos, Disney's classic Fantasia, Pepsi commercials, Wagner's operas, Miyazaki's anime, or Japan's traditional Noh theater, the interplay of sound, images, and words creates powerful experiences. What are the individual strengths of these modes of expression, and how can they combine to create something extraordinary? How can we harness these elements in an online context? Is the web the new stage for multimedia theater? What makes the poetry of intermodal metaphors so unique? This course offers you the chance to tackle these questions through creative web-based projects. You'll engage in in-class viewings of multimedia works, participate in analyses and debates, and dive into relevant readings and student presentations. The seminar will take place at the Center for Computer Research in Music and Acoustics, where cutting-edge media technologies are developed. Whether you have a background in music, literature, art, or computer programming, or you're new to these fields, your unique perspective is welcome. Join us for an inspiring exploration of the vibrant world of multimedia art.

This seminar provides an in-depth introduction to the music of Ludwig van Beethoven. In addition to exploring key works in various genres - including piano sonatas, chamber music, vocal music, and symphonies - we will examine Beethoven's biography, cultural and social contexts, and reception history, drawing on the latest research. How did Beethoven's training as a court musician, organist, violist, and especially as a pianist at the enlightened Bonn court shape his career? How did contemporary expectations influence his compositions, and in what ways did he challenge or even shock his listeners? How did he contribute to the communicative salon culture of his time? What role did women play in his creative and personal life? Who performed and listened to his music, and in what kinds of spaces? How have perceptions of Beethoven and the legacy of his music evolved over time? And why do some of his works still move us deeply today? This course is open to students of all backgrounds; the ability to read music is helpful but not required. Come ready to explore - or rediscover - some truly extraordinary music!

Musical theater and the representation of American identities in the twentieth century to the present. Issues of class, race, gender, and sexuality; intersections with jazz, rock, and pop; roles of lyricist, composer, director, choreographer, producer, performers. Individual shows (Showboat, Oklahoma, West Side Story, Company, Les Miserables, Into the Woods, Wicked, Hamilton, Dear Evan Hansen, Heathers); musical theater "song types" across eras; show tunes in popular culture at large; musicals on film, television, and social media. Opportunities for performance and attending local productions.

Online seminar on the achievements of Black composers and performers in ragtime, jazz, and classical music, from Chevalier de Saint-Georges, whose music influenced Mozart, and George Bridgetower, for whom Beethoven composed his "Kreutzer" Sonata, to Anthony Davis's opera "The Central Park Five". Students will examine issues of cultural borrowing in operas by Mozart and Verdi, and shows like Showboat and Porgy and Bess. Guest speakers will include composers and performers. Students will work together in groups to produce materials on course topics in coordination with the African American Museum & Library at Oakland. (Cardinal Course certified by the Haas Center)

To what extent can sound or music heal? This interdisciplinary course asks questions about music and healing around the world, drawing on the fields of medical ethnomusicology, medical anthropology, sound studies, and music therapy. Our case studies will be multi-sited, as we interrogate sound-based healings and healing sounds from diverse cross-cultural, global, and historic perspectives. No musical background is needed to interrogate these issues. We begin with the knowledge that the social, cultural, and political contexts where definitions of music and healing are created inform sound and its various and often conflicting interpretations and meanings. This course is currently full for Autumn Quarter 22-23 enrollment.

Pre- or corequisite: 21.

Prerequisites: Music 22 or equivalent.

Pre- or corequisite: 23.

A weekly lecture course for singers, pianists, directors, conductors, and anyone who is interested in the art and craft of the voice. The voice is an instrument whose sounds are determined by its structure and the choices the singer makes. Students will learn how the voice works: the physiology of the instrument, breathing, resonance, and adjustments the singer makes to the instrument to produce sounds appropriate for various styles of vocal music. This course is intended for singers, pianists, conductors, musical directors and directors of groups that include singers, regardless of style or size of ensemble, with the goal of promoting excellent and healthy vocal performance. Ability to sing and/or read music is not required; this is not a voice class.