MUSIC 1A:
Music, Mind, and Human Behavior
An introductory exploration of how and why music is a pervasive and fundamental aspect of human existence across cultures. The class will introduce aspects of music perception and cognition as well as anthropological and cultural considerations.
Last offered: Winter 2021
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II
MUSIC 1SI:
Introduction to Indian Classical Music
This is an introductory course in the classical music of India, with emphasis on learning to listen to and appreciate Indian classical music concerts. It will cover a broad overview of the two main genres of Indian classical music - Carnatic and Hindustani. We will have several in-class demonstrations of instruments unique to the Indian classical music tradition. Class meetings will include discussions of landmark performances and artists as well as fundamentals of this music style, such as Raaga (melody), Taala (rhythm), song structure, and improvisation.
Terms: Spr
| Units: 1
MUSIC 2C:
An Introduction to Opera
The lasting appeal of opera as a lavishly hybrid genre from the 1600s to the present. How and why does opera set its stories to music? What is operatic singing? Who is the audience? How do words, music, voices, movement, and staging collaborate in different operatic eras and cultures? Principal works by Monteverdi, Handel, Mozart, Verdi, Wagner, Strauss, Britten, and Adams. Class studies and attends two works performed by the San Francisco Opera.
Terms: Aut
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II
MUSIC 4SI:
Interactive Introduction to North American Taiko
Taught by Stanford Taiko members. Techniques and history. No experience necessary. May be repeated for credit. This course was initiated by Mitchell Fukumoto and Stanford Taiko.
Terms: Win
| Units: 1
| Repeatable
5 times
(up to 5 units total)
MUSIC 6F:
Professional Development in Music (ARTSINST 6F)
Open to majors and non-majors. This course is designed for students who are considering careers in performance or the music industry to explore their personal and artistic identity. Weekly guest speakers provide real world insight on topics related to professional advancement.
Terms: Win, Spr
| Units: 1-2
MUSIC 6G:
Entrepreneurial Development for Classical Musicians (ARTSINST 6G)
Open to majors and non-majors. This course is designed for students who are interested in professional opportunities in classical music, whether conservatory bound or just exploring possible careers in classical music performance or related interests. Students will examine a wide range of entrepreneurial tools to help develop their personal and artistic identities. The class discussion covers a broad scope of conservatory topics, a survey of professions in classical music, and entrepreneurial skills. Guest speakers are invited to provide real world insight on topics related to professional advancement.
Terms: Win, Spr
| Units: 1-2
| Repeatable
2 times
(up to 4 units total)
MUSIC 7B:
Musical Cultures of the World
Ethnomusicologists study music in human life. Music is with us as we articulate and define social identities -- punk rocker, student, Japanese-American, member of a sorority, Catholic, radical, etc. --and as we acquire new identities through rites of passage such as weddings, graduations, and initiation ceremonies. Many of life's most intense moments are accompanied or created by music, but music can also be part of the everyday, with us as we work, move, and socialize. This course is about what music does in human life and what it means to participants. In other words, it is about the myriad ways that music makes us human. We will address musical meanings and practices in selected regions of Africa, Asia, Europe, and the Americas. As you encounter music in an increasingly connected world, this course will provide you with a new awareness of musical diversity and of the social implications of music making. To satisfy a Ways requirement, this course must be taken for at least 3 units.
Terms: Aut
| Units: 2-3
| UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-EDP
MUSIC 8A:
Rock, Sex, and Rebellion
Development of critical listening skills and musical parameters through genres in the history of rock music. Focus is on competing aesthetic tendencies and subcultural forces that shaped the music. Rock's significance in American culture, and the minority communities that have enriched rock's legacy as an expressively diverse form. Lectures, readings, listening, and video screenings. Attendance at all lectures is required.
Last offered: Spring 2023
| Units: 3
| UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-EDP
MUSIC 11N:
Harmonic Convergence: Music's Intersections with Science, Mathematics, History, and Literature
Topics include music and the brain; tuning and temperament; musical form; connections between music and mathematics; and readings in history and literature with strong musical elements. Readings include "The Power of Music" (Mannes), "Musicophilia" (Sacks), "From Music to Mathematics" (Roberts), "The Kreutzer Sonata" (Tolstoy), "A Clockwork Orange" and "Honey for the Bears" (Burgess). Compositions by Bach, Mozart, Beethoven, Debussy, Schoenberg, Stravinsky, Shostakovich, and others will be studied. Goals: increased understanding of music's relationship to other fields; improved writing skills. While ability to read music is not required, students with musical ability will be encouraged to perform relevant works in class.
Last offered: Winter 2020
| Units: 3
| UG Reqs: WAY-A-II
MUSIC 11Q:
Art in the Metropolis (ARTSINST 11Q, ARTSTUDI 11Q, ENGLISH 11Q, FILMEDIA 11Q, TAPS 11Q)
This seminar is offered in conjunction with the annual "Arts Immersion" trip to New York that takes place over the spring break and is organized by the Stanford Arts Institute (SAI). Enrollment in this course is a requirement for taking part in the spring break trip. The program is designed to provide a group of students with the opportunity to immerse themselves in the cultural life of New York City guided by faculty and SAI staff. Students will experience a broad range and variety of art forms (visual arts, theater, opera, dance, etc.) and will meet with prominent arts administrators and practitioners, some of whom are Stanford alumni. In the seminar, we will prepare for the diverse experiences the trip affords and develop individual projects related to particular works of art, exhibitions, and performances that we'll encounter in person during the stay in New York. Class time will be divided between readings, presentations, and one studio based creative project. The urban setting in which the various forms of art are created, presented, and received will form a special point of focus. A principal aim of the seminar will be to develop aesthetic sensibilities through writing critically about the art that interests and engages us and making art. For further details please visit the Stanford Arts Institute website: https://arts.stanford.edu/for-students/academics/arts-immersion/new-york/
Terms: Win
| Units: 3
| UG Reqs: WAY-A-II
MUSIC 12A:
Introductory Piano Class
(A=level 1; B=level 2; C=level 3) Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Class is closed by design. Please register on the waitlist and show up on the first day of class to receive a permission number for enrollment. Preference to department majors. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
MUSIC 12AZ:
Introductory Piano Class
This class is closed by design. To enroll, please sign up on the Axess waitlist and show up on the first day to receive a permission number for re-enrollment. Your place on the waitlist will be considered a reservation. If the waitlist is closed, there are no more spaces in the class. (A=level 1; B=level 2; C=level 3) Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee and signup information. Zero unit enrollment option available with instructor permission. See website: ( http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 0
MUSIC 12B:
Introductory Piano Class
This class is closed by design. To enroll, please sign up on the Axess waitlist and show up on the first day to receive a permission number for re-enrollment. Your place on the waitlist will be considered a reservation. If the waitlist is closed, there are no more spaces in the class. (A=level 1; B=level 2; C=level 3) Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
MUSIC 12BZ:
Introductory Piano Class
This class is closed by design. To enroll, please sign up on the Axess waitlist and show up on the first day to receive a permission number for re-enrollment. Your place on the waitlist will be considered a reservation. If the waitlist is closed, there are no more spaces in the class. (A=level 1; B=level 2; C=level 3) Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee and signup information. Zero unit enrollment option available with instructor permission. See website: ( http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 0
MUSIC 12C:
Introductory Piano Class
This class is closed by design. To enroll, please sign up on the Axess waitlist and show up on the first day to receive a permission number for re-enrollment. Your place on the waitlist will be considered a reservation. If the waitlist is closed, there are no more spaces in the class. (A=level 1; B=level 2; C=level 3.) May be repeated for credit a total of 14 times. Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 12CZ:
Introductory Piano Class
This class is closed by design. To enroll, please sign up on the Axess waitlist and show up on the first day to receive a permission number for re-enrollment. Your place on the waitlist will be considered a reservation. If the waitlist is closed, there are no more spaces in the class. (A=level 1; B=level 2; C=level 3) Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee and signup information. Zero unit enrollment option available with instructor permission. See website: ( http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 0
MUSIC 13P:
Media and Communication from the Middle Ages to the Printing Press (ENGLISH 13P, ENGLISH 113P, HISTORY 13P, HISTORY 113P, MUSIC 113P)
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.
| Units: 3-5
| UG Reqs: WAY-A-II, WAY-SI
MUSIC 14N:
Women Making Music (FEMGEN 13N)
Preference to freshmen. Women's musical activities across times and cultures; how ideas about gender influence the creation, performance, and perception of music.
Last offered: Autumn 2022
| Units: 3
| UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-EDP
MUSIC 16N:
Behind "Swingposium:" Activism in Performing Arts (ASNAMST 16N)
Swingposium (https://taiko.org/swingposium) is an immersive theater production, being presented by San Jose Taiko at Stanford in November. It tells the hidden history of Japanese Americans boosting morale in WWII Incarceration Camps through swing dances with live big band music, and will include student performers from Stanford Jazz Orchestra, Stanford Taiko, Swingtime, and the Asian American Theater Project. This class - through readings and discussion, conversations with artists, and hands-on experience with taiko, theater and swing music/dance - explores foundations of this production: the Japanese American community, North American taiko, African American roots of big band and swing, and immersive and Asian American theater.
Last offered: Autumn 2022
| Units: 3
| UG Reqs: WAY-A-II, WAY-EDP
MUSIC 17AX:
Key-Notes: A Piano and Voice Exploration
The objective of the course is to teach piano, improve music reading skills and music theory knowledge. The course is designed for a multi-level class room, so complete beginners and intermediate pianists can learn in this self-paced course. There will be an element of course tailoring for the needs of individual student.<br><br>Goals and objectives of the class are: to learn/improve keyboard technique: fingering, hand position, touch etc., to improve sight reading and sight singing skills, to play examples of classical, jazz and popular piano literature, to participate in ensemble playing and singing.<br><br> Since this is a skills-based course, ongoing work daily and regular class attendance will be essential.
Terms: Sum
| Units: 2
| UG Reqs: WAY-CE
MUSIC 17P:
Keyboard Explorations
This course is designed for students who want to further their skills in music, whether experienced on the piano or not. The class will be divided into groups according to experience level. Whatever the level of their previous experience, students will improve their keyboard musicianship via both solo and ensemble repertoire. Students will perform live in different settings and also - as a final project - integrate texts or images in a recording of their playing.
Terms: Aut
| Units: 1-2
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 2 units total)
MUSIC 17PZ:
Keyboard Explorations
Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. This course is designed for students who want to further their skills in music, whether experienced on the piano or not. The class will be divided into groups according to experience level. Whatever the level of their previous experience, students will improve their keyboard musicianship via both solo and ensemble repertoire. Students will perform live in different settings and also - as a final project - integrate texts or images in a recording of their playing.
Terms: Aut
| Units: 0
| Repeatable
4 times
(up to 0 units total)
MUSIC 18A:
Jazz History: Ragtime to Bebop, 1900-1940 (AMSTUD 18A)
From the beginning of jazz to the war years.
Terms: Win
| Units: 3
| UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II
MUSIC 18AX:
Audiovisual Performance
The unification of music and visual arts has been attempted throughout history, opera being one example. In the 20th Century, sounds and moving images have been syncretized in various art forms, such as film or video art, as well as in popular culture (television, music video, the Internet, etc.). Today, with fast technological developments and the convenience of hardware/software tools, media artists employ both sonic and visual elements in their performance practice. What are the interrelations between music, video, and themselves as performers. Students will perform with music and video in synergy. The course explores various theories and practices of engaging audiovisual media in the context of stage performance. Examples come from the scenes of experimental music and multimedia performance. Other audiovisual categories to be approached: avant-garde film, visual music, video art, music video, etc. Readings, listening-viewings, discussions, and analyses of relevant works will provide a conceptual framework. Labs and assignments will give students hands-on experience in crafting and performing their own audiovisual works. The course culminates with a public show.
Terms: Sum
| Units: 2
| UG Reqs: WAY-CE
MUSIC 18B:
Jazz History: Bebop to Present, 1940-Present (AFRICAAM 18B, AMSTUD 18B)
Modern jazz styles from Bebop to the current scene. Emphasis is on the significant artists of each style.
Terms: Spr
| Units: 3
| UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II
MUSIC 18N:
Musical Dishonesty: Fakes, Forgeries, Counterfeits, Hoaxes, Deceptions, Illusions, and Artifice
Dishonesty is everywhere. Is anything still honest? To answer we examine the myriad types of musical dishonesty, some harmless and fanciful, others deliberate and pernicious: artfully misleading deceptive cadences and fake endings; evident frauds (the fictional band Spinal Tap) and purposely obscured ones (the lip-syncing of Milli Vanilli); psychoacoustic illusions (infinitely ascending Shepard tones); biographical deceptions of "dangerous" rappers and metal bands; fake Mozart manuscripts; ghost composers and AI generated music; the question of sampling; self-mythologized artists from KISS to P-Funk; and so on. Students will also explore examples beyond music, such as current political events and contemporary conspiracy theories.
Terms: Aut
| Units: 3
| UG Reqs: WAY-A-II
MUSIC 19A:
Introduction to Music Theory
For non-music majors and Music majors or minors unable to pass the proficiency test for entry to MUSIC 21. The fundamentals of music theory and notation, basic sight reading, sight singing, ear training, keyboard harmony; melodic, rhythmic, and harmonic dictation. Skill oriented, using piano and voice as basic tools to develop listening and reading skills.
Terms: Aut, Spr
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
MUSIC 19B:
Intermediate Music Theory
This course is an introduction to music theory geared toward students who have basic literacy skills (i.e. fundamental notation, identifying major and minor scales, keys, etc). Using musical materials from repertoire selected from campus and area concerts, and incorporating the opportunity to attend these concerts, the course will introduce elements of harmony, melody, form, orchestration and arrangement. The course is an appropriate successor to Music 19A. Students who successfully complete Music 19B can go on directly to Music 21.
Terms: Spr
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
MUSIC 20A:
Jazz Theory (AFRICAAM 20A)
Introduces the language and sounds of jazz through listening, analysis, and compositional exercises. Students apply the fundamentals of music theory to the study of jazz. Prerequisite: Music 19, consent of instructor, or satisfactory demonstration of basic musical skills proficiency on qualifying examination on first day of class. This class is closed by design. Please register on the waitlist and show up on the first day of class to receive a permission number for enrollment.
Terms: Aut
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
MUSIC 20AX:
The Singer-Songwriter & American Popular Culture
This is a course about the emergence of a mythological figure in twentieth-century American popular culture: the singer-songwriter. From the storied travels of Woody Guthrie across the Great Plains, to the rebellious genius of Bob Dylan, whose poetic lyrics won him the Nobel Prize in Literature, to the genre-bending feminist icon of our modern age, Taylor Swift, singer-songwriters have been at the heart of American cultural expression for nearly a century. By taking seriously how both individual and national identity are shaped by discourses of race, ethnicity, class, gender, and sexuality, we will explore how political transformations in American social life might help us to understand the careers of Guthrie, Dylan, Swift and many others, as well as vice-versa: how singer-songwriters transformed American social life in the mid to late twentieth century. What remains so alluring about these poet-performers? What can their enduring significance tell us about the development of American popular culture in the twentieth century and today? Note: No musical training is required to take this course.
Terms: Sum
| Units: 3
| UG Reqs: WAY-A-II
MUSIC 20B:
Advanced Jazz Theory
Approaches to improvisation and composed jazz lines through listening, transcribing, analysis, and compositional exercises. Topics include: chord/scale theory, melodic minor harmony, altered chords, and substitute harmony. Prerequisite: 20A or consent of instructor.
Terms: Win, Spr
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
MUSIC 20C:
Jazz Arranging and Composition
Jazz arranging and composition for small ensembles. Foundation for writing for big band. Prerequisite: 20A or consent of instructor.
Last offered: Spring 2022
| Units: 3
| UG Reqs: WAY-A-II, WAY-CE
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). Music majors must take 4 courses in ear training, and pass an ear training exit exam in their Junior year. Enrollment limited to 40. Prerequisites: (1) Piano Proficiency Exam (must be passed within the first two weeks of the term) or MUSIC 12A (may be taken concurrently); (2) Passing grade on a basic musical skills proficiency examination on the first day of class or MUSIC 19.
Terms: Aut, Win
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
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). Music majors must take 4 courses in ear training, and pass an ear training exit exam in their Junior year. Prerequisites: (1) MUSIC 21; (2) Piano Proficiency Exam or MUSIC 12B (may be taken concurrently); or consent of instructor.
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). Music majors must take 4 courses in ear training, and pass an ear training exit exam in their Junior year. Prerequisites: (1) MUSIC 22; (2) Piano Proficiency Exam or MUSIC 12C (may be taken concurrently); or consent of instructor.
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
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
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
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
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: Aut
| Units: 3
| UG Reqs: WAY-A-II
MUSIC 26N:
Japanese Arts: a Creative Exploration
The striking originality of Japanese contemporary culture seems to defy unifying pressures of globalization. What are the sources of this originality? Can it be traced to the unique and sophisticated art forms like rock gardens, haiku, tea ceremony, martial arts, ikebana and Noh Theater or to the illusive aesthetic notions of wabi, sabi, y¿gen, ma or jo-ha-ky¿? Exploration of Japanese arts through comparative examination and direct engagement. Creative projects and workshops in traditional Japanese arts.
Last offered: Spring 2023
| Units: 4
| UG Reqs: WAY-A-II, WAY-CE
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
MUSIC 32N:
Sculpting with Sounds, Images, and Words
Throughout history and from East to West, cultures abound in multimedia forms. Whether in Coldplay's Music Video or Fantasia, Pepsi TV adds or Wagner's opera, Miyazaki anime or traditional Noh Theater of Japan, the three modes of expression (sounds, images, and word) are interwoven in distinctive ways. What are their individual and combined powers? How can one harness them in an online context? Can Web be a stage for multimedia theater? What is unique about the poetry of intermodal metaphor? The course will be an opportunity to face these questions in creative web-based projects as well as through in-class viewing of multimedia works, analysis and debates, readings, and student presentations. The seminar will be taught at the Center for Computer Research in Music and Acoustics where students will have access to new media technologies. Prior experience in music, literature, art practice or computer programming is welcome but not required.
Last offered: Autumn 2022
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-CE
MUSIC 33N:
Beethoven
This seminar is designed as an in-depth introduction to the music of Ludwig van Beethoven. In addition to exploring the composer's principal works in a variety of genres (symphonies, piano sonatas, string quartets, opera, etc.), we will consider broader questions of biography and reception history. How have images of the composer and the fortunes of his music changed over time? How did his compositions come to define the paradigm of Western classical music? What impact has he had on popular culture? The class is open to all levels of musical expertise; the ability to read music is not a requirement. Come prepared to discover -- or rediscover -- some great music!
Terms: Spr
| Units: 3
| UG Reqs: WAY-A-II
MUSIC 34N:
Performing America: The Broadway Musical
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 Mis¿rables, 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.
Terms: Spr
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
MUSIC 35N:
Black Music Revealed: Black composers, performers, and themes from the 18th century to the present (AFRICAAM 134, CSRE 35N)
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)
Last offered: Winter 2023
| Units: 3
| UG Reqs: WAY-A-II
MUSIC 36H:
Dangerous Ideas (ARTHIST 36, COMPLIT 36A, EALC 36, ENGLISH 71, ETHICSOC 36X, FRENCH 36, HISTORY 3D, PHIL 36, POLISCI 70, RELIGST 36X, SLAVIC 36, TAPS 36)
Ideas matter. Concepts such as progress, technology, and sex, have inspired social movements, shaped political systems, and dramatically influenced the lives of individuals. Others, like cultural relativism and historical memory, play an important role in contemporary debates in the United States. All of these ideas are contested, and they have a real power to change lives, for better and for worse. In this one-unit class we will examine these "dangerous" ideas. Each week, a faculty member from a different department in the humanities and arts will explore a concept that has shaped human experience across time and space.
Terms: Spr
| Units: 1
| Repeatable
4 times
(up to 4 units total)
MUSIC 39B:
Music and Healing (HUMBIO 179B)
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.
Last offered: Autumn 2022
| Units: 3
| UG Reqs: WAY-A-II, WAY-EDP
MUSIC 40:
Music History to 1600
Pre- or corequisite: 21.
Terms: Win
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
MUSIC 41:
Music History 1600-1830
Pre- or corequisite: 22.
Terms: Aut
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
MUSIC 42:
Music History Since 1830
Pre- or corequisite: 23.
Terms: Spr
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
MUSIC 60:
How We Sing: The Voice, How It Functions, and the Singer's Mind (TAPS 60)
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.
Last offered: Spring 2023
| Units: 1
| UG Reqs: WAY-CE
MUSIC 65A:
Voice Class I
If you've always wanted to learn how to sing, this class is for you. No audition or previous vocal experience is required for students interested in taking this voice class which is designed to teach you about the physical processes involved with healthy singing. The skills you learn will help you expand your vocal range, build a foundational vocal technique, and enhance the presence of your voice. This class is closed by design. Enrollment for MUSIC 65A is based on your position on the waitlist AND if you attend the first class. Please register on the waitlist and attend the first class meeting. Permission numbers will be granted to those who are accepted into the class. Limit 5-6 students per section. Each class lasts 50 minutes. May be repeated for credit. Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero-unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 65AS:
Voice Class 1: Beginning Voice, Level 1 (Group)
Group (6 students to a section) beginning voice. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Sum
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
5 times
(up to 5 units total)
MUSIC 65AZ:
Voice Class I
If you've always wanted to learn how to sing, this class is for you. No audition or previous vocal experience is required for students interested in taking this voice class which is designed to teach you about the physical processes involved with healthy singing. The skills you learn will help you expand your vocal range, build a foundational vocal technique, and enhance the presence of your voice. This class is closed by design. Enrollment for MUSIC 65A is based on your position on the waitlist AND if you attend the first class. Please register on the waitlist and attend the first class meeting. Permission numbers will be granted to those who are accepted into the class. Limit 5-6 students per section. Each class lasts 50 minutes. May be repeated for credit. Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero-unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 65B:
Voice Class II
This course is a continuation of Voice Class I (MUSIC 65A), focusing on vocal technique and incorporating beginning performance practice. The class is open to all students, whether or not they have previously taken MUSIC 65A. This class is closed by design. Enrollment is by audition only. You must submit an audio recording of one song of your choice with piano accompaniment or a musical track/karaoke to the instructor prior to the first class. A second audition will happen in the first class meeting, where your vocal range and ability to match pitch will be assessed. You must also register on the waitlist AND attend the first class to be considered for enrollment, but admission to the class is NOT based on your position on the waitlist. Permission numbers will be granted to those who are accepted into the class. Limit of up to 5 students per section. Each class lasts 50 minutes. May be repeated for credit. Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero-unit enrollment option available with instructor permission. See website: (https://music.stanford.edu/ensembles-lessons/applied-music-policies-and-resources) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 65BS:
Voice Class 2: Beginning Voice, Level 2 (Group)
Complete registration form available at: https://tinyurl.com/5n63y97k . May be repeated for credit 5 times. Zero unit enrollment option available with instructor permission. See website: (http://tinyurl.com/posmuhn) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Sum
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
5 times
(up to 5 units total)
MUSIC 65BZ:
Voice Class II
This course is a continuation of Voice Class I (MUSIC 65A), focusing on vocal technique and incorporating beginning performance practice. The class is open to all students, whether or not they have previously taken MUSIC 65A. This class is closed by design. Enrollment is by audition only. You must submit an audio recording of one song of your choice with piano accompaniment or a musical track/karaoke to the instructor prior to the first class. A second audition will happen in the first class meeting, where your vocal range and ability to match pitch will be assessed. You must also register on the waitlist AND attend the first class to be considered for enrollment, but admission to the class is NOT based on your position on the waitlist. Permission numbers will be granted to those who are accepted into the class. Limit of up to 5 students per section. Each class lasts 50 minutes. May be repeated for credit. Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero-unit enrollment option available with instructor permission. See website: (https://music.stanford.edu/ensembles-lessons/applied-music-policies-and-resources) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 65SZ:
Beginning Voice
Beginning Voice (zero-unit option). Complete registration form available for download at: http://tinyurl.com/q43c48g. May be repeated 5 times. Zero unit enrollment option available with instructor permission. See website: (http://tinyurl.com/posmuhn) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University. During Summer Quarter, Stanford students may only enroll in zero-unit courses if they have enrolled in another unit-and credit-bearing course. This course and other MUSIC courses with a 'Z' in the catalog number are not available to Summer Visitors.
Terms: Sum
| Units: 0
MUSIC 72A:
Intermediate Piano Class
For intermediate students. May be repeated for credit a total of 14 times. Prerequisites: 12C or equivalent, audition. This class is closed by design. Please register on the waitlist and meet with Dr. Zerlang in room 111, or contact him at timzer@stanford.edu or (650) 723-1549 to receive a permission number for enrollment. Zero unit enrollment option available with instructor permission. See website:(http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 72AZ:
Intermediate Piano Class
For intermediate students. Prerequisites: 12C or equivalent, audition. This class is closed by design. Please register on the waitlist and show up on the first day of class to receive a permission number for enrollment. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 72C:
Harpsichord Class
For beginning harpsichord students who have keyboard skills. May be repeated for credit a total of 14 times. Admission based on instructor consent. Contact instructor prior to enrolling to discuss availability. Class meets in Braun 201. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 72CZ:
Harpsichord Class
For beginning harpsichord students who have keyboard skills. Admission based on instructor consent. Contact instructor prior to enrolling to discuss availability. Class meets in Braun 201. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 72D:
Jazz Piano Class
To enroll, please register on the waitlist and contact the instructor (murlow@stanford.edu) to receive a permission number for enrollment. Priority to majors and jazz-ensemble participants. Zero unit enrollment option available with instructor permission. Course meets for one hour per week at the mutual convenience of the class participants, sometime on Wed 10-9 PM or Friday 10-3 PM. Exact time to be determined during first week of instruction. Course to be taught online when COVID restrictions are in effect. Live class meeting participation is encouraged, but all classes will be recorded for convenience. Student should have access to a piano to complete assignments. Students on campus who do not have such access, please contact instructor for further information.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
MUSIC 72DZ:
Jazz Piano Class
Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. To enroll, please register on the waitlist and contact the instructor (murlow@stanford.edu) to receive a permission number for enrollment. Priority to majors and jazz-ensemble participants. Zero unit enrollment option available with instructor permission. For prerequisites and full description, please visit https://music.stanford.edu/music-72d-introductory-jazz-piano. Course meets for one hour per week at the mutual convenience of the class participants, sometime on Wed 10-9 PM or Friday 10-3 PM. Exact time to be determined during first week of instruction.
Terms: Aut, Win, Spr
| Units: 0
MUSIC 72G:
Gu-Zheng Class
Introduction to Chinese music through learning how to play Gu-Zheng, a 21-stringed traditional Chinese instrument. The cultural, social, and historical significance of Gu-Zheng. 15 Gu-Zheng techniques, how to read Chinese music and Gu-Zheng notation, and two simple classic Gu-Zheng pieces. All participants must enroll. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 72GZ:
Gu-Zheng Class
Introduction to Chinese music through learning how to play Gu-Zheng, a 21-stringed traditional Chinese instrument. The cultural, social, and historical significance of Gu-Zheng. 15 Gu-Zheng techniques, how to read Chinese music and Gu-Zheng notation, and two simple classic Gu-Zheng pieces. All participants must enroll. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 72SZ:
Intermediate Piano
Intermediate Piano (zero-unit option). Zero unit enrollment option available with instructor permission. See website: (http://tinyurl.com/posmuhn) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Last offered: Summer 2018
| Units: 0
MUSIC 73:
Intermediate Voice Class
This class is closed by design, and enrollment is by audition only. Students will work in a masterclass setting to learn more about vocal technique and performance practice (cabaret style) in preparation for a performance at the end of the quarter. Students who have taken a voice class or had previous vocal training are encouraged to audition. Please register on the waitlist and submit your video auditions directly to the instructor. You must submit one song, any genre, of your singing to a karaoke track or piano accompaniment. Please submit a performance-ready video audition to the instructor before the first class meeting. A second audition will involve singing a short song excerpt during the first-class meeting. Permission numbers will be granted to those who are accepted once all audition videos have been received and evaluated. You must register on the waitlist AND attend the first class to be considered for enrollment. Limit of 4 students per section. Each class lasts 50 minutes. May be repeated for credit. Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero unit enrollment option available with instructor permission. See website: (https://music.stanford.edu/ensembles-lessons/applied-music-policies-and-resources) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 73Z:
Intermediate Voice Class
This class is closed by design, and enrollment is by audition only. Students will work in a masterclass setting to learn more about vocal technique and performance practice (cabaret style) in preparation for a performance at the end of the quarter. Students who have taken a voice class or had previous vocal training are encouraged to audition. Please register on the waitlist and submit your video auditions directly to the instructor. You must submit one song, any genre, of your singing to a karaoke track or piano accompaniment. Please submit a performance-ready video audition to the instructor before the first class meeting. A second audition will involve singing a short song excerpt during the first-class meeting. Permission numbers will be granted to those who are accepted once all audition videos have been received and evaluated. You must register on the waitlist AND attend the first class to be considered for enrollment. Limit of 4 students per section. Each class lasts 50 minutes. May be repeated for credit. Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero unit enrollment option available with instructor permission. See website: (https://music.stanford.edu/ensembles-lessons/applied-music-policies-and-resources) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 74AA:
Introductory Violin Class Level 1: Beginner
Open to majors and non-majors. Focus is on beginning violin skills. Topics include brief history and physics of the instrument, and survey of repertoire. There is a fee for this class. Please visit http://music.stanford.edu for class fees and signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Last offered: Autumn 2018
| Units: 1
| UG Reqs: WAY-CE
MUSIC 74C:
Classical Guitar Class
May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 74CZ:
Classical Guitar Class
Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 74D:
Harp Class
May be repeated for credit a total of 14 times. Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Last offered: Spring 2023
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 74DZ:
Harp Class
There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 1 units total)
MUSIC 75B:
Renaissance Wind Instruments Class
May be repeated for credit. Please visit http://music.stanford.edu for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 75BZ:
Renaissance Wind Instruments Class
May be repeated for credit. Please visit http://music.stanford.edu for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 76:
Brass Instruments Class
May be repeated for credit a total of 14 times. Please visit http://music.stanford.edu for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 76A:
Tuba Class
Basic brass techniques as they apply to the tuba including warmups, breathing, and developing a daily routine. For beginning through intermediate players. Please visit http://music.stanford.edu/Academics/LessonSignups.html for audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. May be repeated for credit
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 76AZ:
Tuba Class
Basic brass techniques as they apply to the tuba including warmups, breathing, and developing a daily routine. For beginning through intermediate players. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. May be repeated for credit for 0 unit.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 76Z:
Brass Instruments Class
May be repeated for credit a total of 14 times. Please visit http://music.stanford.edu for class fees and signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 77:
Percussion Class
May be repeated for credit a total of 14 times. Please visit http://music.stanford.edu for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 77Z:
Percussion Class
Please visit http://music.stanford.edu for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 80A:
Jewish Music of the Diaspora (JEWISHST 80A)
Through the perspective of Jewish music, the students will be exposed to diverse musical cultures from around the globe while simultaneously being exposed to the rich and multi-faceted cultures of Jewish music. Because the Jews were dispersed around the globe, discrete musical styles and genres evolved for the same texts. The various styles differ from each other in their tonal and rhythmic organizations; instrumentation, tora recitations.¿¿The course examines these aspects as well as the influence of Jewish music on classical music and vice versa. No prior knowledge of Jewish history, Judaism and music theory is required. ¿
Terms: Win
| Units: 3
| UG Reqs: WAY-A-II
MUSIC 101:
Introduction to Creating Electronic Sounds
Introduction to Creating Electronic Sounds enables students from a wide variety of backgrounds to cultivate conceptual and technical skills within the production of electronic sound and music composition. Lectures, readings, and group discussions will examine the evolution of recording technology as it relates to music within historical, social, and contemporary contexts. Over the course of ten weeks students will develop and produce a portfolio of creative projects, wherein the integration of one's life experiences, imagination, and musical preferences are encouraged. In addition to regular coursework, students who enroll in the class for 4 units will create and publish a 12 to 20-minute EP according to their own musical taste and technical abilities. Please note: This is not a production class with an in-depth technical focus during class time, however technical support is offered outside of regular class time. This course is a prerequisite for MUSIC 192A: Foundations of Sound Recording Technology. No previous experience required. Enrollment by application only. Permission numbers will be distributed during the first week of classes.
Terms: Aut, Win, Spr
| Units: 3-4
| UG Reqs: WAY-CE
MUSIC 105:
Creative Music Technology Practice
This course engages students with a practice-based dive into the creative applications of music technology towards music-making. It tasks students with investigating the answers to questions like: what unique affordances does music technology provide us to create new and novel musical experiences? How do we leverage music technology towards live performance, recording, installations, and potentially beyond? What are the pitfalls or difficulties of making music with technology? Taught with an actively collaborative and hands-on approach, students will complete creative assignments throughout the quarter that build towards an open-ended individual or small-group based creative project. Please note: Some basic coding experience is helpful, but not required.
Terms: Spr
| Units: 1-3
| UG Reqs: WAY-CE
MUSIC 107:
Close Analysis: Film Sound (FILMEDIA 307)
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.
| Units: 3-4
| Repeatable
1 times
(up to 4 units total)
MUSIC 112:
Film Scoring
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.
Terms: Spr
| Units: 3
| UG Reqs: WAY-CE
MUSIC 113:
Introduction to Instrumental Composition
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.
Terms: Aut
| Units: 2-3
MUSIC 113P:
Media and Communication from the Middle Ages to the Printing Press (ENGLISH 13P, ENGLISH 113P, HISTORY 13P, HISTORY 113P, MUSIC 13P)
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.
| Units: 3-5
| UG Reqs: WAY-A-II, WAY-SI
MUSIC 115:
Individual Undergraduate Projects in Jazz
Students may pursue individual projects in jazz performance, theory, history, etc. Prerequisite: Music 20A or permission of instructor.
Terms: Aut, Win, Spr, Sum
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 118:
Musics and Appropriation Throughout the World (AFRICAAM 218, CSRE 118D)
This course critically examines musical practices and appropriation through the amplification of intersectionality. We consider musics globally through recourse to ethnomusicological literature and critical race theories. Our approach begins from an understanding that the social and political contexts where musics are created, disseminated, and consumed inform disparate interpretations and meanings of music, as well as its sounds. Our goal is to shape our ears to hear the effects of slavery, colonialism, capitalism, nationalism, class, gender difference, militarism, and activism. We interrogate the process of appropriating musics throughout the world by making the power structures that shape privileges and exclusions audible.
Last offered: Winter 2023
| Units: 3
| UG Reqs: WAY-A-II, WAY-EDP
MUSIC 120D:
Jazz Improvisation
This class will focus on developing a deeper understanding of, and capacity for, jazz improvisation -- as it relates to individual expression as well as group interaction, communication, and cohesion. In-class soloing and ensemble playing; guided listening; ear training; internalization; personalization; and an awareness of the historical evolution of the jazz improvisational language will all be emphasized. The coursework will be primarily based on actual instrumental performance and practice; with an extensive listening list; and possibly some complementary composition, transcribing, self-evaluation; reading and writing assignments. Limited enrollment: Audition required. Students auditioning for Music 120D may submit the same audition material for consideration for Music 120E and vice-versa, but they are asked to make clear that they are applying for both (or, alternatively, for just one of the two, and if so, which one.) This class will be closed to enrollment, so students wishing to enroll must join the Axess waiting list. You will then be contacted with audition instructions. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
4 times
(up to 12 units total)
MUSIC 120DZ:
Jazz Improvisation
This class will focus on developing a deeper understanding of, and capacity for, jazz improvisation -- as it relates to individual expression as well as group interaction, communication, and cohesion. In-class soloing and ensemble playing; guided listening; ear training; internalization; personalization; and an awareness of the historical evolution of the jazz improvisational language will all be emphasized. The coursework will be primarily based on actual instrumental performance and practice; with an extensive listening list; and possibly some complementary composition, transcribing, self-evaluation; reading and writing assignments. Limited enrollment: Audition required. Students auditioning for Music 120D may submit the same audition material for consideration for Music 120E and vice-versa, but they are asked to make clear that they are applying for both (or, alternatively, for just one of the two, and if so, which one.) This class will be closed to enrollment, so students wishing to enroll must join the Axess waiting list. You will then be contacted with audition instructions. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Spr
| Units: 0
| Repeatable
4 times
(up to 0 units total)
MUSIC 120E:
Advanced Jazz Improvisation
This class will focus on broadening the participants' fluency with established improvisational languages, encouraging them to trust and develop their own unique improvisational voices, and deepening their capacities for integrating those individual voices into a collaborative musical framework -- working and playing together as a group, forging a collective identity, finding a band sound. In-class soloing and ensemble playing; guided listening; ear training; internalization; personalization; transcription, composition and arranging will all be emphasized. The coursework will be primarily based on actual instrumental performance and practice; with an extensive list of tracks to listen to and tunes to learn. The class will spend ample time focusing on the repertoire from the jazz "canon" (works by jazz masters such Ellington, Monk, Parker, Shorter, Mingus, Coltrane, Coleman, etc, as well as "standards" from the American popular songbook). Participants will be encouraged to submit for consideration by the group their own ideas for material, including, but not limited to, their own original compositions or arrangements. Limited enrollment: Audition required. Students auditioning for Music 120E may submit the same audition material for consideration for Music 120D and vice-versa, but they are asked to make clear that they are applying for both (or, alternatively, for just one of the two, and if so, which one.) All who are interested are strongly encouraged to apply, with the understanding that some priority may be given to those who have already completed Music 120D. This class will be closed to enrollment, so students who would like to enroll must join the Axess wait list. You will then be contacted with audition instructions.
Terms: Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
4 times
(up to 12 units total)
MUSIC 120EZ:
Advanced Jazz Improvisation
This class will focus on broadening the participants' fluency with established improvisational languages, encouraging them to trust and develop their own unique improvisational voices, and deepening their capacities for integrating those individual voices into a collaborative musical framework -- working and playing together as a group, forging a collective identity, finding a band sound. In-class soloing and ensemble playing; guided listening; ear training; internalization; personalization; transcription, composition and arranging will all be emphasized. The coursework will be primarily based on actual instrumental performance and practice; with an extensive list of tracks to listen to and tunes to learn. The class will spend ample time focusing on the repertoire from the jazz "canon" (works by jazz masters such Ellington, Monk, Parker, Shorter, Mingus, Coltrane, Coleman, etc, as well as "standards" from the American popular songbook). Participants will be encouraged to submit for consideration by the group their own ideas for material, including, but not limited to, their own original compositions or arrangements. Limited enrollment: Audition required. Students auditioning for Music 120E may submit the same audition material for consideration for Music 120D and vice-versa, but they are asked to make clear that they are applying for both (or, alternatively, for just one of the two, and if so, which one.) All who are interested are strongly encouraged to apply, with the understanding that some priority may be given to those who have already completed Music 120D. This class will be closed to enrollment, so students who would like to enroll must join the Axess wait list. You will then be contacted with audition instructions.
Terms: Spr
| Units: 0
| Repeatable
4 times
(up to 0 units total)
MUSIC 122A:
Counterpoint
Analysis and composition of contrapuntal styles from the Renaissance and Baroque periods. Use of keyboard, ear training, and sight singing underlies all written work. Prerequisites: MUSIC 23 and MUSIC 24C; passing piano-proficiency examination; or, consent of instructor.
Terms: Aut
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
MUSIC 122B:
Analysis of Tonal Music
Complete movements, or entire shorter works of the 18th and 19th centuries, are analyzed in a variety of theoretical approaches. Prerequisites: MUSIC 23 and MUSIC 24C; passing piano-proficiency examination; or, consent of instructor.
Terms: Win
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
MUSIC 122C:
Introduction to Post-Tonal Analysis
Survey and analysis of a broad array of 20th-century examples, including compositional options. Prerequisites: MUSIC 23 and MUSIC 24C; passing piano-proficiency examination; or, consent of instructor.
Terms: Spr
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
MUSIC 122D:
Analysis for Performance
Prerequisites: 23 or consent of instructor, successful completion of the ear-training and piano-proficiency examinations.
Last offered: Autumn 2022
| Units: 2
MUSIC 122M:
Main Stage Theater Project (TAPS 122M)
The Main Stage Theater Project provides students the opportunity to receive units for participating in a TAPS Main Stage Show. About the Autumn 2023-24 show: Performance maker, director, and choreographer Erika Chong Shuch will return to TAPS to engage a group of student collaborators to develop a new performance work that will premiere through TAPS in Fall 2023. Leaning into Jenny Odell's book How To Do Nothing as a springboard, the cast will devise playful, performative structures that invite audiences into a contemplation of time, memory, and stillness.
| Units: 3-5
| Repeatable
4 times
(up to 20 units total)
MUSIC 123A:
Undergraduate Seminar in Composition: Rhythmic Design
Students compose weekly exercises to develop creative fluency and personal style. The course focuses on listening to examples, analysis and emulation of diverse compositional techniques involving rhythm.
Terms: Aut
| Units: 1-2
| UG Reqs: WAY-CE
MUSIC 123B:
Undergraduate Seminar in Composition: Pitch Design
Students compose weekly exercises to develop creative fluency and personal style. The course focuses on listening to examples, analysis and emulation of diverse compositional techniques involving pitch.
Terms: Spr
| Units: 1-2
| UG Reqs: WAY-CE
MUSIC 123C:
Undergraduate Seminar in Composition: World Music
The course introduces composition techniques used in traditional music from Bali, Central African Republic, India, and Japan, that the students use as inspiration to explore and develop their own composition techniques. Prerequisite: Music 19A or Instructor's permission.
Last offered: Spring 2023
| Units: 1-2
| UG Reqs: WAY-CE
MUSIC 123D:
Undergraduate Seminar in Composition: Extended Performance Techniques
Extended performance techniques have become standard extension of composers' orchestration technique. The course introduces extended techniques for keyboard, string, woodwinds, brass and percussion instruments, and illustrate their potential with excerpts from the literature. Students get to explore these techniques with a quarter long research project. Prerequisite: Music 127A or Instructor's permission
Last offered: Spring 2023
| Units: 1-2
| UG Reqs: WAY-CE
MUSIC 123G:
Liberatory Practice Lab: Engaging Sounds in Community (FEMGEN 123G)
This course is an incubator for new musical practices grounded in the cultivation of community. Learning from live performances, workshops, and archival texts by Black and queer feminist, Indigenous, and disability-culture activists, participants will deepen their understandings of their personal musical practices and backgrounds and imagine new ways of relating through sound. The course will center on a series of gatherings shaped in partnership with guest artists and local community organizations. Each participant will develop original sound-based experiences (compositions, guided meditations, or other participatory happenings) for these gatherings, supporting their classmates' initiatives as collaborative listeners and soundmakers. Participants with backgrounds in any sound-based practices are welcome. No prior experience in composition is necessary. Students who wish to enroll are asked to fill out a brief questionnaire [[https://forms.gle/hw8NVG6ksMdMGuak7].
Last offered: Spring 2023
| Units: 4
| Repeatable
3 times
(up to 12 units total)
MUSIC 123I:
Undergraduate Seminar in Composition: Music, Art, and Intermedia (ARTSTUDI 123I)
How do music and art relate? How does one speak for, with, the other? In the past century, Western visual art turned towards abstraction and time-based works. Techniques and processes for interaction between image and sound expanded dramatically. What better place to learn about them than the Anderson Collection? Through students' own visual and aural creations, we will explore and share individual approaches to time, symbol, memory, and meaning. Previous experience in music composition is welcome but not required. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways-AII credit.
Last offered: Winter 2023
| Units: 2-3
| UG Reqs: WAY-A-II, WAY-CE
MUSIC 124A:
Songwriters Workshop
Laboratory for composers of any kind of vernacular music: singer-songwriters; folk singers; laptop dance music composers; rock and pop bands; rappers; writers of instrumentals or music with lyrics; solo artists and collaborators; etc. Compositional strategies for songwriting, overview of exemplars, discussion of aesthetic issues, and development of artistic personae. Weekly critique session for students and faculty to share work and offer feedback. Music theory and literacy not required. Aimed, however, at those with at least some experience as writers, whether casual or extensive. For bands at least half of members must be enrolled.
Terms: Win
| Units: 1-2
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 4 units total)
MUSIC 125:
First Individual Undergraduate Projects in Composition I
May be repeated for credit a total of 13 times. Prerequisites: Music123A and Music123B or Instructor's permission. Composition concentrators must earn required private lesson credits through enrollment in individual lesson sections taught by Stanford Department of Music faculty members. Taking multiple quarters of composition lessons with more than one faculty member is strongly encouraged.
Terms: Aut, Win, Spr, Sum
| Units: 1-3
| Repeatable
13 times
(up to 39 units total)
Instructors: ;
Alessandrini, P. (PI);
Applebaum, M. (PI);
Aquilanti, G. (PI);
Basica, C. (PI);
Berger, J. (PI);
Chafe, C. (PI);
DeMarinis, P. (PI);
Kapuscinski, J. (PI);
Rose, F. (PI);
Ulman, E. (PI)
MUSIC 126A:
Thoroughbass Accompaniment
The development of continuo techniques and skills for figured-bass realization. Performance and analysis of selected repertoire, using thoroughbass principles and exercises based on historical theoretical treatises. Prerequisite: 21.
Terms: Aut
| Units: 1-3
| Repeatable
3 times
(up to 7 units total)
MUSIC 127A:
Instrumentation and Orchestration
Individual instruments, instrumental groups within the orchestra, and combinations of groups. Arrangements from piano to orchestral music. Score analysis with respect to orchestration. Practical exercises using chamber ensembles and school orchestra. Prerequisite: Music23, or permission of the instructor.
Terms: Aut, Spr
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-CE
MUSIC 127B:
Advanced Orchestration
Through analysis and writing exercises, students develop proficiency in advanced orchestration practices. The course covers techniques currently used in film scoring as well as form basis for new experimental orchestral composition.
Last offered: Spring 2023
| Units: 3
| UG Reqs: WAY-CE
MUSIC 127C:
Band Arranging
Develop skills and techniques related to arranging for marching and concert bands; emphasizes instrumentation, transposition, and voicing.
Terms: Spr
| Units: 3
MUSIC 128:
Stanford Laptop Orchestra: Composition, Coding, and Performance (CS 170)
Classroom instantiation of the Stanford Laptop Orchestra (SLOrk) which includes public performances. An ensemble of more than 20 humans, laptops, controllers, and special speaker arrays designed to provide each computer-mediated instrument with its sonic identity and presence. Topics and activities include issues of composing for laptop orchestras, instrument design, sound synthesis, programming, and live performance. May be repeated four times for credit. Space is limited; see https://ccrma.stanford.edu/courses/128 for information about the application and enrollment process. May be repeat for credit
Terms: Spr
| Units: 1-5
| UG Reqs: WAY-CE
| Repeatable
4 times
(up to 20 units total)
MUSIC 129K:
Advanced Keyboard Musicianship
Score-reading at the keyboard, for pianists. Students will learn to read and reduce as necessary, score examples from a variety of ensembles, including music for strings, choir, winds, and orchestra. Practice reading associated clefs and transpositions will enable students to demonstrate short passages from ensemble repertoire effectively at the keyboard.
Terms: Spr
| Units: 1-2
MUSIC 130B:
Elementary Instrumental Conducting
What do conductors do and how do they do it? In this course, students are introduced to the theory, technique, and practice of instrumental conducting. Students will develop the art of physical gesture by conducting an ensemble made up of class members. Topics include baton technique, rehearsal procedure, and structural analysis. Studies in clef reading and transposition will foster the skills needed to read orchestral scores. Students will study and conduct instrumental music for strings, winds, and full orchestra primarily from the Baroque, Classical, and Romantic periods. Following preliminary work with the class ensemble, each student will conduct Stanford Philharmonia and the Stanford Symphony Orchestra in rehearsal as their final project. Prerequisite: Instructor's permission.
Terms: Aut
| Units: 2-3
| UG Reqs: WAY-CE
MUSIC 130C:
Elementary Choral Conducting
Techniques specific to the conducting of choral ensembles: warm-ups, breathing, balance, blend, choral tone, isolation principles, recitative conducting, preparation, and conducting of choral/orchestral works.
Last offered: Winter 2022
| Units: 2
| UG Reqs: WAY-CE
MUSIC 131A:
Musical Indeterminacy & Advanced Notation
Strategies for composing works that change from performance to performance and offer performers significant and sometimes spontaneous input into their musical form and content. Examination of canonic works and discussion of the defining boundaries of musical ontology. Consideration of various notational techniques, prescriptive versus descriptive purposes, pictographic notation, the aesthetics of the score, under-specification versus musical graininess, and the sonification of visual data. Discussion of game pieces, aleatoric chance procedures, the role of improvisation, conceptual vagueness, interpretative compliance, and the ethics of fidelity and exactitude. Brief etude assignments, readings, and creation of a short ensemble piece performed in concert.
Last offered: Autumn 2022
| Units: 2-3
| UG Reqs: WAY-CE
MUSIC 132:
Music Education: Then, Now, and Then Again (EDUC 132)
Explores the presence and impact of music across a variety of educational settings, with a focus on the historical function of music education, the current role of music education, and potential future models of music education.
Terms: Spr
| Units: 3
MUSIC 136:
Intermediate Conducting: Music Since 1900
The art of reading and conducting scores from the Impressionist, late Romantic, and Modern periods to the present, with emphasis on orchestral and choral works that involve changing meters, advanced harmonic vocabulary, and modern instrumental and vocal practices. Topics include clef reading and transposition, baton technique, and rehearsal procedure. Prerequisite: MUSIC 130B, or 130C; or instructor's permission.
Terms: Spr
| Units: 2-3
MUSIC 140L:
Renaissance Soundscapes
What was the sonic experience of living in late-medieval and early-modern Europe? This course will explore the sights and sounds of daily life for cultural elites as well as the average urban resident. Although it is often vocal polyphony that first comes to mind when thinking about Renaissance music, acoustic environments were complex, noisy, and diverse. This course aims to reflect that heterogeneity: topics include bells, processions, music and architecture, instrumental music, plainchant, visual depictions of music-making, and uses of music to project power, as well as sacred and secular vocal polyphony. Students will zoom in on cities, courts, and churches, especially the musical centers of Bruges, Florence, Ferrara, the Imperial Court of Holy Roman Emperor Charles V, and Bavaria. The course will examine music by some of the most important composers of the era, including Guillaume Du Fay, Josquin des Prez, Philippe Verdelot, Nicolas Gombert, and Orlando di Lasso. WIM at 4 units only.
Terms: Win
| Units: 3-4
MUSIC 143F:
Nineteenth-Century Pianism: History, Works, & Performance Practices (MUSIC 243F)
This seminar narrows the divide between performance and musicology. With nineteenth-century pianism as an extended case study, this course will explore representative and less common composers, works, and performers. Subtopics will include historical performance practices, notation, critical editions, period pianos, hermeneutics, recording analysis, and the cultural politics of performing and listening. Students will hone writing, research, and performance skills through a variety of assignments, seminar discussions, and in-class exercises, culminating with a lecture-recital. Possible field trips will include Stanford's Archive of Recorded Sound and selected live performances. Prerequisites: Intermediate to advanced performance ability; intermediate or higher music theory. WIM at 4 units only.
Terms: Aut
| Units: 3-4
| UG Reqs: WAY-A-II, WAY-CE
MUSIC 143J:
Studies in Music of the Classical Period: Haydn and Mozart: Music in the Age of Enlightenment (MUSIC 243J)
Music and Musicians in the Age of EnlightenmentnPrerequisites: MUSIC 22, MUSIC 41. (WIM at 4-unit level only.)
Last offered: Winter 2021
| Units: 3-4
| UG Reqs: GER:DB-Hum, WAY-A-II
MUSIC 144N:
Reading Recorded Performances: From Data to Interpretation (MUSIC 244N)
How might one study and interpret recorded performances as 'texts'? We will explore the intersections of performance and musicology through guided weekly writing assignments, considering 'data' about recorded performances as heard and physically felt (tempo, articulation, dynamics, gestures, implied technique...) along with culture, history, compositional analysis, performers' biographies, lived experiences, and creative personalities. Students will select and interpret recorded performances/works within the Western classical tradition to shape a final lecture-recital performance. Class examples come chiefly from piano repertory; however, other instrumentalists and vocalists may tailor final projects accordingly. Prerequisites: Intermediate to advanced performance ability, Music 22 (suggested). WIM at 4 units only.
Last offered: Winter 2023
| Units: 3-4
MUSIC 146N:
Transcultural Perspectives of South-East Asian Music and Arts (COMPLIT 148, COMPLIT 267, FRENCH 260A, MUSIC 246N)
This course will explore the links between aspects of South-East Asian cultures and their influence on modern and contemporary Western art and literature, particularly in France; examples of this influence include Claude Debussy (Gamelan music), Jacques Charpentier (Karnatak music), Auguste Rodin (Khmer art) and Antonin Artaud (Balinese theater). In the course of these interdisciplinary analyses - focalized on music and dance but not limited to it - we will confront key notions in relation to transculturality: orientalism, appropriation, auto-ethnography, nostalgia, exoticism and cosmopolitanism. We will also consider transculturality interior to contemporary creation, through the work of contemporary composers such as Tran Kim Ngoc, Chinary Ung and Tôn-Thât Tiêt. Viewings of sculptures, marionette theater, ballet, opera and cinema will also play an integral role. To satisfy a Ways requirement, this course must be taken for at least 3 units. WIM credit in Music at 4 units and a letter grade.
Terms: Win
| Units: 2-4
| UG Reqs: WAY-A-II
MUSIC 146S:
Sound Tracks: Music, Memory, Migration (CSRE 146S)
Music records racial and ethnic histories. How can critically listening to the musics of diasporic and migratory peoples attune us to the processes of identity formation, racialization, and self-understanding? In this course will gain deeper insights into how communities have used music to respond to the challenges of migration and minoritization under ever-changing nationalist frames. As we listen to musics from the Romani, Jewish, African, and Latinx diasporas, we explore how race, ethnicity, identity, heritage, nationalism, minoritization, hybridity, and diversity are refracted through sound. WIM at 4 units only.
Terms: Spr
| Units: 3-4
| UG Reqs: WAY-A-II, WAY-EDP
MUSIC 150U:
The Arts and Social Justice (MUSIC 250D)
A survey of how art addressed and addresses issues of social justice across history and cultures
Last offered: Autumn 2022
| Units: 3
| UG Reqs: WAY-A-II
| Repeatable
2 times
(up to 6 units total)
MUSIC 151B:
Red Vest Band
A small ensemble of the Leland Stanford Junior University Marching Band open to members of the LSJUMB by audition and consent of instructor. Members perform at multiple Stanford Athletics events, multiple community events, and travel to some away and post-season games. Weekly rehearsals focus on introduction of new student arrangements and the LSJUMB's repertoire of rock, funk, and traditional styles. May be repeated for credit a total of 12 times.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
12 times
(up to 12 units total)
MUSIC 151BZ:
Red-Vest Band
A small ensemble of the Leland Stanford Junior University Marching Band open to members of the LSJUMB by audition and consent of instructor. Members perform at multiple Stanford Athletics events, multiple community events, and travel to some away and post-season games. Weekly rehearsals focus on introduction of new student arrangements and the LSJUMB's repertoire of rock, funk, and traditional styles. May be repeated for credit a total of 12 times.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
12 times
(up to 0 units total)
MUSIC 153A:
Network Performance Practice (ARTSINST 141)
JackTrip software, developed at Stanford, provides the means for ultra-low-latency, uncompressed sound transmission for live music-making. Remote ensemble rehearsals, coaching, music lessons, jamming and concert broadcasting make use of the technology. The open-source project continues to develop, especially in its ability to support large ensembles of home-to-home connections. The course will cover recent features, history and theory of JackTrip and engage in a series of practical, participatory performance sessions. Students will learn the software and related network and audio principles with a focus on intuition building and ear training. Course participants will work from home and be able to use CCRMA facilities remotely. The course can be audited or coordinated with another course.
Last offered: Autumn 2022
| Units: 1
| Repeatable
4 times
(up to 16 units total)
MUSIC 153AZ:
Network Music Performance
The Soundwire Ensemble invites student instrumental and vocal performers for online music-making. Musical projects will include improvisational and composed pieces from the group and be presented in a final online concert with online audience. The ensemble will use JackTrip software and connect with each other from home. Everyone is welcome (which includes friends and staff) and the music will go where it goes following the group's ears and interests. JackTrip software, developed at Stanford, provides the means for ultra-low-latency, uncompressed sound transmission for live music-making. Remote ensemble rehearsals, coaching, music lessons, jamming and concert broadcasting make use of the technology. The open-source project continues to develop, especially in its ability to support large ensembles of home- to-home connections.
Last offered: Autumn 2022
| Units: 0
| Repeatable
4 times
(up to 0 units total)
MUSIC 153C:
Fly Folk in the Buttermilk: A Black Music and Culture Writing Workshop (CSRE 163)
This course in honor of the late, great music journalist and thinker, Greg Tate, is designed to introduce popular music writing as a genre to students from all academic backgrounds. From cultural criticism, liner notes, music journalism, and DJ scholarship and more - this course explores the art of music writing with lectures, discussion and ongoing feedback on student writing from Special Guest Artists DJ Lynnée Denise and Daniel Gray-Kontar. Students will also have the opportunity to read and analyze various types of music writing in public and scholarly venues, and if they choose, to build a portfolio of their own working across several possible genres. Nationally and internationally renowned guests will visit with the class regularly to share their journeys as writers and offer their views on craft, aesthetics, and principles for writers to consider as they work on their own craft. These guests will include: Cheo Hodari Coker, journalist at The Source Magazine turned television/film writer of Creed II; Joan Morgan, long-time music and culture writer who coined the phrase Hip-Hop Feminism; Fredara Hadley, ethnomusicology professor at The Juilliard School; Scott Poulsen Bryant, co-founding editor of Vibe Magazine, and others. This spring course is presented by the Institute for Diversity in the Arts, IDA.
Last offered: Spring 2023
| Units: 1-4
MUSIC 153D:
Ensemble Sonification of Temporal Data (COMM 153D)
An ensemble course with research components for making data-driven music. Improvised and composed pieces make use of large, time-based data sets chronicling humans' digital-life and real-life experiences, and explore how temporal data can be transformed into live musical performances. Data sets will include the Human Screenome Project and the music will go where it goes following the group's ears and instincts. A series of workshops with guest musicians will continue throughout the year and group members will be able to take part beyond the course.
Terms: Win
| Units: 1-3
| Repeatable
10 times
(up to 30 units total)
MUSIC 153DZ:
Ensemble Sonification of Temporal Data
An ensemble course with research components for making data-driven music. Improvised and composed pieces make use of large, time-based data sets chronicling humans' digital-life and real-life experiences, and explore how temporal data can be transformed into live musical performances. Data sets will include the Human Screenome Project and the music will go where it goes following the group's ears and instincts. A series of workshops with guest musicians will continue throughout the year and group members will be able to take part beyond the course.
Terms: Aut, Win
| Units: 0
| Repeatable
10 times
(up to 30 units total)
MUSIC 153E:
Close Listening: Sound, Media, and Performance (FEMGEN 153D, FILMEDIA 153E, TAPS 153D)
Are there ways to listen? This new course approaches the question by exploring artist works that have challenged the norms of sonic experience. We will discover that in life, as in the arts, there are practices of listening. We will cover a range of texts on sound media, and we will experience a number of works that reinvent practices of listening. There will be particular attention to the work of feminist sound artists. In conversation with art and theory, we will develop wider awareness for the sounds of everyday life. This course meets once a week, and group listening of select works is part of the class.
Terms: Spr
| Units: 4
| UG Reqs: WAY-A-II
MUSIC 154A:
Sound Art I (ARTSTUDI 131)
Acoustic, digital and analog approaches to sound art. Familiarization with techniques of listening, recording, digital processing and production. Required listening and readings in the history and contemporary practice of sound art. (lower level)
Terms: Aut
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-CE
MUSIC 154G:
Electronic Music Composition
Electronic music composition introduces techniques for electronic music composition. These will be based on the history of electroacoustic music and both theory and analysis will be explored. A critical approach to the historical and contemporary developments in the field, socially and culturally, will be promoted throughout the course. Creative work individually and in groups will be alternated with reading and listening sessions and group discussions. Students will engage in a series of composition assignments that will be presented and discussed in class. Students are encouraged to integrate their own life experiences, imaginations and musical preferences into the work they create.
Last offered: Autumn 2022
| Units: 3-4
MUSIC 155:
Intermedia Workshop (ARTSTUDI 239, MUSIC 255)
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
Terms: Spr
| Units: 4
| UG Reqs: WAY-A-II, WAY-CE
| Repeatable
2 times
(up to 8 units total)
MUSIC 155A:
Piano Literature (MUSIC 255A)
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.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
14 times
(up to 14 units total)
MUSIC 155AZ:
Piano Literature
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.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
14 times
(up to 0 units total)
MUSIC 156:
"sic": Improvisation Collective
Small ensemble devoted to learning trans-idiomatic improvisation techniques and composing indeterminate pieces in a workshop setting. One major concert. Prerequisite: access to an instrument. Improvisational experience and conventional instrumental virtuosity not required. May be repeated for credit for a total of 3 times.
Terms: Win
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
4 times
(up to 4 units total)
MUSIC 156Z:
"sic": Improvisation Collective
Small ensemble devoted to learning trans-idiomatic improvisation techniques and composing indeterminate pieces in a workshop setting. One major concert. Prerequisite: access to an instrument. Improvisational experience and conventional instrumental virtuosity not required. May be repeated for credit for a total of 3 times.
Terms: Win
| Units: 0
| Repeatable
4 times
(up to 0 units total)
MUSIC 157:
Cardinal Calypso--Steelpan Ensemble
This course introduces students to steelpan as an instrument and as a culture. Over the course of the year, students will gain fundamental knowledge of the pitched percussion instrument, gain insight into the culture of Trinidad and Tobago which gave rise to the steelpan, and have the opportunity to expand and share that knowledge through rehearsals, lecture topics/discussion, performances, and events with guest artists. While focusing on soca and calypso music genres, we will also explore a diverse range of other musical styles. Please note that this course is exclusively open to ensemble members.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
12 times
(up to 12 units total)
MUSIC 157Z:
Cardinal Calypso -- Steelpan Ensemble
This course introduces students to steelpan as an instrument and as a culture. Over the course of the year, students will gain fundamental knowledge of the pitched percussion instrument, gain insight into the culture of Trinidad and Tobago which gave rise to the steelpan, and have the opportunity to expand and share that knowledge through rehearsals, lecture topics/discussion, performances, and events with guest artists. While focusing on soca and calypso music genres, we will also explore a diverse range of other musical styles. Please note that this course is exclusively open to ensemble members.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
12 times
(up to 0 units total)
MUSIC 158:
Musical Acoustics (MUSIC 258D)
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.
Terms: Win
| Units: 2-3
| UG Reqs: WAY-SMA
MUSIC 159:
Early Music Singers
Small choir specializing in Medieval, Renaissance, and early Baroque vocal music. One major concert per quarter. May be repeated for credit for a total of 15 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| Repeatable
15 times
(up to 15 units total)
MUSIC 159M:
Gay Guerilla: a hands-on experience of the life, music and legacy of Julius Eastman
This hands-on course explores the life and music of Julius Eastman, in which he endeavored to be "Black to the fullest, a musician to the fullest, and a homosexual to the fullest". His music deals with issues of race, gender, sexual orientation, and class, and was stylistically groundbreaking in many ways, preceding some of the earliest examples of minimalism and particularly marking the downtown New York scene of the 70s and 80s. Class meetings will include guest lectures, labs, and the opportunity to participate in and/or contribute to a live presentation of Eastman's music by Stanford Live at Bing Concert Hall. This course must be taken for a minimum of three units and a letter grade to be eligible for WAY-AII credit. For WAY-CE, the course may be taken for fewer than three units (note that if you take a WAY-CE class for only one unit you will need to take another unit of WAY-CE from the same department, as you need at least two units of WAY-CE). Please note that this course also counts towards African and African-American Studies minor/major.
Terms: Win
| Units: 1-3
| UG Reqs: WAY-A-II, WAY-CE
MUSIC 159Z:
Early Music Singers
Small choir specializing in Medieval, Renaissance, and early Baroque vocal music. One major concert per quarter. May be repeated for credit for a total of 15 times for 0 unit. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 160:
Stanford Symphony Orchestra
Large symphony orchestra (ca. 100 members) that rehearses two evenings per week (M/Th) and performs repertoire primarily from the Classical Period to the present. Usually prepares 1-2 programs per quarter, and presents 2-3 performances each quarter in Bing Concert Hall. Enrollment based on audition; for audition information, please refer to the Stanford Orchestra website at https://web.stanford.edu/group/sso/cgi-bin/orchestras/how-to-join/auditions/. May be taken for credit up to 15 times. Zero-unit enrollment option (MUSIC 160Z) available with instructor permission. See website (orchestra.stanford.edu) for further information. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 160A:
Stanford Philharmonia
Chamber orchestra (ca. 45 members) that rehearses one evening per week (Tu) and performs repertoire primarily from the Baroque Period to the present. Usually prepares 1-2 programs per quarter, and presents 1-2 performances each quarter in Bing Concert Hall. Enrollment based on audition; for audition information, please refer to the Stanford Orchestra website at https://web.stanford.edu/group/sso/cgi-bin/orchestras/how-to-join/auditions/. May be taken for credit up to 15 times. Zero-unit enrollment option (MUSIC 160AZ) available with instructor permission. See website (orchestra.stanford.edu) for further information. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 160AZ:
Stanford Philharmonia
Chamber orchestra (ca. 45 members) that rehearses one evening per week (Tu) and performs repertoire primarily from the Baroque Period to the present. Usually prepares 1-2 programs per quarter, and presents 1-2 performances each quarter in Bing Concert Hall. Enrollment based on audition; for audition information, please refer to the Stanford Orchestra website at https://web.stanford.edu/group/sso/cgi-bin/orchestras/how-to-join/auditions/. May be taken for credit up to 15 times. Zero-unit enrollment option (MUSIC 160AZ) available with instructor permission. See website (orchestra.stanford.edu) for further information. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 160B:
Stanford New Ensemble
Performing compositions of the 20th century, recent works of this century, and new works by Stanford faculty and student composers. Musicians collaborate with composers and artists visiting and performing at Stanford. One concert per quarter. Admission and enrollment based on audition. For audition and contact information, please refer to the SSO/SPO/SNE website at (http://www.stanford.edu/group/sso/cgi-bin/wordpress/member-login/). All participants must register. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 160BZ:
Stanford New Ensemble
Performing compositions of the 20th century, recent works of this century, and new works by Stanford faculty and student composers. Musicians collaborate with composers and artists visiting and performing at Stanford. One concert per quarter. Admission and enrollment based on audition. For audition and contact information, please refer to the SSO/SPO/SNE website at (http://www.stanford.edu/group/sso/cgi-bin/wordpress/member-login/). All participants must register. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 160C:
Stanford Baroque Soloists
Elite string group focusing on chamber music of the Baroque era, c. 1600-1750. Concerti, overtures, suites, solo & trio sonatas for your instrument, quartet music from the pre-history of the string quartet. Each member expected to solo as well as play backup. Performances each quarter, played standing, student-led without conductor. Coaching will emphasize leadership and ensemble techniques, intonation and blend, particulars of eighteenth century notation and performance practice. Modern instruments, modern pitch, baroque bows as available. Limited to six violins, three violas, three cellos, bass, admission by audition. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. Contact instructor for audition and enrollment information: apmartin@stanford.edu. May be repeated for credit for total completion of 15 and total 15 units. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 160CZ:
Stanford Baroque Soloists
Elite string group focusing on chamber music of the Baroque era, c. 1600-1750. Solo & trio sonatas for your instrument, quartet music from the pre-history of the string quartet. Coaching will emphasize leadership and ensemble techniques, intonation and blend, particulars of seventeenth & eighteenth century notation & performance practice. Modern instruments, modern pitch, baroque bows are available. Limited enrollment, admission by audition. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. Contact instructor for audition and enrollment information: apmartin@stanford.edu. May be repeated for credit for total completion of 15 and total 15 units. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 160S:
Stanford Summer Symphony
See website for details: https://music.stanford.edu/academic-programs/summer-studies-stanford-music/summer-session-ensembles-chorus-and-symphony. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Sum
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
6 times
(up to 6 units total)
MUSIC 160SZ:
Stanford Summer Symphony
See website for details: https://music.stanford.edu/academic-programs/summer-studies-stanford-music/summer-session-ensembles-chorus-and-symphony. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University. During Summer Quarter, Stanford students may only enroll in zero-unit courses if they have enrolled in another unit-and credit-bearing course. This course and other MUSIC courses with a 'Z' in the catalog number are not available to Summer Visitors.
Terms: Sum
| Units: 0
| Repeatable
6 times
(up to 0 units total)
MUSIC 160Z:
Stanford Symphony Orchestra
Large symphony orchestra (ca. 100 members) that rehearses two evenings per week (M/Th) and performs repertoire primarily from the Classical Period to the present. Usually prepares 1-2 programs per quarter, and presents 2-3 performances each quarter in Bing Concert Hall. Enrollment based on audition; for audition information, please refer to the Stanford Orchestra website at https://web.stanford.edu/group/sso/cgi-bin/orchestras/how-to-join/auditions/. May be taken for credit up to 15 times. Zero-unit enrollment option (MUSIC 160Z) available with instructor permission. See website (orchestra.stanford.edu) for further information. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 161A:
Stanford Wind Symphony
40- to 50-member ensemble performing transcriptions of symphonic music, brass band music, and repertoire composed specifically for symphonic band. One concert per quarter. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 161AZ:
Stanford Wind Symphony
40- to 50-member ensemble performing transcriptions of symphonic music, brass band music, and repertoire composed specifically for symphonic band. One concert per quarter. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 161B:
Jazz Orchestra
Jazz Orchestra is an undergraduate large ensemble performance class. Admission is by audition and/or permission of instructor. The class meets three times per week and presents a minimum of one formal concert per quarter with a major jazz artist. The class endeavors to provide students with the opportunity to perform, at the highest level, jazz compositions and arrangements of a serious nature, and provide opportunities for challenging and creative improvisational situations. Emphasis is placed on the understanding of the structural, psychological, and emotional components of the materials studied and performed. Zero unit enrollment option available with instructor permission. See website: ( http://music.stanford.edu) for policy and procedure. May be repeated for total of 15 times. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 161BZ:
Jazz Orchestra
Jazz Orchestra is an undergraduate large ensemble performance class. Admission is by audition and/or permission of instructor. The class meets three times per week and presents a minimum of one formal concert per quarter with a major jazz artist. The class endeavors to provide students with the opportunity to perform, at the highest level, jazz compositions and arrangements of a serious nature, and provide opportunities for challenging and creative improvisational situations. Emphasis is placed on the understanding of the structural, psychological, and emotional components of the materials studied and performed. Zero unit enrollment option available with instructor permission. See website: ( http://music.stanford.edu) for policy and procedure. May be repeated for total of 15 times. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 161D:
Stanford Brass Ensemble
Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. Performance of works for full brass choir and for smaller ensembles of brass instruments. Once weekly rehearsals. May be repeated for credit. Prerequisite: audition and consent of instructor. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 161DZ:
Stanford Brass Ensemble
Performance of works for full brass choir and for smaller ensembles of brass instruments. Once weekly rehearsals. May be repeated for credit. Prerequisite: audition and consent of instructor. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 161E:
Stanford Afro-Latin Jazz Orchestra
Ensemble dedicated to the performance, interpretation and study of Afro-Latin music and its fusion with North American jazz. Repertoire includes the music of Brazil, Cuba, Dominican Republic, Puerto Rico, Peru and Argentina, as well as the United States. Idioms studied include Latin Jazz, Danzon, Son Montuno, Samba, Bossa, Traditional and Modern Salsa, Timba, Lando, and Candombe. African roots of the music are also presented including songs and rhythms from the Lucumi and Arara traditions. Focus is placed on learning rhythms, associated syncopations and also clave phrasing. One weekly rehearsal and a concert are required per quarter. Other playing opportunities available at the discretion of the group. Regular openings for brass/wind players, drummers, percussionists, pianists, bassists, and vocalists. Guest openings on violin, guitar and vibraphone. Inclusion of other instruments at the discretion of the director. Members should have basic reading ability and some related ensemble experience (e.g, jazz band). Ability to read and play complex syncopations are mandatory. Percussionists with experience in bongo, congas, timbales and pandeiro desired. Vocalists with fluency or exposure to Spanish and/or Portuguese also preferred. May be repeat for credit. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University. While COVID restrictions are in effect, class will be a mixture of live sectionals, interactive sessions over Zoom and Jacktrip, and a possible live stream concert.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 161EZ:
Stanford Afro-Latin Jazz Orchestra
Ensemble dedicated to the performance, interpretation and study of Afro-Latin music and its fusion with North American jazz. Repertoire includes the music of Brazil, Cuba, Dominican Republic, Puerto Rico, Peru and Argentina, as well as the United States. Idioms studied include Latin Jazz, Danzon, Son Montuno, Samba, Bossa, Traditional and Modern Salsa, Timba, Lando, and Candombe. African roots of the music are also presented including songs and rhythms from the Lucumi and Arara traditions. Focus is placed on learning rhythms, associated syncopations and also clave phrasing. One weekly rehearsal and a concert are required per quarter. Other playing opportunities available at the discretion of the group. Regular openings for brass/wind players, drummers, percussionists, pianists, bassists, and vocalists. Guest openings on violin, guitar and vibraphone. Inclusion of other instruments at the discretion of the director. Members should have basic reading ability and some related ensemble experience (e.g, jazz band). Ability to read and play complex syncopations are mandatory. Percussionists with experience in bongo, congas, timbales and pandeiro desired. Vocalists with fluency or exposure to Spanish and/or Portuguese also preferred. May be repeat for credit. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University. While COVID restrictions are in effect, class will be a mixture of live sectionals, interactive sessions over Zoom and Jacktrip, and a possible live stream concert.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 161F:
Ottoman Music ensemble
Stanford's Ottoman Music Ensemble introduces select music played in the present day that hearkens back to musical practices from diverse communities of Ottoman Constantinople or Istanbul. Much of this music has now fallen under the guise of Turkish art, folk, or classical music. Through oral transmission and collective practice, we will attune our voices, instruments, and ears to hear and play select Ottoman pieces. Ensemble members will additionally be introduced to the microtonal (makam) music theory system and to the arts of solo improvisation (taksim) during the course. No previous experience required. The course culminates in a final end-of-quarter concert.
Last offered: Spring 2022
| Units: 1
| Repeatable
5 times
(up to 5 units total)
MUSIC 161FZ:
Ottoman Music Ensemble
Stanford's Ottoman Music Ensemble introduces select music played in the present day that hearkens back to musical practices from diverse communities of Ottoman Constantinople or Istanbul. Much of this music has now fallen under the guise of Turkish art, folk, or classical music. Through oral transmission and collective practice, we will attune our voices, instruments, and ears to hear and play select Ottoman pieces. Ensemble members will additionally be introduced to the microtonal (makam) music theory system and to the arts of solo improvisation (taksim) during the course. No previous experience required. The course culminates in a final end-of-quarter concert.
Last offered: Spring 2022
| Units: 0
| Repeatable
5 times
(up to 0 units total)
MUSIC 162:
Symphonic Chorus
180- to 200-voice choral ensemble, performing major choral masterworks with orchestra. One concert per quarter. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 162Z:
Symphonic Chorus
180- to 200-voice choral ensemble, performing major choral masterworks with orchestra. One concert per quarter. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 163:
Memorial Church Choir
Official choir of Memorial Church, furnishing music for Sunday services and special occasions in the church calendar. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 163Z:
Memorial Church Choir
Official choir of Memorial Church, furnishing music for Sunday services and special occasions in the church calendar. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 164:
Old-Time Music Ensemble
Stanford's Old-Time Music Ensemble explores tunes, songs, and ballads from distinct regions of rural North America. Ensemble members sing and play acoustic instruments such as fiddle, banjo, guitar, mandolin, and bass. Taking a jam session model, we learn music by ear through call-and-response oral transmission. As we play, we discuss the history and contexts of particular melodies and songs, several of which became canonized as Appalachian folk music. Old-time music's historical imbrication with race, class, and gender will emerge as the central thematics that guide our repertoire choices. No previous experience required. The course culminates in an end-of-quarter gig.
Terms: Win
| Units: 1
| Repeatable
8 times
(up to 8 units total)
MUSIC 164Z:
Old-Time Music Ensemble
Stanford's Old-Time Music Ensemble explores tunes, songs, and ballads from distinct regions of rural North America. Ensemble members sing and play acoustic instruments such as fiddle, banjo, guitar, mandolin, and bass. Taking a jam session model, we learn music by ear through call-and-response oral transmission. As we play, we discuss the history and contexts of particular melodies and songs, several of which became canonized as Appalachian folk music. Old-time music's historical imbrication with race, class, and gender will emerge as the central thematics that guide our repertoire choices. No previous experience required. The course culminates in an end-of-quarter gig.
Terms: Win
| Units: 0
| Repeatable
8 times
(up to 0 units total)
MUSIC 165:
Chamber Chorale
Select 24-voice choral ensemble, specializing in virtuoso choral repertoire from all periods of Western art music. Annual touring commitment required. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 165Z:
Chamber Chorale
Select 24-voice choral ensemble, specializing in virtuoso choral repertoire from all periods of Western art music. Annual touring commitment required. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 167:
University Singers
Select, 50-voice choral ensemble, performing choral repertoire from all periods of Western art music. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 167S:
Summer Chorus
150-voice non-auditioned ensemble performing major choral masterworks and choral repertoire from all periods of Western art music. Concert: August 6, 2022 in Bing Concert Hall. Details at: https://music.stanford.edu/choral-ensembles-2021%E2%80%932022. Zero unit enrollment option available with instructor permission. See website (https://music.stanford.edu/ensembles-lessons/applied-music-policies-and-resources) for policy and procedure. May be repeated for credit for a total of 0 (zero) unit. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Sum
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
6 times
(up to 6 units total)
MUSIC 167SZ:
Summer Chorus
80- to 100-voice non-auditioned ensemble, performing major choral masterworks and choral repertoire from all periods of Western art music. For details see: https://music.stanford.edu/academic-programs/summer-studies-stanford-music/summer-session-ensembles. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. May be repeated for credit for a total of 0 (zero) unit. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University. During Summer Quarter, Stanford students may only enroll in zero-unit courses if they have enrolled in another unit-and credit-bearing course. This course and other MUSIC courses with a 'Z' in the catalog number are not available to Summer Visitors.
Terms: Sum
| Units: 0
| Repeatable
6 times
(up to 0 units total)
MUSIC 167Z:
University Singers
Select, 50-voice choral ensemble, performing choral repertoire from all periods of Western art music. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 168:
Neuroscience and Psychology of Music: From Practice to Peak Performance
Explore the fascinating intersection of neuroscience, psychology, and music in this course dedicated to peak music performance. Open to musicians of all instruments, this course investigates the science behind effective practice and performance techniques. Learn how to optimize your learning process, address performance anxiety, and enhance your musical skills. Through a collaborative and hands-on approach, students will actively experiment with various strategies and methods, tailored to individual needs. The course fosters a deeper understanding of the principles that underlie musical mastery and nurtures the development of each musician's unique potential. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Way-SMA credit.
Terms: Aut, Win
| Units: 1-3
| UG Reqs: WAY-CE, WAY-SMA
| Repeatable
15 times
(up to 15 units total)
MUSIC 169:
Stanford Taiko
Select 15- to 18-member North American taiko ensemble, performing all-original repertoire for Japanese drums. Multiple performances in Winter and Spring quarters, also touring; instrument construction and maintenance. Admission by audition in Autumn Quarter only. May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 169Z:
Stanford Taiko
Select 15- to 18-member North American taiko ensemble, performing all-original repertoire for Japanese drums. Multiple performances in Winter and Spring quarters, also touring; instrument construction and maintenance. Admission by audition in Autumn Quarter only. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 170:
Collaborative Piano
Performance class in a workshop setting, exploring the art of collaboration with other musicians. Practical techniques will be addressed in highly varied repertoire. Admission is by audition only. Private-lesson proficiency level in piano is a prerequisite.
Terms: Aut
| Units: 1
| UG Reqs: WAY-CE
MUSIC 171:
Chamber Music
Admission based on audition. Placements according to availability. 3 hr/weekly time commitment minimum. (Two hours of in-person or remote ensemble rehearsal plus one-hour remote coaching from Music department faculty.) Classical string quartets and piano/string groups supervised by the SLSQ. All participants must enroll. Zero unit enrollment option available with instructor permission. See website for policy, procedure, and audition sign up: http://music.stanford.edu/. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
24 times
(up to 24 units total)
Instructors: ;
Abrefah, A. (PI);
Arul, K. (PI);
Bar-David, E. (PI);
Berger, T. (PI);
Brandenburg, M. (PI);
Brotzman, S. (PI);
Catsalis, M. (PI);
Chan, S. (PI);
Clevenger, J. (PI);
Costanza, C. (PI);
Costigan-Kerns, L. (PI);
Dahl, L. (PI);
Dalby, O. (PI);
Ellison, G. (PI);
Ferguson, C. (PI);
Fong, D. (PI);
Harms, D. (PI);
Harrison, S. (PI);
Hawley, A. (PI);
Henderson, D. (PI);
Hillhouse, W. (PI);
Holmes, M. (PI);
Jimenez, N. (PI);
Lee, J. (PI);
Levitan, D. (PI);
Levy, F. (PI);
Low, M. (PI);
Luftman, A. (PI);
Martin, A. (PI);
May, C. (PI);
Morgan, R. (PI);
Moyer, B. (PI);
Muncy, S. (PI);
Myers, H. (PI);
Payne, C. (PI);
Platoff, N. (PI);
Psarras, P. (PI);
Ragent, L. (PI);
Robertson, L. (PI);
Schumann, E. (PI);
Sharp, R. (PI);
Sohn, L. (PI);
Thenell, M. (PI);
Ulman, E. (PI);
Van Dyke, K. (PI);
Zerlang, T. (PI);
Howard, R. (SI)
MUSIC 171Z:
Chamber Music
Admission based on audition. Placements according to availability. 3 hr/weekly time commitment minimum. (Two hours of in-person or remote ensemble rehearsal plus one-hour remote coaching from Music department faculty.) Classical string quartets and piano/string groups supervised by the SLSQ. All participants must enroll. Zero unit enrollment option available with instructor permission. See website for policy, procedure, and audition sign up: http://music.stanford.edu/. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
Instructors: ;
Abrefah, A. (PI);
Arul, K. (PI);
Bar-David, E. (PI);
Berger, T. (PI);
Brandenburg, M. (PI);
Brotzman, S. (PI);
Catsalis, M. (PI);
Chan, S. (PI);
Clevenger, J. (PI);
Costanza, C. (PI);
Costigan-Kerns, L. (PI);
Dahl, L. (PI);
Dalby, O. (PI);
Ellison, G. (PI);
Ferguson, C. (PI);
Fong, D. (PI);
Harms, D. (PI);
Harrison, S. (PI);
Hawley, A. (PI);
Henderson, D. (PI);
Hillhouse, W. (PI);
Holmes, M. (PI);
Jimenez, N. (PI);
Lee, J. (PI);
Levitan, D. (PI);
Levy, F. (PI);
Luftman, A. (PI);
Martin, A. (PI);
May, C. (PI);
Morgan, R. (PI);
Moyer, B. (PI);
Muncy, S. (PI);
Myers, H. (PI);
Payne, C. (PI);
Platoff, N. (PI);
Psarras, P. (PI);
Ragent, L. (PI);
Robertson, L. (PI);
Schumann, E. (PI);
Sharp, R. (PI);
Sohn, L. (PI);
Thenell, M. (PI);
Ulman, E. (PI);
Van Dyke, K. (PI);
Weldy, F. (PI);
Zerlang, T. (PI);
Howard, R. (SI)
MUSIC 172A:
Piano
Private lessons and group master class weekly. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 172B:
Organ
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 172C:
Harpsichord
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 172D:
Jazz Piano
Admission is by audition and/or invitation only; priority to majors and jazz-ensemble participants. All participants must enroll. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. Zero unit enrollment option available with instructor permission. May be repeated for credit a total of 14 times. Lessons meet for one hour per week at the mutual convenience of the instructor and student. Exact time to be determined during the first week of classes. Course to be taught online when COVID restrictions are in effect as a live private interactive session. Student should have access to a piano during the lesson. Students on campus who do not have such access,please contact instructor for further information.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 172E:
Fortepiano
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. edit Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 172F:
Carillon
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 172G:
Gu-Zheng
Private lessons weekly. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 173:
Voice
Weekly private voice lessons and group master classes. Enrollment is limited to students chosen by auditions held at the beginning of Autumn Quarter or by permission of the instructor, with the expectation that the student will enroll for the entire academic year. While prior vocal study is not mandatory for admission, most students accepted for private lessons have undergone previous vocal training. All students in the course must enroll for 1-3 units except for co-terminal or graduate students, for whom the zero-unit option is also available. Students in the course must attend a weekly studio voice class and perform juries, as designated by the Stanford voice faculty. Students should enroll in Music 173 during their first year of vocal study at Stanford. See http://music.stanford.edu/Academics/LessonSignups.html for information about the audition and course fee and https://music.stanford.edu/ensembles-lessons/lessons for policy and procedure. This class is closed by design and requires a permission number from the instructor.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174A:
Violin
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174B:
Viola
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174C:
Violoncello
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174D:
Contrabass
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174E:
Viola Da Gamba
Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174F:
Classical Guitar
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174G:
Harp
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174H:
Baroque Violin
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 174I:
Jazz Bass
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 174J:
Jazz & Contemporary Guitar
An application of the performance techniques developed by the innovative, genius, and radical guitarists from 1930 to 2020. Improvising, comping, reading, repertoire, and technique will be studied in depth. Rhythm styles, the application of modern theory, transcribing solos, and chord melody arranging are developed through the course of study. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 175A:
Flute
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 175B:
Oboe
May be repeated for credit a total of 15 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 175C:
Clarinet
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 175D:
Bassoon
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 175E:
Recorder/Early Winds
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 175F:
Saxophone
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 175G:
Baroque Flute
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 175H:
Jazz Saxophone
May be repeated for credit a total of 15 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 176A:
French Horn
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 176B:
Trumpet
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 176C:
Trombone
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 176D:
Tuba
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 176E:
Jazz Trumpet
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 177:
Percussion
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 177A:
Drum Set Lessons
These lessons will be geared toward the individual student's desires and needs. All levels are welcome, but students should contact instructor to set up initial meeting, prior to enrolling in the course. Students will explore drumset technique, coordination, reading and a study various styles including, Jazz, Rock, R&B, Blues, Latin and Brazilian music. Students will use different texts as needed. These texts may include: Syncopation by Ted Reed, Modern Reading Text in 4/4 by Louis Bellson, A Funky Primer by Charles Dowd, Advanced Techniques for the Modern Drummer by Jim Chapin, and others. Students will also use material created by David for his classes "Around the World on a Drumset" and "Chart Reading Demystified." These lessons are designed to be both fun and challenging. Students will play along with recordings and are encouraged to bring in recordings of music that they enjoy. May be repeated for credit a total of 15 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. This class is closed by design and requires a permission number from the instructor.Make up lessons for cancellations with less than 24 hours notice are up to the instructor?s discretion.
Terms: Aut, Win, Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 45 units total)
MUSIC 179Z:
Applied Music Private Lessons
Students enroll in appropriate instructor section for private instrumental/vocal lessons using this zero unit enrollment option. Available only with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
Instructors: ;
Arul, K. (PI);
Bar-David, E. (PI);
Brandenburg, M. (PI);
Brotzman, S. (PI);
Chan, S. (PI);
Clements, T. (PI);
Clevenger, J. (PI);
Costanza, C. (PI);
Costigan-Kerns, L. (PI);
Dahl, L. (PI);
Dalby, O. (PI);
Ellison, G. (PI);
Ferguson, C. (PI);
Fong, D. (PI);
Harms, D. (PI);
Harrison, S. (PI);
Hawley, A. (PI);
Henderson, D. (PI);
Hillhouse, W. (PI);
Holmes, M. (PI);
Jennings, K. (PI);
Jimenez, N. (PI);
Lee, J. (PI);
Levitan, D. (PI);
Levy, F. (PI);
Linduska, M. (PI);
Liupaogo, B. (PI);
Low, M. (PI);
Luftman, A. (PI);
Martin, A. (PI);
May, C. (PI);
McCarthy, C. (PI);
Morgan, R. (PI);
Moyer, B. (PI);
Muncy, S. (PI);
Myers, H. (PI);
Payne, C. (PI);
Platoff, N. (PI);
Psarras, P. (PI);
Ragent, L. (PI);
Robertson, L. (PI);
Rokeach, D. (PI);
Schumann, E. (PI);
Sharp, R. (PI);
Thenell, M. (PI);
Thurston-Milgrom, J. (PI);
Vandivier, R. (PI);
Worley, J. (PI);
You, H. (PI);
Zerlang, T. (PI);
Howard, R. (SI)
MUSIC 181:
Jazz Combos
Admission based on audition. These small jazz ensembles meet weekly and typically include coaching, one masterclass and one performance per quarter. May be repeated for credit. All participants must enroll. Zero unit enrollment option available with instructor permission. See website for policy, procedure, and audition information: https://music.stanford.edu/stanford-jazz-combos
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
15 times
(up to 15 units total)
MUSIC 181Z:
Jazz Combos
Admission based on audition. These small jazz ensembles meet weekly and typically include coaching, one masterclass and one performance per quarter. May be repeated for credit. All participants must enroll. Zero unit enrollment option available with instructor permission. See website for policy, procedure, and audition information: https://music.stanford.edu/stanford-jazz-combos
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
15 times
(up to 0 units total)
MUSIC 182:
Diction for Singers
The international phonetic alphabet and its application to German, French, and Italian vocal literature. Open also to pianists interested in vocal coaching and choral conducting.
Terms: Win
| Units: 1
MUSIC 183A:
German Art Song Interpretation
By audition only. For advanced singers and pianists as partners. Performance class in a workshop setting. Composers include Beethoven, Schubert, Wolf and Strauss. May be repeated for credit a total of 2 times. Enrollment limit: 20 (ten singers maximum). Prerequisite: consent of instructor. Recommended prerequisite: 170 (pianists) or 182 (singers).
Terms: Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 2 units total)
MUSIC 183AZ:
German Art Song Interpretation
By audition only. For advanced singers and pianists as partners. Performance class in a workshop setting. Composers include Beethoven, Schubert, Wolf and Strauss. May be repeated for credit a total of 2 times. Enrollment limit: 20 (ten singers maximum). Prerequisite: consent of instructor. Recommended prerequisite: 170 (pianists) or 182 (singers).
Terms: Spr
| Units: 0
| Repeatable
2 times
(up to 0 units total)
MUSIC 183B:
French Art Song Interpretation
By audition only. For advanced singers and pianists as partners. Performance class in a workshop setting. Composers include Fauré, Debussy, Ravel and Poulenc. May be repeated for credit a total of 2 times. Enrollment limit: 20 (ten singers maximum). Prerequisite: consent of instructor. Recommended prerequisite: 170 (pianists) or 182 (singers).
Last offered: Spring 2023
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 2 units total)
MUSIC 183BZ:
French Art Song Interpretation
By audition only. For advanced singers and pianists as partners. Performance class in a workshop setting. Composers include Fauré, Debussy, Ravel and Poulenc. May be repeated for credit a total of 2 times. Enrollment limit: 20 (ten singers maximum). Prerequisite: consent of instructor. Recommended prerequisite: 170 (pianists) or 182 (singers).
Last offered: Spring 2023
| Units: 0
| Repeatable
2 times
(up to 0 units total)
MUSIC 183C:
Interpretation of Musical Theater Repertoire (TAPS 183C)
By audition only: Contact instructor prior to enrolling (mlcats@stanford.edu). Ability to read music expected, but students with experience singing in musical theater can be accepted. For singers and pianists as partners. Performance class in a workshop setting along with lecture/discussion of important eras of musical theater history. Composers include Kern, Porter, Gershwin, Rodgers, Sondheim, Lloyd Weber, Jason Robert Brown and others. May be repeated for credit a total of 2 times. Enrollment limit: 20 (ten singers maximum). Prerequisite: consent of instructor. Recommended prerequisite: 170 (pianists).
Terms: Win
| Units: 1-2
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 4 units total)
MUSIC 183CZ:
Interpretation of Musical Theater Repertoire
By audition only: Contact instructor prior to enrolling (mlcats@stanford.edu). Ability to read music expected, but students with experience singing in musical theater can be accepted. For singers and pianists as partners. Performance class in a workshop setting along with lecture/discussion of important eras of musical theater history. Composers include Kern, Porter, Gershwin, Rodgers, Sondheim, Lloyd Weber, Jason Robert Brown and others. May be repeated for credit a total of 2 times. Enrollment limit: 20 (ten singers maximum). Prerequisite: consent of instructor. Recommended prerequisite: 170 (pianists).
Terms: Win
| Units: 0
| Repeatable
2 times
(up to 0 units total)
MUSIC 183E:
Singing for Musicals (TAPS 183E)
Do you love singing in musicals? Do you know how to sing in musicals? This course provides training in vocal technique and acting for students interested in performing musical theater. Students will learn about the physical process of singing, including posture, breath support, and vocal exercises. They will incorporate vocal technique with the study of phrasing in different styles of Broadway repertoire, and apply both to the art of acting the song. Through understanding vocal technique, students will become more confident and joyful performers. Admission to the course is by audition or permission of the instructor. Due to the COVID-19 situation, Singing for Musicals classes will be taught online during Spring 2021. As this can pose a problem with students in various time zones and internet arrangements, the instructor will contact all waitlisted students with more detailed information regarding video auditions and a questionnaire prior to the first class.
Last offered: Spring 2021
| Units: 2
| UG Reqs: WAY-CE
| Repeatable
4 times
(up to 8 units total)
MUSIC 183F:
Songs of Love and Longing (COMPLIT 141, COMPLIT 241B, MUSIC 283F)
This course will take us on a journey from the Balkans to South Asia as we explore the nexus of poetry and song practiced by bards across a vast geographic and cultural space. Specifically, we will survey the Persianate genre of ghazal lyric, the storytelling traditions of Central Asia, the spiritual concert of certain Sufi orders, the mystical poems and music of Alevi ashiks in Turkey and the Balkans, the life and legend of Armenian poet-composer Sayat Nova, the spiritual practices of the Kurdish Ahl-e Haqq in Iran, the art forms of khyal and qawwali in India and Pakistan, and the syncretistic mysticism of the Bauls of Bengal. Students will engage in listening exercises, analysis of cinematic examples, and a comparison with the European troubadour tradition. There are no prerequisites for this course apart from a desire to engage with poetry as an existential performance. Taught in English.
Last offered: Spring 2022
| Units: 3-5
| UG Reqs: WAY-A-II
MUSIC 183G:
Sing & Be Well: Exploring and Integrating Wellness Through Singing (LIFE 183G)
Finding an expressive outlet is essential in a world where stress and anxiety are common. Singing has been proven to be one such outlet. This immersive course explores the health benefits of singing. In addition to research and expert guest lectures, the course emphasizes vocal technique, mindfulness, and group singing through vocal improvisation. Singers of all levels will discover the connection between singing, joy, and holistic health.
Terms: Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 2 units total)
MUSIC 184A:
Editing and Performing Early Music
This course is a practical workshop in early music vocal repertoire. The main focus of this course is to use original source material to explore editorial practice. Having prepared the score, students learn to perform the piece from an historically informed performance practice point of view. In addition to broadening the student's knowledge of vocal repertoire, the following skills are developed: text preparation, foreign language translation and diction; rehearsal for performance and/or recording. Enrollment by audition only. Prerequisite: vocal or instrumental instruction, as the class is open to singers or collaborative artists. May be repeated for credit a total of 4 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Spr
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
4 times
(up to 12 units total)
MUSIC 184AZ:
Editing and Performing Early Music
This course is a practical workshop in early music vocal repertoire. The main focus of this course is to use original source material to explore editorial practice. Having prepared the score, students learn to perform the piece from an historically informed performance practice point of view. In addition to broadening the student's knowledge of vocal repertoire, the following skills are developed: text preparation, foreign language translation and diction; rehearsal for performance and/or recording. Enrollment by audition only. Prerequisite: vocal or instrumental instruction, as the class is open to singers or collaborative artists. All participants must enroll. May be repeated for a total of 4 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Spr
| Units: 0
| Repeatable
4 times
(up to 0 units total)
MUSIC 184B:
Topics on the Musical Stage (TAPS 184B)
This course is a practical workshop in vocal repertoire for the stage. Each quarter's offering emphasizes a specific genre or period, therefore the course can be repeated with permission of the instructor. In addition to broadening the student's knowledge of vocal repertoire, the following skills are developed: text preparation, foreign language translation and diction; rehearsal etiquette for performance and/or recording. Enrollment by audition only. Prerequisite: vocal or instrumental instruction, as the class is open to singers or collaborative artists. May be repeated for credit a total of 4 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win
| Units: 1-3
| UG Reqs: WAY-CE
| Repeatable
4 times
(up to 12 units total)
MUSIC 184BZ:
Topics on the Musical Stage
This course is a practical workshop in vocal repertoire for the stage. Each quarter's offering emphasizes a specific genre or period, therefore the course can be repeated with permission of the instructor. In addition to broadening the student's knowledge of vocal repertoire, the following skills are developed: text preparation, foreign language translation and diction; rehearsal etiquette for performance and/or recording. Enrollment by audition only. Prerequisite: vocal or instrumental instruction, as the class is open to singers or collaborative artists. May be repeated for credit a total of 4 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Aut, Win
| Units: 0
| Repeatable
4 times
(up to 0 units total)
MUSIC 184C:
Dramatic Vocal Arts: Songs and Scenes Onstage (TAPS 184C)
Studies in stagecraft, acting and performance for singers, culminating in a public performance. Repertoire to be drawn from the art song, opera, American Songbook and musical theater genres. Enrollment by audition only. May be repeated for credit a total of 4 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Spr
| Units: 1-2
| UG Reqs: WAY-CE
| Repeatable
4 times
(up to 8 units total)
MUSIC 184CZ:
Dramatic Vocal Arts: Songs and Scenes Onstage
Studies in stagecraft, acting and performance for singers, culminating in a public performance. Repertoire to be drawn from the art song, opera, American Songbook and musical theater genres. Enrollment by audition only. May be repeated for credit a total of 4 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.
Terms: Spr
| Units: 0
| Repeatable
4 times
(up to 0 units total)
MUSIC 184E:
Musical Theater Dance Styles (DANCE 102)
Students will be able to demonstrate period specificity, character of style through learning different musical theater dances from the early 20th C.to the present. ALL students will participate in an end of quarter showing of the choreography developed and composed in class. Class will be supplemented with the occasional guest, DJ accompaniment and video viewing.
Last offered: Winter 2020
| Units: 1
| UG Reqs: WAY-CE, way_ce
| Repeatable
for credit
MUSIC 184F:
Introduction to Theater Sound Design (TAPS 138)
This course explores the history and aesthetics,of theatre sound design, and provides the basic technical knowledge to create your own work. Learn how to analyze a script for sound design elements, gain practical knowledge of microphones and loudspeakers, sound editing and cueing software, and put your knowledge to work creating your own design.
Last offered: Spring 2020
| Units: 4
| UG Reqs: WAY-CE
MUSIC 192A:
Foundations of Sound-Recording Technology
This course serves as an introduction to the recording facilities and technology at CCRMA. Through lectures and assignments students learn and practice various studio recording techniques. They also become familiarized with home and field recording practices. The course addresses various audio engineering topics: room acoustics, studio operation and maintenance, microphone selection and placement, analog and digital recording, audio editing and mixing, and audio effects processing (equalization, compression, convolution reverb, etc.). Prerequisite: MUSIC 101 or consent of instructor.
Terms: Aut
| Units: 3
| UG Reqs: GER:DB-EngrAppSci, WAY-SMA
MUSIC 192B:
Advanced Sound Recording Technology
This course aims to heighten the listening skills of students. In a series of group sessions and discussions students compare and contrast a variety of dynamic based processes and other audio effects/plug-ins which might be used in their mixes. Students also explore recording concepts and technologies that will augment their studio practices such as making customized impulse response recordings, advanced equalization practices, and exploring additional advanced studio/non-studio techniques and software. Prerequisite: 192A or consent of instructor.
Last offered: Winter 2020
| Units: 3
| UG Reqs: GER:DB-EngrAppSci, WAY-CE
MUSIC 192C:
Session Recording
Independent engineering of recording sessions combined with instruction in the use and maintenance of other CCRMA audio/studio facilities and equipment that is required for the realization of studio informed artistic projects. Students will explore how ideas such as acoustic phenomena, interactivity, or new instruments can augment their studio practice. May be repeated for credit a total of 14 times (1 unit per quarter throughout the year - recommended - or 3 units in Spring). Prerequisite: Consent of instructor.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 30 units total)
MUSIC 197:
Undergraduate Teaching Apprenticeship
Work in an apprentice-like relationship with faculty teaching a student-initiated course. Prerequisite: consent of instructor. (Staff)
Terms: Aut, Win, Spr
| Units: 1-2
MUSIC 198:
Concentrations Project
For concentration program participants only. Must be taken in senior year. Multiple concentrators may enroll in one section of 198 per concentration.
Terms: Aut, Win, Spr
| Units: 2-4
| Repeatable
5 times
(up to 20 units total)
Instructors: ;
Alessandrini, P. (PI);
Applebaum, M. (PI);
Aquilanti, G. (PI);
Arul, E. (PI);
Arul, K. (PI);
Basica, C. (PI);
Berger, J. (PI);
Berger, K. (PI);
Berger, T. (PI);
Brotzman, S. (PI);
Chafe, C. (PI);
Costanza, C. (PI);
Dahl, L. (PI);
DeMarinis, P. (PI);
Fujioka, T. (PI);
Gill, D. (PI);
Grey, T. (PI);
Hadlock, H. (PI);
Harrison, S. (PI);
Hinton, S. (PI);
Jennings, K. (PI);
Kapuscinski, J. (PI);
Kretz, H. (PI);
Liupaogo, B. (PI);
Mahrt, W. (PI);
Nadel, J. (PI);
Phillips, P. (PI);
Robertson, L. (PI);
Rodin, J. (PI);
Rose, F. (PI);
Sano, S. (PI);
Schumann, E. (PI);
Sharp, R. (PI);
Sherriff, S. (PI);
Smith, J. (PI);
Ulman, E. (PI);
Wang, G. (PI);
Weldy, F. (PI);
Zerlang, T. (PI);
Howard, R. (SI)
MUSIC 199:
Independent Study
For advanced undergraduates and graduate students who wish to do work outside the regular curriculum. Before registering, student must present specific project and enlist a faculty sponsor. May be repeated for credit a total of 14 times.
Terms: Aut, Win, Spr, Sum
| Units: 1-5
| Repeatable
15 times
(up to 75 units total)
Instructors: ;
Abel, J. (PI);
Alessandrini, P. (PI);
Applebaum, M. (PI);
Aquilanti, G. (PI);
Arul, E. (PI);
Arul, K. (PI);
Bar-David, E. (PI);
Berger, J. (PI);
Berger, K. (PI);
Berger, T. (PI);
Berners, D. (PI);
Bosi, M. (PI);
Brandenburg, M. (PI);
Brotzman, S. (PI);
Catsalis, M. (PI);
Chafe, C. (PI);
Chowning, J. (PI);
Clements, T. (PI);
Clevenger, J. (PI);
Costache, I. (PI);
Costanza, C. (PI);
Costigan-Kerns, L. (PI);
Dahl, L. (PI);
DeMarinis, P. (PI);
Doheny, A. (PI);
Ferguson, C. (PI);
Fong, D. (PI);
Fujioka, T. (PI);
Gill, D. (PI);
Grey, T. (PI);
Hadlock, H. (PI);
Harms, D. (PI);
Harrison, S. (PI);
Hawley, A. (PI);
Hinton, S. (PI);
Holmes, M. (PI);
Jennings, K. (PI);
Kapuscinski, J. (PI);
Kenley, M. (PI);
Kretz, H. (PI);
Kronengold, C. (PI);
Lee, J. (PI);
Leitman, S. (PI);
Linduska, M. (PI);
Lopez-Lezcano, F. (PI);
Low, M. (PI);
Luftman, A. (PI);
MacNeill, D. (PI);
Mahrt, W. (PI);
Martin, A. (PI);
Morgan, R. (PI);
Moyer, B. (PI);
Myers, H. (PI);
Mysore, G. (PI);
Nadel, J. (PI);
Olivier, R. (PI);
Payne, C. (PI);
Phillips, P. (PI);
Psarras, P. (PI);
Ragent, L. (PI);
Robertson, L. (PI);
Rodin, J. (PI);
Rose, F. (PI);
Sano, S. (PI);
Schultz, T. (PI);
Selfridge-Field, E. (PI);
Sharp, R. (PI);
Sherriff, S. (PI);
Slaney, M. (PI);
Smith, J. (PI);
Ulman, E. (PI);
Uyechi, L. (PI);
Van Dyke, K. (PI);
Virzi, N. (PI);
Wang, G. (PI);
Weldy, F. (PI);
Wright, M. (PI);
You, H. (PI);
Zerlang, T. (PI);
Howard, R. (SI)
MUSIC 200A:
Proseminar in Musicology and Music Bibliography
Introduction to research in music, bibliographical materials, major issues in the field, philosophy, and methods in music history. Guest lecturers and individual research topics.
Last offered: Autumn 2022
| Units: 3-4
MUSIC 200B:
Proseminar in Ethnomusicology
A graduate-level introduction to the field of ethnomusicology. Issues and debates are traced through the history of the discipline, with emphasis on influences from anthropology, performance studies, linguistics, and cultural studies. Topics include music and: social organization, "culture," structure, practice, comparison, representation, globalization, identity, transcription, and embodiment.
Terms: Win, Spr
| Units: 3-5
MUSIC 201:
CCRMA Colloquium
Weekly review of work being done in the field, research taking place at CCRMA, and tools to make the most of the CCRMA technical facilities.
Terms: Aut
| Units: 1
MUSIC 205:
Enchanted Images: Medieval Art and Its Sonic Dimension (ARTHIST 205, ARTHIST 405, CLASSICS 113, CLASSICS 313, MUSIC 405)
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.
Last offered: Autumn 2021
| Units: 5
MUSIC 220A:
Fundamentals of Computer-Generated Sound
What are the basic tools that computer music researchers and artists use to create sound? This course will include a summary of digital synthesis techniques (additive, subtractive, wavetable, frequency modulation and physical-modeling), signal processing techniques for digital effects, (reverberation, panning, filters), and basic psychoacoustics. Programming experience is recommended, but not required. Majors (undergraduate or graduate) must take for 4 units. See https://ccrma.stanford.edu/courses/220a/.
Terms: Aut
| Units: 3-4
MUSIC 220B:
Compositional Algorithms, Psychoacoustics, and Computational Music
The use of high-level programming language as a compositional aid in creating musical structures. Advanced study of sound synthesis techniques. Simulation of a reverberant space and control of the position of sound within the space. To satisfy a Ways requirement, this course must be taken for at least 3 units. See http://ccrma.stanford.edu/. Prerequisite: 220A.
Terms: Win
| Units: 3-4
| UG Reqs: WAY-A-II
MUSIC 220C:
Research Seminar in Computer-Generated Music
Individual projects in composition, psychoacoustics, or signal processing. See http://ccrma.stanford.edu. May be repeated for credit. Prerequisite: 220B.
Terms: Spr
| Units: 3-4
| Repeatable
4 times
(up to 16 units total)
MUSIC 220D:
Research in Computer-Generated Music
Independent research projects in composition, psychoacoustics, or signal processing. See http://ccrma.stanford.edu/. May be repeated for credit. Prerequisite: 220C.
Terms: Aut, Win, Spr, Sum
| Units: 1-10
| Repeatable
for credit
Instructors: ;
Abel, J. (PI);
Alessandrini, P. (PI);
Basica, C. (PI);
Berger, J. (PI);
Berners, D. (PI);
Bosi, M. (PI);
Chafe, C. (PI);
Chowning, J. (PI);
DeMarinis, P. (PI);
Fujioka, T. (PI);
James, D. (PI);
Kaneshiro, B. (PI);
Kapuscinski, J. (PI);
Leitman, S. (PI);
Lopez-Lezcano, F. (PI);
Michon, R. (PI);
Mysore, G. (PI);
Rau, M. (PI);
Sapp, C. (PI);
Selfridge-Field, E. (PI);
Slaney, M. (PI);
Smith, J. (PI);
Wang, G. (PI);
Wright, M. (PI);
Worthey, N. (GP)
MUSIC 222:
Sound in Space
Historical background, techniques and theory on the use of space in music composition and diffusion. Listening and analysis of relevant pieces. Experimental work in spatialization techniques leading to short studies to be diffused in concert at the end of the quarter.
Last offered: Winter 2023
| Units: 1-4
| UG Reqs: WAY-CE
MUSIC 222A:
Quantum Computer Music
In this course, students will get an introduction to quantum computing with a focus on developing computer music applications. We will then go into what quantum computing is, and why are researchers so excited about it. The building blocks and fundamentals of quantum computing (qubits, superposition entanglement, interference, etc.) will then be covered followed by sections on quantum algorithms and how they are used in current quantum computer music applications. In the later weeks, we will also cover quantum representations of digital audio signals along with a preview of different quantum hardware. There will be hands-on programming assignments along with weekly problem sets. Students will also be expected to build, complete and present a final quantum music generation application for this course.
Terms: Spr
| Units: 3
MUSIC 223A:
Composing Electronic Sound Poetry
Poets, lyricists, rappers, composers, intermedia experimentalists, and others curious about combining words and sounds are invited to explore the exciting world of sound poetry. Students will make electronic works, musique concrète soundscapes, songs, or audio essays featuring their voice or that of others, with vocal sounds produced by singing, speaking, or speech synthesis, and employing digitally processed or collaged words. Our words can be original, collaboratively composed, quoted, or AI-generated. Students will complete several short creative etudes that build to a public concert featuring original multi-channel works, pieces with video, or live performances. No prerequisites.
Terms: Aut
| Units: 2-3
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 6 units total)
MUSIC 223Q:
Queer Electronic Music Composition (FEMGEN 223Q)
Queer Electronic Music Composition is a creative course structured around the historical and theoretical contributions of composers from the LBGQT+ community with an emphasis on computer-based electronic music. Through a series of reading, listening, and media assignments, students will be exposed to the social and historical implications of LGBTQ+ perspectives in music. Queer-led workshops and lectures will provide further insight into the experience of working professionals in music who identify as being a part of the LGBTQ+ community. Creative assignments for the course are centered around personal experience and the subversion or 'queering' of process and/or perspective. Previous experience working in a Digital Audio Workstation is highly recommended. Enrollment permissions are offered through an application process only. Permission numbers will be distributed during the first week of classes.
Terms: Win
| Units: 3
MUSIC 228:
Stanford Virtual Reality Orchestra (sVoRk)
The Stanford Virtual Reality Orchestra (sVoRk) is an unprecedented form of computer music ensemble, where both performers and audience are in a shared fully-immersive virtual environment. sVoRk embodies aesthetics and philosophies central to the laptop orchestra while exploring new ways of thinking and doing. This course has the express mission of creating new works and delivering a full VR concert experience that encompasses both the performance itself and the contexts that surround the performance. Each student will take on roles of VR instrument designers, audiovisual programmers, experiential engineers, and performers. How do we create a successful VR concert? Prerequisite: Music 228X.
Terms: Spr
| Units: 1-3
| Repeatable
20 times
(up to 60 units total)
MUSIC 228X:
Research and Development for Stanford VR Orchestra
The Stanford Virtual Reality Orchestra (sVoRk) is an unprecedented form of computer music ensemble, where both performers and audience are in a shared fully-immersive virtual environment. This project-based course explores artful ways of designing VR instruments, avatars, virtual environments, and audience experiences directly in support of a full VR concert to be delivered as part of Music 228 in Spring Quarter. Pre-requisite Music 256a / CS 476a.
Terms: Win
| Units: 1-3
| Repeatable
20 times
(up to 60 units total)
MUSIC 230:
Advanced Orchestral Conducting
Advanced study of orchestral conducting through individual weekly meetings with the instructor. Develop skills in score reading and analysis, baton technique and the physical art of conducting, performance practice, and rehearsal technique. Expand knowledge of the orchestral repertoire through score study plus reading and listening assignments. This course is intended primarily for juniors, seniors, and graduate students with prior conducting experience. Prerequisites: MUSIC 130B and MUSIC 136, or two equivalent beginning and intermediate conducting courses. May be taken for credit a maximum of 6 times.
Terms: Aut, Win, Spr
| Units: 2
| Repeatable
6 times
(up to 12 units total)
MUSIC 231:
Advanced Choral Conducting
Individual instruction continuing trajectory of Music 130C. Focus on gestural technique and analysis of works by genre and historical period. May be repeated for credit a total of 8 times. Prerequisite: 130C.
Terms: Aut, Win, Spr
| Units: 2-3
| Repeatable
9 times
(up to 27 units total)
MUSIC 236:
Future Media, Media Archaeologies (ARTSTUDI 136A, ARTSTUDI 236)
Hand-on. Media technologies from origins to the recent past. Students create artworks based on Victorian era discoveries and inventions, early developments in electronic media, and orphaned technologies. Research, rediscover, invent, and create devices of wonder and impossible objects. Readings in history and theory. How and what media technologies mediate.
Last offered: Winter 2022
| Units: 3-4
MUSIC 243F:
Nineteenth-Century Pianism: History, Works, & Performance Practices (MUSIC 143F)
This seminar narrows the divide between performance and musicology. With nineteenth-century pianism as an extended case study, this course will explore representative and less common composers, works, and performers. Subtopics will include historical performance practices, notation, critical editions, period pianos, hermeneutics, recording analysis, and the cultural politics of performing and listening. Students will hone writing, research, and performance skills through a variety of assignments, seminar discussions, and in-class exercises, culminating with a lecture-recital. Possible field trips will include Stanford's Archive of Recorded Sound and selected live performances. Prerequisites: Intermediate to advanced performance ability; intermediate or higher music theory. WIM at 4 units only.
Terms: Aut
| Units: 3-4
MUSIC 243J:
Studies in Music of the Classical Period: Haydn and Mozart: Music in the Age of Enlightenment (MUSIC 143J)
Music and Musicians in the Age of EnlightenmentnPrerequisites: MUSIC 22, MUSIC 41. (WIM at 4-unit level only.)
Last offered: Winter 2021
| Units: 3-4
MUSIC 244N:
Reading Recorded Performances: From Data to Interpretation (MUSIC 144N)
How might one study and interpret recorded performances as 'texts'? We will explore the intersections of performance and musicology through guided weekly writing assignments, considering 'data' about recorded performances as heard and physically felt (tempo, articulation, dynamics, gestures, implied technique...) along with culture, history, compositional analysis, performers' biographies, lived experiences, and creative personalities. Students will select and interpret recorded performances/works within the Western classical tradition to shape a final lecture-recital performance. Class examples come chiefly from piano repertory; however, other instrumentalists and vocalists may tailor final projects accordingly. Prerequisites: Intermediate to advanced performance ability, Music 22 (suggested). WIM at 4 units only.
Last offered: Winter 2023
| Units: 3-4
MUSIC 246N:
Transcultural Perspectives of South-East Asian Music and Arts (COMPLIT 148, COMPLIT 267, FRENCH 260A, MUSIC 146N)
This course will explore the links between aspects of South-East Asian cultures and their influence on modern and contemporary Western art and literature, particularly in France; examples of this influence include Claude Debussy (Gamelan music), Jacques Charpentier (Karnatak music), Auguste Rodin (Khmer art) and Antonin Artaud (Balinese theater). In the course of these interdisciplinary analyses - focalized on music and dance but not limited to it - we will confront key notions in relation to transculturality: orientalism, appropriation, auto-ethnography, nostalgia, exoticism and cosmopolitanism. We will also consider transculturality interior to contemporary creation, through the work of contemporary composers such as Tran Kim Ngoc, Chinary Ung and Tôn-Thât Tiêt. Viewings of sculptures, marionette theater, ballet, opera and cinema will also play an integral role. To satisfy a Ways requirement, this course must be taken for at least 3 units. WIM credit in Music at 4 units and a letter grade.
Terms: Win
| Units: 2-4
MUSIC 250A:
Physical Interaction Design for Music
This lab and project-based course explores how we can physically interact with real-time electronic sound. Students learn to use and design sensors, circuits, embedded computers, communication protocols and sound synthesis. Advanced topics include real-time media, haptics, sound synthesis using physical model analogs, and human-computer interaction theory and practice. Course culminates in musical performance with or exhibition of completed design projects. An $80 lab fee will be added to your bill upon enrollment in this course. See https://ccrma.stanford.edu/courses/250a
Terms: Spr
| Units: 3-4
| Repeatable
3 times
(up to 10 units total)
MUSIC 250C:
Interaction - Intermedia - Immersion
This course explores creative and technical approaches to the design of digital musical instruments (DMIs) and other systems for interactive performance, composition and/or installations in audio, audiovisual, and other intermedia practice. Various paradigms of Human Computer Interaction (HCI) and techniques such as motion tracking, biosignal analysis, Music Information Retrieval (MIR), concatenation, and machine learning will be considered through analysis of examples of historical and current intermedia practice, framed by key concepts such as affordances and embodiment. It will focus on individual creative output and process, with a final project consisting of the realization of a creative work applying these principles. Please note that attendance of both sessions listed here is not required: the weekly sessions will consist of a lecture and discussion in the first half, and lab time with optional attendance in the second. We plan to concentrate principally on digital - including online - interactive/intermedial/immersive projects. This course is in the P3D program and, therefore, each student has the possibility of receiving a personal 3D printer for their home use. Further equipment loans from CCRMA for student projects involving physical media may be possible. Feedback on projects will be provided by Denning Visiting Artist Pamela Z, in addition to tutorials/consultations with the course co-instructors and teaching assistant.
Last offered: Winter 2023
| Units: 3-4
MUSIC 250D:
The Arts and Social Justice (MUSIC 150U)
A survey of how art addressed and addresses issues of social justice across history and cultures
Last offered: Autumn 2022
| Units: 3
| Repeatable
2 times
(up to 6 units total)
MUSIC 251:
Psychophysics and Music Cognition
Lecture, lab and experiment-based course in perception, psychoacoustics, cognition, and neuroscience of music. (WIM at 4 or 5 units only.)
Terms: Win
| Units: 1-5
MUSIC 253:
Symbolic Musical Information (CS 275A)
Properties of symbolic data for music applications including advanced notation systems, data durability, mark-up languages, optical music recognition, and data-translation tasks. Hands-on work involves these digital score formats: Guido Music Notation, Humdrum, MuseData, MEI, MusicXML, SCORE, and MIDI internal code.
Terms: Win
| Units: 2-4
MUSIC 254:
Computational Music Analysis (CS 275B)
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.
Terms: Spr
| Units: 2-4
MUSIC 255:
Intermedia Workshop (ARTSTUDI 239, MUSIC 155)
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
Terms: Spr
| Units: 4
| Repeatable
2 times
(up to 8 units total)
MUSIC 255A:
Piano Literature (MUSIC 155A)
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.
Terms: Aut, Win, Spr
| Units: 1
| Repeatable
14 times
(up to 14 units total)
MUSIC 256A:
Music, Computing, Design: The Art of Design (CS 476A)
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/
Terms: Aut
| Units: 3-4
MUSIC 257:
Neuroplasticity and Musical Gaming
What changes in a musician's brain after hours and years of daily practice? How do skills that make a great violinist transfer to other abilities? Can directed neuroplasticity be used to target skill learning? This course will include fundamentals of psychoacoustics and auditory neuroscience. Focus will be development of video games that use perceptually motivated tasks to drive neural change. Emphasis will be on music, linguistic, and acoustic based skills. Programming experience is highly recommended, but not required.
Terms: Spr
| Units: 3-5
MUSIC 258D:
Musical Acoustics (MUSIC 158)
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.
Terms: Win
| Units: 2-3
MUSIC 264:
Musical Engagement
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.
Terms: Win
| Units: 1-4
| Repeatable
4 times
(up to 12 units total)
MUSIC 269:
Research in Performance Practices
Directed reading and research. May be repeated for credit a total of 5 times.
Terms: Aut, Win, Spr, Sum
| Units: 1-5
| Repeatable
6 times
(up to 30 units total)
MUSIC 272A:
Advanced Piano
Private lessons and group masterclass weekly. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 272B:
Advanced Organ
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 272C:
Advanced Harpsichord
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 272D:
Advanced Jazz Piano
Admission is by audition and/or invitation only; priority to majors and jazz-ensemble participants. All participants must enroll. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. Zero unit enrollment option available with instructor permission. May be repeated for credit a total of 14 times. Lessons meet for one hour per week at the mutual convenience of the instructor and student. Exact time to be determined during the first week of classes. Course to be taught online when COVID restrictions are in effect as a live private interactive session. Student should have access to a piano during the lesson. Students on campus who do not have such access, please contact instructor for further information.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 272E:
Advanced Fortepiano
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 272F:
Advanced Carillon
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 272G:
Advanced Gu-Zheng
Private lesson weekly. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 273:
Advanced Voice
Weekly private voice lessons and group master classes. Enrollment is limited to students chosen by auditions held at the beginning of Autumn Quarter or by permission of the instructor, with the expectation that the student will enroll for the entire academic year. While prior vocal study is not mandatory for admission, most students accepted for private lessons have undergone previous vocal training. All students in the course must enroll for 1-3 units except for co-terminal or graduate students, for whom the zero-unit option is also available. Students in the course must attend a weekly studio voice class and perform juries, as designated by the Stanford voice faculty. Students may enroll in Music 273 following their first year of vocal study at Stanford in Music 173. See http://music.stanford.edu/Academics/LessonSignups.html for information about the audition and course fee and https://music.stanford.edu/ensembles-lessons/lessons for policy and procedure. This class is closed by design and requires a permission number from the instructor.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 274A:
Advanced Violin
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 274B:
Advanced Viola
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 274C:
Advanced Violoncello
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 274D:
Advanced Contrabass
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 274E:
Advanced Viola da Gamba
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.htmlfor class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 274F:
Advanced Classical Guitar
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 274G:
Advanced Harp
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 274H:
Advanced Baroque Violin
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 274I:
Advanced Jazz Bass
Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 274J:
Advanced Jazz & Contemporary Guitar
An application of the performance techniques developed by the innovative, genius, and radical guitarists from 1930 to 2020. Improvising, comping, reading, repertoire, and technique will be studied in depth. Rhythm styles, the application of modern theory, transcribing solos, and chord melody arranging are developed through the course of study. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 275A:
Advanced Flute
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 275B:
Advanced Oboe
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 275C:
Advanced Clarinet
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 275D:
Advanced Bassoon
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 275E:
Advanced Recorder/Early Winds
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. http://music.stanford.edu/Academics/LessonSignups.html
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 275F:
Advanced Saxophone
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. http://music.stanford.edu/Academics/LessonSignups.html
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 275G:
Advanced Baroque Flute
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 275H:
Advanced Jazz Saxophone
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 276A:
Advanced French Horn
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 276B:
Advanced Trumpet
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 276C:
Advanced Trombone
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 276D:
Advanced Tuba
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 276E:
Advanced Jazz Trumpet
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 277:
Advanced Percussion
May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 277A:
Advanced Drum Set
May be repeated for credit a total of 15 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option available with instructor permission. See website: ( http://music.stanford.edu) for policy and procedure. This class is closed by design and requires a permission number from the instructor. Make up lessons for cancellations with less than 24 hours notice are up to the instructor?s discretion.
Terms: Aut, Win, Spr
| Units: 1-3
| Repeatable
14 times
(up to 42 units total)
MUSIC 280:
TA Training Course
Required for doctoral students serving as teaching assistants. Orientation to resources at Stanford, guest presentations on the principles of common teaching activities, supervised teaching experience. Students who entered in the Autumn should take 280 in the Spring prior to the Autumn they begin teaching.
Terms: Spr
| Units: 1
MUSIC 283F:
Songs of Love and Longing (COMPLIT 141, COMPLIT 241B, MUSIC 183F)
This course will take us on a journey from the Balkans to South Asia as we explore the nexus of poetry and song practiced by bards across a vast geographic and cultural space. Specifically, we will survey the Persianate genre of ghazal lyric, the storytelling traditions of Central Asia, the spiritual concert of certain Sufi orders, the mystical poems and music of Alevi ashiks in Turkey and the Balkans, the life and legend of Armenian poet-composer Sayat Nova, the spiritual practices of the Kurdish Ahl-e Haqq in Iran, the art forms of khyal and qawwali in India and Pakistan, and the syncretistic mysticism of the Bauls of Bengal. Students will engage in listening exercises, analysis of cinematic examples, and a comparison with the European troubadour tradition. There are no prerequisites for this course apart from a desire to engage with poetry as an existential performance. Taught in English.
Terms: Spr
| Units: 3-5
| UG Reqs: WAY-A-II
MUSIC 285:
Intermedia Lab
The Intermedia Lab is a space to develop projects bridging sound with other media through technology. Projects may involve instrument design, physical computing, audiovisual interaction, immersive audio engaging with acoustic environments, and/or other intermedial projects that engage listening in tandem with other senses. Students will be encouraged to develop creative projects using resources at CCRMA such as those of the Max Lab and Listening Room. Lab sessions will focus on skill-sharing, consideration of mapping strategies, critique sessions and problem-solving related to projects, contextualized by discussions of readings. It will feature guest-workshops and open studio project presentations. We plan to concentrate principally on digital - including online - intermedial projects in the Winter term, as the CCRMA spaces listed in the course description may not yet be accessible. This course is in the P3D program and, therefore, each student has the possibility of receiving a personal 3D printer for their home use. Further equipment loans from CCRMA for student projects involving physical media may be possible. This term we will be joined remotely by special guests, including Denning Visiting Artist Pamela Z.
Last offered: Spring 2022
| Units: 1-3
| Repeatable
9 times
(up to 9 units total)
MUSIC 298:
MA/MST Capstone Project
The MA/MST capstone is intended to gather and focus skills acquired throughout the program toward an exploratory project aimed at bridging between the student¿s residency and whatever will follow beyond the MA. Mentorship can include your advisor augmented, should you chose, by any other faculty member from CCRMA or in other programs. The project can be in applied research areas such as design projects and/or mentored internships. Also, the capstone can be considered as a more flexible form of a master¿s thesis, aiming to produce research and publication(s). Students can also pursue the artistic projects to enhance the creative portfolio.
Terms: Aut, Win, Spr, Sum
| Units: 1-5
| Repeatable
3 times
(up to 15 units total)
Instructors: ;
Abel, J. (PI);
Alessandrini, P. (PI);
Applebaum, M. (PI);
Berger, J. (PI);
Berners, D. (PI);
Bosi, M. (PI);
Catsalis, M. (PI);
Chafe, C. (PI);
Chowning, J. (PI);
Costanza, C. (PI);
DeMarinis, P. (PI);
Fujioka, T. (PI);
James, D. (PI);
Kaneshiro, B. (PI);
Kapuscinski, J. (PI);
Lopez-Lezcano, F. (PI);
Michon, R. (PI);
Mysore, G. (PI);
Phillips, P. (PI);
Rodin, J. (PI);
Sano, S. (PI);
Sapp, C. (PI);
Selfridge-Field, E. (PI);
Slaney, M. (PI);
Smith, J. (PI);
Wang, G. (PI);
Wright, M. (PI)
MUSIC 299:
Independent Study
For advanced undergraduates and graduate students who wish to do work outside the regular curriculum. Before registering, student must present specific project and enlist a faculty sponsor. May be repeated for credit a total of 14 times.
Terms: Aut, Win, Spr, Sum
| Units: 1-5
| Repeatable
14 times
(up to 14 units total)
Instructors: ;
Abel, J. (PI);
Alessandrini, P. (PI);
Applebaum, M. (PI);
Aquilanti, G. (PI);
Arul, E. (PI);
Arul, K. (PI);
Bar-David, E. (PI);
Berger, J. (PI);
Berger, K. (PI);
Berger, T. (PI);
Berners, D. (PI);
Bosi, M. (PI);
Brandenburg, M. (PI);
Brotzman, S. (PI);
Catsalis, M. (PI);
Chafe, C. (PI);
Chowning, J. (PI);
Clements, T. (PI);
Clevenger, J. (PI);
Costache, I. (PI);
Costanza, C. (PI);
Dahl, L. (PI);
DeMarinis, P. (PI);
Doheny, A. (PI);
Ferguson, C. (PI);
Fong, D. (PI);
Fujioka, T. (PI);
Gill, D. (PI);
Grey, T. (PI);
Hadlock, H. (PI);
Harms, D. (PI);
Harrison, S. (PI);
Hawley, A. (PI);
Hinton, S. (PI);
Holmes, M. (PI);
Kapuscinski, J. (PI);
Kretz, H. (PI);
Lee, J. (PI);
Linduska, M. (PI);
Lopez-Lezcano, F. (PI);
Low, M. (PI);
Luftman, A. (PI);
MacNeill, D. (PI);
Mahrt, W. (PI);
Martin, A. (PI);
Morgan, R. (PI);
Moyer, B. (PI);
Myers, H. (PI);
Mysore, G. (PI);
Nadel, J. (PI);
Payne, C. (PI);
Phillips, P. (PI);
Psarras, P. (PI);
Robertson, L. (PI);
Rodin, J. (PI);
Rose, F. (PI);
Sano, S. (PI);
Selfridge-Field, E. (PI);
Sharp, R. (PI);
Slaney, M. (PI);
Smith, J. (PI);
Ulman, E. (PI);
Uyechi, L. (PI);
Van Dyke, K. (PI);
Wang, G. (PI);
Wright, M. (PI);
You, H. (PI);
Zerlang, T. (PI);
Howard, R. (SI)
MUSIC 300A:
Medieval Notation
Western notation of the Middle Ages and Renaissance: principles, purposes, and transcription.
Terms: Aut
| Units: 3-4
MUSIC 300B:
Renaissance Notation
Western notation of the Middle Ages and Renaissance: principles, purposes, and transcription.
Terms: Win
| Units: 3-4
MUSIC 300D:
Music Ethnography
This graduate seminar serves as an introduction to the methodologies and theoretical approaches for the ethnography of sound and musical practices. While we center on research problems, ethics, and methods in the field of ethnomusicology, ethnographic field research on sound and sounding has long been an interdisciplinary venture. We will additionally draw on performance studies, critical ethnography, anthropology, and critical race and gender studies to broaden our exposure to diverse methods and approaches. Throughout the seminar, we will pay close attention to the multiple ethical implications of crafting ethnographies about musicians, music-making, sound, performance, and listening practices.
Last offered: Spring 2022
| Units: 3-5
MUSIC 300E:
Analysis and Repertoire: Medieval and Renaissance
Analytical approaches to genres, styles, forms, and techniques of Western music from [chant and early polyphony through the sixteenth century]. Issues of aesthetics, history, and interpretation viewed through representative repertoire, readings, and analytical methods.
Last offered: Spring 2023
| Units: 3-4
MUSIC 300F:
Analysis and Repertoire: Baroque to Early Romantic
Analytical approaches to genres, styles, forms, and techniques of Western music from the seventeenth through the mid-nineteenth centuries. Issues of aesthetics, history, and interpretation viewed through representative repertoire, readings, and analytical methods.
| Units: 3-4
MUSIC 300G:
Analysis and Repertoire: Late-Romantic to Contemporary
Analytical approaches to genres, styles, materials and techniques of Western music from the mid-nineteenth century through the present. Questions of aesthetics, history and performance explored through musical analysis. Representative repertoire and readings, and a range of analytical methods.
Last offered: Spring 2022
| Units: 3-4
MUSIC 300H:
Aesthetics and Criticism of Music, Ancients and Moderns: Plato to Nietzsche
For graduate students. Primary texts focusing on the nature, purposes, and uses of music and other arts.
Terms: Win
| Units: 3-4
MUSIC 300I:
Aesthetics and Criticism of Music, Contemporaries: Heidegger to Today
For graduate students. Primary texts focusing on the nature, purposes, and uses of music and other arts.
Last offered: Winter 2022
| Units: 3-4
MUSIC 300J:
Methods for Studying Gender and Sexuality in Music (FEMGEN 300J)
Introduction to graduate-level study of gender and sexuality in music; includes feminist and queer critiques of musical canons, historiography, biography, and genius; feminist, queer, and trans perspectives on musical performance, performers, subcultures, and cultures. Methods for studying gender/sexuality in a variety of classical and vernacular musics.
Last offered: Winter 2023
| Units: 3-4
MUSIC 302:
Research in Musicology
Directed reading and research. May be repeated for credit a total of 14 times.
Terms: Aut, Win, Spr, Sum
| Units: 1-5
| Repeatable
14 times
(up to 70 units total)
MUSIC 303:
The Interruption of the Machine: Introduction to Sound Studies through Literature (COMPLIT 333, ENGLISH 303A, ITALIAN 302, TAPS 302)
This course will introduce students to the field of Sound Studies (methodology, vocabulary, main claims) with a focus on the various sonic articulations of human-machine interactions in literature. The world of fiction as a sonic machine that articulates noise, sound, music, voice, or silence offers an excellent archive. We will read works by Nathaniel Hawthorne, Eça de Queirós, Mark Twain, the Italian Futurists, Zora Neale Hurston, and Luigi Pirandello. Secondary readings will include seminal contributions by R. Murray Schafer (the soundscape), Leo Marx (U.S. industrialization), Jacques Attali (noise and music), Mladen Dolar (philosophy and voice), Adriana Cavarero (gender, voice, and the body), Jonathan Crary (culture, aesthetics, and perception), Friedrich Kittler (media), and Daphne Brooks (black feminist sound).
Terms: Aut
| Units: 3-5
MUSIC 305D:
Analysis from a Compositional Perspective
Introduction to analysis, examining diverse examples in part chosen from, otherwise supplementing and illuminating, the graduate composers' qualifying exam list; consideration of aesthetic premises and motivations, and of implications for contemporary compositional practice.
Terms: Aut
| Units: 2-3
MUSIC 310:
Research Seminar in Musicology
For graduate students. Topics vary each quarter. May be repeated for credit a total of 8 times.
Terms: Aut, Win, Spr
| Units: 3-5
| Repeatable
9 times
(up to 45 units total)
MUSIC 319:
Research Seminar on Computational Models of Sound Perception
All aspects of auditory perception, often with emphasis on computational models. Topics: music perception, signal processing, auditory models, pitch perception, speech, binaural hearing, auditory scene analysis, basic psychoacoustics, and neurophysiology. See http://ccrma.stanford.edu/courses/. May be repeated for credit a total of 14 times.
Terms: Aut, Win, Spr, Sum
| Units: 1-3
| Repeatable
15 times
(up to 45 units total)
MUSIC 320:
Introduction to Audio Signal Processing
A first-course in signal processing with applications in computer music and audio for students comfortable with high-school algebra, calculus, complex variables, and beginning linear algebra. The lectures cover fundamentals of audio signal processing such as sinusoids, spectra, Fourier transforms, Laplace transform, z transform, linear time-invariant filters, digitizing systems, transfer-function analysis, and basic Fourier analysis in the continuous and discrete-time cases. Python is used for in-class demonstrations and homework/lab assignments. The labs focus on practical applications of the theory, with emphasis on working with waveforms and spectra, ''getting sound'', and developing proficiency in the Python language. See http://ccrma.stanford.edu/courses/320/.
Terms: Aut
| Units: 2-4
MUSIC 320C:
Audio DSP Projects in Faust and C++
Course focuses on developing an audio signal-processing plugin or stand-alone application in C++. Prior experience is assumed with programming in Matlab/Octave and C/C++, and signal processing theory on the level of Music 320. Class time is devoted to presenting use of the Faust programming language for generating C++, the JUCE framework for creating audio plugins or stand-alone applications, related theory and projects, project progress reports, and project final presentations.
Terms: Win, Spr
| Units: 1-10
MUSIC 320D:
Tutorial on Audio Signal Processing for Musicians
A tutorial section aimed at students who would like a review of prerequisite material for the Center for Computer Research in Music and Acoustics (CCRMA) audio signal processing (ASP) series of classes. The tutorial can be taken prior to or concurrently with Music 320. Sessions will be structured towards the specific needs of attendees.
Last offered: Spring 2023
| Units: 1
| Repeatable
10 times
(up to 10 units total)
MUSIC 320E:
Self-Paced Coursework, Projects, and/or Research in Music/Audio Signal Processing
Independent coursework, projects, and/or research in music/audioapplications of signal processing. Prerequisite: 320.
Terms: Aut, Win, Spr
| Units: 1-10
| Repeatable
6 times
(up to 60 units total)
MUSIC 321:
Readings in Music Theory
Directed reading and research. May be repeated for credit a total of 15 times.
Terms: Aut, Win, Spr, Sum
| Units: 1-5
| Repeatable
15 times
(up to 75 units total)
Instructors: ;
Alessandrini, P. (PI);
Applebaum, M. (PI);
Aquilanti, G. (PI);
Berger, J. (PI);
Berger, K. (PI);
Berger, T. (PI);
Chafe, C. (PI);
Gill, D. (PI);
Grey, T. (PI);
Hadlock, H. (PI);
Hinton, S. (PI);
Kapuscinski, J. (PI);
Mahrt, W. (PI);
Rodin, J. (PI);
Smith, J. (PI);
Ulman, E. (PI);
Wang, G. (PI)
MUSIC 322:
Music/Audio Signal Processing Research Overviews
Introduction to music/audio signal-processing research. Research papers and presentations are discussed in weekly meetings. Students active in related research are invited to present overviews. Emphasis is on currently active topics and their fundamental underpinnings.
Last offered: Autumn 2022
| Units: 1
| Repeatable
6 times
(up to 6 units total)
MUSIC 323:
Doctoral Seminar in Composition
Illustrated discussions of compositional issues and techniques. Presentation of relevant topics, including students' own compositional practice. May be repeated for credit a total of 14 times.
Terms: Aut, Win, Spr
| Units: 3-4
| Repeatable
15 times
(up to 60 units total)
MUSIC 324:
Graduate Composition Forum
Community forum for all graduate student composers. Discussion of completed and in-progress work by students, faculty, and visiting composers. Repertoire listening sessions. Planning of upcoming Department events. Special area exam topic presentations, final doctoral project presentations, and review of portfolios. Many sessions are open to the public.May be repeated for credit
Terms: Aut, Win, Spr
| Units: 1
| Repeatable
18 times
(up to 18 units total)
MUSIC 325:
Individual Graduate Projects in Composition
May be repeated for credit.
Terms: Aut, Win, Spr, Sum
| Units: 1-5
| Repeatable
25 times
(up to 75 units total)
Instructors: ;
Alessandrini, P. (PI);
Applebaum, M. (PI);
Aquilanti, G. (PI);
Basica, C. (PI);
Berger, J. (PI);
Chafe, C. (PI);
DeMarinis, P. (PI);
Kapuscinski, J. (PI);
Lopez-Lezcano, F. (PI);
Rose, F. (PI);
Ulman, E. (PI)
MUSIC 330:
Musicology Dissertation Colloquium
Weekly meetings for all musicology students 4th year and beyond to discuss research and writing strategies, share and critique work in progress, and discuss issues in professional development (preparing abstracts, conference papers, C.V. and job interviews, book reviews, submitting articles for publication). Open to 3rd-year students.
Terms: Spr
| Units: 1-4
| Repeatable
4 times
(up to 16 units total)
MUSIC 332:
Philosophy, Literature, and the Arts Core Seminar (DLCL 333, ENGLISH 333, PHIL 333)
This course serves as the Core Seminar for the PhD Minor in Philosophy, Literature, and the Arts. It introduces students to a wide range of topics at the intersection of philosophy with literary and arts criticism. The seminar is intended for graduate students. It is suitable for theoretically ambitious students of literature and the arts, philosophers with interests in value theory, aesthetics, and topics in language and mind, and other students with strong interest in the psychological importance of engagement with the arts. In this year's installment, we will focus on issues about the nature of fiction, about the experience of appreciation and what it does for us, about the ethical consequences of imaginative fictions, and about different conceptions of the importance of the arts in life more broadly. May be repeated for credit.
Last offered: Winter 2023
| Units: 2-4
| Repeatable
5 times
(up to 20 units total)
MUSIC 341:
Ph.D Dissertation
May be repeated for credit a total of 5 times.
Terms: Aut, Win, Spr, Sum
| Units: 1-10
| Repeatable
6 times
(up to 60 units total)
Instructors: ;
Alessandrini, P. (PI);
Applebaum, M. (PI);
Berger, J. (PI);
Berger, K. (PI);
Chafe, C. (PI);
Fujioka, T. (PI);
Gill, D. (PI);
Grey, T. (PI);
Hadlock, H. (PI);
Hinton, S. (PI);
Kapuscinski, J. (PI);
Mahrt, W. (PI);
Myers, H. (PI);
Phillips, P. (PI);
Rodin, J. (PI);
Sano, S. (PI);
Smith, J. (PI);
Ulman, E. (PI);
Wang, G. (PI)
MUSIC 351A:
Seminar in Music Perception and Cognition I
A seminar on topics in music perception and cognition. Students will study and discuss recent research as well as design and implement experiments.
Terms: Aut
| Units: 1-3
| Repeatable
10 times
(up to 30 units total)
MUSIC 356:
Music and AI (CS 470)
How do we make music with artificial intelligence? What does it mean to do so (and is it even a good idea)? How might we design systems that balance machine automation and human interaction? More broadly, how do we want to live with our technologies? Are there - and ought there be - limits to using AI for art? (And what is Art, anyway?) In this "critical making" course, students will learn practical tools and techniques for AI-mediated music creation, engineer software systems incorporating AI, HCI and Music, and critically reflect on the aesthetic and ethical dimensions of technology.
Terms: Win
| Units: 3-4
MUSIC 390:
Practicum Internship
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.
Terms: Aut, Win, Spr, Sum
| Units: 1
| Repeatable
15 times
(up to 15 units total)
Instructors: ;
Abel, J. (PI);
Applebaum, M. (PI);
Berger, J. (PI);
Berger, K. (PI);
Cai, J. (PI);
Chafe, C. (PI);
Fujioka, T. (PI);
Grey, T. (PI);
Hadlock, H. (PI);
Hinton, S. (PI);
Kapuscinski, J. (PI);
Mahrt, W. (PI);
Rodin, J. (PI);
Sano, S. (PI);
Smith, J. (PI);
Ulman, E. (PI);
Wang, G. (PI)
MUSIC 398:
PhD Dissertation Proposal
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.
Terms: Aut, Win, Spr, Sum
| Units: 1-3
| Repeatable
3 times
(up to 9 units total)
Instructors: ;
Alessandrini, P. (PI);
Applebaum, M. (PI);
Berger, J. (PI);
Berger, K. (PI);
Berners, D. (PI);
Bosi, M. (PI);
Chafe, C. (PI);
Chowning, J. (PI);
DeMarinis, P. (PI);
Fujioka, T. (PI);
Gill, D. (PI);
Grey, T. (PI);
Hadlock, H. (PI);
Hinton, S. (PI);
Kapuscinski, J. (PI);
Mahrt, W. (PI);
Mysore, G. (PI);
Phillips, P. (PI);
Rodin, J. (PI);
Sano, S. (PI);
Selfridge-Field, E. (PI);
Slaney, M. (PI);
Smith, J. (PI);
Wang, G. (PI)
MUSIC 399:
D.M.A. Final Project
May be repeated for credit a total of 5 times.
Terms: Aut, Win, Spr, Sum
| Units: 1-10
| Repeatable
6 times
(up to 60 units total)
Instructors: ;
Alessandrini, P. (PI);
Applebaum, M. (PI);
Aquilanti, G. (PI);
Berger, J. (PI);
Chafe, C. (PI);
DeMarinis, P. (PI);
Ferneyhough, B. (PI);
Kapuscinski, J. (PI);
Rose, F. (PI);
Ulman, E. (PI);
Wang, G. (PI)
MUSIC 405:
Enchanted Images: Medieval Art and Its Sonic Dimension (ARTHIST 205, ARTHIST 405, CLASSICS 113, CLASSICS 313, MUSIC 205)
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.
Last offered: Autumn 2021
| Units: 5
MUSIC 422:
Perceptual Audio Coding
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/.
Terms: Win
| Units: 3
MUSIC 423:
Graduate Research in Music Technology
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.
Terms: Aut, Win, Spr
| Units: 1-10
| Repeatable
10 times
(up to 50 units total)
MUSIC 424:
Signal Processing Techniques for Digital Audio Effects
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.
Last offered: Spring 2022
| Units: 3-4
MUSIC 424L:
Signal Processing Techniques for Digital Audio Effects Group Study
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.
Terms: Win
| Units: 1-4
MUSIC 451A:
Basics in Auditory and Music Neuroscience
Understanding basic concepts and techniques in cognitive neuroscience using electroencephalography (EEG) specific to auditory perception and music cognition via seminar and laboratory exercise work. Acquiring and practicing skills in experimental design, data analysis, and interpretation, writing for scientific reports and research proposals, and giving a critical review of others' scientific work. Seminar discusses related literature in neuroanatomy, neurophysiology, psychology, and neuroimaging. Laboratory focuses on electroencephalography (EEG) techniques, classic paradigms for recording evoked response, and associated data analysis methods.
Terms: Aut
| Units: 2-5
MUSIC 451B:
Neuroscience of Auditory Perception and Music Cognition II: Neural Oscillations
Building on 451A, this course will review basic knowledge and EEG techniques of neural oscillations related to auditory perception and music cognition via seminar and laboratory work. Through reviewing and replicating findings using classic and recent paradigms, the laboratory exercises offer multiple ways to understand how to design experiments and analyze data to observe neural oscillatory activities in different frequency bands, then interpret their functional significance in sensorimotor processing, attention, and social interaction ¿ important aspects of music listening and performance. Seminar discusses literature in neurophysiology, neuropsychology, and brain-computer interface. Prerequisite: Music 451A or permission of instructor.
Last offered: Winter 2023
| Units: 2-5
MUSIC 451C:
Auditory EEG Research III: Coordinated Actions and Hyperscanning
Advancing EEG research skills in cognitive neuroscience specific to music cognition by conducting a group research project. In particular, this course focuses on basics for 2-person EEG (hyperscanning) paradigms and explores how coordinated actions and social interactions during musical ensemble are processed in the two brains. Laboratory works covers advanced electroencephalography (EEG) recording and analysis techniques specifically for oscillation and phase coherence across brain areas and between subjects. Seminar activities include surveying literature, discussing research articles and giving criticisms, and writing research reports. Lab scheduled separately Prerequisite: Music 451A
Terms: Win
| Units: 2-5
| Repeatable
4 times
(up to 20 units total)
MUSIC 801:
TGR Project
Doctoral dissertation for a TGR student in a doctoral program.
Terms: Aut, Win, Spr, Sum
| Units: 0
| Repeatable
for credit
Instructors: ;
Alessandrini, P. (PI);
Applebaum, M. (PI);
Berger, J. (PI);
Berger, K. (PI);
Chafe, C. (PI);
DeMarinis, P. (PI);
Fujioka, T. (PI);
Grey, T. (PI);
Hadlock, H. (PI);
Hinton, S. (PI);
Kapuscinski, J. (PI);
Mahrt, W. (PI);
Phillips, P. (PI);
Rodin, J. (PI);
Sano, S. (PI);
Smith, J. (PI);
Ulman, E. (PI);
Wang, G. (PI)
MUSIC 802:
TGR Dissertation
Doctoral dissertation for a TGR student in a doctoral program.
Terms: Aut, Win, Spr, Sum
| Units: 0
| Repeatable
for credit
Instructors: ;
Alessandrini, P. (PI);
Applebaum, M. (PI);
Berger, J. (PI);
Berger, K. (PI);
Chafe, C. (PI);
Fujioka, T. (PI);
Gill, D. (PI);
Grey, T. (PI);
Hadlock, H. (PI);
Hinton, S. (PI);
Kapuscinski, J. (PI);
Mahrt, W. (PI);
Phillips, P. (PI);
Rodin, J. (PI);
Sano, S. (PI);
Smith, J. (PI);
Ulman, E. (PI);
Wang, G. (PI)
