91 - 100 of 384 results for: MUSIC

This course offers students hands-on training in technology for music performances. Through real-world scenarios, students gain experience with tools and workflows for sound reinforcement, live mixing, multitrack recording, spatial audio, networked performance, livestreaming, video production, projection mapping, and stage lighting. Acquired skills are applicable to other types of live events such as theater, dance, radio/TV, etc. Activities center on the CCRMA Stage, with visits to other campus venues. Weekly sessions feature tutorials and guided practice, culminating in student-led recitals, collaborative concerts, or assistance with CCRMA events. No prior experience is required; familiarity with audiovisual tools and/or performance experience is welcome.

This advanced, project-based sequel to Concert Production has students assume key leadership roles - such as FOH Engineer, Recording Engineer, Livestream Producer, or Editor - to produce and record live events. Projects are student-driven: partner with Music Department ensembles, produce a capstone recital, support campus groups, or propose a concert at CCRMA. Weekly meetings focus on advanced techniques and logistics. Students manage the entire process from concept to final delivery of professional audio-video documentation, gaining high-level production experience and portfolio-quality recordings in a close-knit, collaborative environment. Prerequisite: Music 106 or equivalent experience, with instructor permission.

The close analysis of film, with an emphasis on sound, music, and audio-visuality. Films from various historical periods, national cinemas, directors, and genres. Prerequisite: FILMSTUD 4 or equivalent. Recommended: ARTHIST 1 or FILMSTUD 102. Course can be repeated twice for a max of 8 units. This course fulfills the WIM requirement for Film and Media Studies majors.

Structured research exercises and design of an individual research project. Prerequisite: consent of instructor.

Students at Stanford and students at a community mental health site co-learn theories and co-create songs in this community-engaged course. From memes to magazines, "psychoanalysis has returned" - perhaps partly in response to crises of the twenty-first century with no easy, rational answers. How do the participatory arts and music align with contemporary psychoanalytic approaches that act at the level of the psychosocial and institutional? We explore in theory and practice how the psychic is social and the social is psychic. The course culminates in a community song-sharing celebration. Note: no musical training is required to take this course. This is a Cardinal Course certified by the Haas Center for Public Service.

Through analysis and technical exercises that involve click tracks, spotting, scoring under dialogue and picture, and the creative use of overlap cues, among others, students will learn how to develop and synchronize an engaging music score that supports visual events. Prerequisite: The students will be expected to: Know how to read and write music; Know how to create scores using a music editor such as Finale, Sibelius, among others; Be familiar with MIDI sequencing; and, Be familiar with DAW such as Logic Pro X, Pro Tools, among others.

Students compose weekly exercises to improve creative fluency and develop basic control of instruments. Audio examples of diverse compositional techniques are introduced, analyzed and emulated. Prerequisite: Music 19A or Instructor's permission.

The history of popular music in the United States is a thorny one. It begins with the birth of the Democratic Party in the 1820s, slavery, and the exponential growth of the nation's population, cities, and several important industries. While the textile, railroad, coal, and steel industries are often discussed within the nation's development in the nineteenth century, the making of popular music is less understood as one of the country's major industries to emerge during this era. This course will take a historical and theoretical approach to unpack the making of the music industry through the first original form of commercial popular entertainment to emerge in the U.S.: Blackface Minstrelsy. We will explore how the aesthetic, structural, and cultural foundations of Blackface and the American popular music industry shaped the musical and political landscape of the emerging nation leading up to the pre-recording era at the turn-of-the-twentieth century. Through exploring sheet music, live performance, historical documentations of performance, early sound recordings, key musicians and composers, early music industrialists, recording technologies, and other cases, we will develop a more comprehensive understanding of how inequities are structured into the making and selling of America popular music today, particularly within: community and identity making; music and copyright law; and the complex legacy of genre-making in the commercialization of popular music. We will also consider what is at stake in the contemporary global circulation of American popular music that is shaped by power relations structured into its industry since its founding.

Did you know that the emperor Charlemagne was illiterate, yet his scribes revolutionized writing in the West? This course follows decisive moments in the history of media and communication, asking how new recording technologies reshaped a society in which most people did not read or write--what has been described as the shift "from memory to written record." To understand this transformation, we examine forms of oral literature and music, from the Viking sagas, the call to crusade, and medieval curses (Benedictine maledictions), to early popular authors such as Dante and the 15th-century feminist scribe, Christine de Pizan. We trace the impact of musical notation, manuscript and book production, and Gutenberg's print revolution. To paraphrase Marshall McLuhan's famous dictum, how did the medium shape the message? Along the way, we will consider how the medieval arts of memory and divine reading (lectio divina) can inform communication in the digital world. This is a hands-on course: students will handle medieval manuscripts and early printed books in Special Collections, and will participate in an "ink-making workshop," following medieval recipes for ink and for cutting quills, then using them to write on parchment. The course is open to all interested students.