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MUSIC 1: Musical Genius: Exemplars in the History of Organized Sound

How does music work? A broad exploration of music as defined by three major components (i) Theories of Music (elements and parameters), (ii) Histories of Music (cultures and people), and (iii) Practitioners of Music (musicians and scholars). Lecture, discussion, guided critical listening and viewing of audio, video, and live performance, and creation of self-curated mini-projects.
Last offered: Autumn 2018 | Units: 3 | UG Reqs: WAY-A-II

MUSIC 1A: Music, Mind, and Human Behavior

An introductory exploration of the question of why music is a pervasive and fundamental aspect of human existence. The class will introduce aspects of music perception and cognition as well as anthropological and cultural considerations.
Terms: Win | 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.
Last offered: Spring 2020 | Units: 1

MUSIC 2A: The Symphony

Symphonic literature 1750 to the present, with emphasis on developing listening skills and preparation for attending a live performance. Ability to read music not required.
Last offered: Winter 2019 | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II

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
Instructors: ; Grey, T. (PI)

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.
Last offered: Winter 2019 | Units: 1 | Repeatable 5 times (up to 5 units total)

MUSIC 6F: Art is My Occupation: Professional Development in Music

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 | Units: 1
Instructors: ; Lee, J. (PI)

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. In AY 2020-21, a letter grade or `CR¿ grade satisfies the Ways requirement.
Terms: Spr | Units: 2-3 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-ED

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.
Terms: Spr | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II

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, ENGLISH 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). Participation in the trip is a requirement for taking part in the seminar (and vice versa). The trip 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. For further details and updates about the trip, see https://arts.stanford.edu/for-students/academics/arts-immersion/new-york/.
Last offered: Spring 2020 | Units: 3 | UG Reqs: WAY-A-II

MUSIC 12A: Introductory Piano Class

(A=level 1; B=level 2; C=level 3) There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee and 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
Instructors: ; Zerlang, T. (PI)

MUSIC 12AS: Introductory Piano Class, Level 1 (Group)

Piano: Introductory Level 1 (Group; 10 students to a section) (A=Level 1; B=Level 2; C=Level 3). Class is closed by design. Please register on the wait-list and show up on the first day of class to receive a permission number for enrollment. Complete registration form available for download at: http://tinyurl.com/q43c48g. 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)
Instructors: ; Zerlang, T. (PI)

MUSIC 12AZ: Introductory Piano Class

(A=level 1; B=level 2; C=level 3) There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee and 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.May be repeat for credit for 0 unit and total completion allowed 99.
Terms: Aut, Win, Spr | Units: 0 | Repeatable for credit (up to 0 units total)
Instructors: ; Zerlang, T. (PI)

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) There is a fee for this class. 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: 1 | UG Reqs: WAY-CE
Instructors: ; Zerlang, T. (PI)

MUSIC 12BS: Introductory Piano Class, Level 2 (Group)

Piano: Introductory Level 2 (Group; 10 students to a section) (A=Level 1; B=Level 2; C=Level 3). Class is closed by design. Please register on the wait-list and show up on the first day of class to receive a permission number for enrollment. Complete registration form available for download at: http://tinyurl.com/q43c48g. 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)
Instructors: ; Zerlang, T. (PI)

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) There is a fee for this class. 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
Instructors: ; Zerlang, T. (PI)

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. There is a fee for this class. 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: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Zerlang, T. (PI)

MUSIC 12CS: Introductory Piano Class, Level 3 (Group)

Piano: Introductory Level 3 (Group; 10 students to a section) (A=Level 1; B=Level 2; C=Level 3). Class is closed by design. Please register on the wait-list and show up on the first day of class to receive a permission number for enrollment. Complete registration form available for download at: http://tinyurl.com/q43c48g. 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)
Instructors: ; Zerlang, T. (PI)

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.). There is a fee for this class. 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 | Repeatable for credit (up to 0 units total)
Instructors: ; Zerlang, T. (PI)

MUSIC 12SZ: Introductory Piano

Introductory Piano (zero-unit option). Complete registration form available for download at: http://tinyurl.com/q43c48g. 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: 0
Instructors: ; Zerlang, T. (PI)

MUSIC 13N: Music and Politics: From Mozart to Miranda

This course examines the relationship between music and politics. It will view music within an historical context, exploring how music can reflect and sometimes influence major political issues of the day. Topics will include "The Marriage of Figaro" and the French Revolution; Verdi's operas and politics in 19th-century Italy; Wagner controversies; Stravinsky and fascism; ¿Degenerate Music¿ in Nazi Germany; Shostakovich in the USSR; Radical Chic ¿ Leonard Bernstein's fundraiser for the Black Panthers; "The Death of Klinghoffer" and the Israeli-Palestinian conflict; and Hamilton and its 21st-century view of the American Revolution. The ability to read music, while beneficial, is not required
| Units: 3

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 2019 | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-ED

MUSIC 15N: The Aesthetics of Data

Focus on visual and auditory display of data, specifically, the importance of aesthetic principles in effective data display, and the creative potential of scientific, biological, environmental and other data as inspiration for artistic expression.
Terms: Aut | Units: 3 | UG Reqs: GER:DB-Hum, WAY-CE
Instructors: ; Berger, J. (PI); Choi, H. (SI)

MUSIC 16Q: Listening to Climate Change

Today, it seems that evidence of climate change is everywhere. But, climate change is not new, nor is public consciousness of it. As early as 1840, climate change had become a subject of cultural fascination--especially for musicians and composers.nThis course will focus on five musical works from a range of time periods and traditions that reflect contemporary consciousness of and reactions to climate change. What ideas about power, race, and identity are reflected in music about the changing environment? How has the history of musical encounters with climate shaped that mode of engagement today?
Terms: Win | Units: 3 | UG Reqs: WAY-A-II
Instructors: ; Paige, K. (PI)

MUSIC 18A: Jazz History: Ragtime to Bebop, 1900-1940 (AFRICAAM 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
Instructors: ; Low, M. (PI)

MUSIC 18B: Jazz History: Bebop to Present, 1940-Present (AFRICAAM 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
Instructors: ; Low, M. (PI); Qu, H. (TA)

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, Win | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
Instructors: ; Berger, T. (PI)

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
Instructors: ; Berger, T. (PI); Kim, C. (TA)

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: 19 or consent of instructor.
Terms: Aut | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
Instructors: ; Nadel, J. (PI)

MUSIC 20B: Advanced Jazz Theory

Approaches to improvisation through listening and transcribing, and developing familiarity with important contributors to this music. Topics: scale theory, altered dominants, and substitute harmony. Prerequisite: 20A or consent of instructor.
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
Instructors: ; Nadel, J. (PI)

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: Winter 2020 | Units: 3 | UG Reqs: WAY-A-II, WAY-CE

MUSIC 21: Elements of Music I

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, Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE

MUSIC 22: Elements of Music II

Preference to majors. Introduction to chromatic harmony focusing on secondary functions, modulations, harmonic sequences, mode mixture, and the Neapolitan, and augmented sixth chords. 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).
Terms: Win, Sum | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE

MUSIC 23: Elements of Music III

Preference to majors. Continuation of chromatic harmony and complex forms of late Romantic period. 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).
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, Spr | 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, Sum | 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, Sum | Units: 0
Instructors: ; Arul, E. (PI)

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 27N: The British Invasion

Examination of three generations of British popular music in the `60s and `70s: the Beatles (and the Rolling Stones, the Kinks, the Who); progressive rock (art rock) as embodied in Pink Floyd, Yes, King Crimson, Genesis, and Emerson, Lake, and Palmer; the emergence of punk in its revolutionary (the Clash) and nihilistic (the Sex Pistols) forms. Among other issues, the manner in which marginal American culture (particularly African-American blues) is neglected by Americans and venerated by foreigners and the subsequent mainstream consumption of a transformed and repackaged American minority culture is discussed.
Last offered: Spring 2018 | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II

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. During a time of COVID, this online version of the seminar takes students behind the taiko. 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 online taiko lessons. 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
Instructors: ; Sano, S. (PI); Uyechi, L. (PI)

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 2019 | 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: Win | Units: 3 | UG Reqs: WAY-A-II
Instructors: ; Hinton, S. (PI)

MUSIC 34N: Performing America: The Broadway Musical

Musical theater as a site for the construction of American identity 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, South Pacific, Guys and Dolls, West Side Story, Wicked, Book of Mormon, Hamilton, Dear Evan Hansen), show tunes in jazz performance, film musicals, and television. Opportunities for performance and attendance at local productions.
Terms: Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
Instructors: ; Grey, T. (PI)

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)

Ideas matter. Concepts such as revolution, tradition, and hell have inspired social movements, shaped political systems, and dramatically influenced the lives of individuals. Others, like immigration, universal basic income, and youth 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. Some weeks will have short reading assignments, but you are not required to purchase any materials.
Terms: Spr | Units: 1
Instructors: ; Anderson, R. (PI)

MUSIC 37N: Ki ho'alu: The New Renaissance of a Hawaiian Musical Tradition

Preference to freshman. A style of guitar playing originally developed in the Hawaiian Islands during the early 1800s, ki ho alu, or Hawaiian slack key guitar, is an art form that has experienced exposure and popularity in Hawai'i and worldwide. Its rise in popularity coincides with the increased awareness, dissemination, and growth of political activism directly relating to Hawaiian culture. In this on-line, synchronously-taught seminar we will explore the musical, cultural, historical, and political perspectives of Hawaiian music in general, and ki ho alu in particular, through critical listening, readings, discussion, and a conversation with guest slack key artist and 6-time Grammy winner Daniel Ho. With ki ho alu as the focus, we will learn about Hawaiian music and history, and explore the relationship between performance, cultural expression, community, and identity.
Terms: Sum | Units: 2 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-CE
Instructors: ; Sano, S. (PI)

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.
Last offered: Winter 2020 | Units: 3 | UG Reqs: WAY-A-II, WAY-ED

MUSIC 40: Music History to 1600

Pre- or corequisite: 21.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: ; Rodin, J. (PI)

MUSIC 41: Music History 1600-1830

Pre- or corequisite: 22.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: ; Hadlock, H. (PI)

MUSIC 42: Music History Since 1830

Pre- or corequisite: 23.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: ; Kronengold, C. (PI)

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.
Terms: Spr | Units: 1
Instructors: ; Hillhouse, W. (PI)

MUSIC 65A: Voice Class I

Group (7 students to a section) beginning voice (A = level 1; B = level 2). May be repeated for credit. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. 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: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Wait, G. (PI)

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)
Instructors: ; Linduska, M. (PI)

MUSIC 65AZ: Voice Class I

Group (7 students to a section) beginning voice (A = level 1; B = level 2). There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. 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. May be repeated for credit for 0 unit and total completion allowed 99.
Terms: Aut, Win, Spr | Units: 0 | Repeatable for credit (up to 0 units total)
Instructors: ; Wait, G. (PI)

MUSIC 65B: Voice Class II

Group (7 students to a section) beginning voice for the non-major (A = level 1; B = level 2). May be repeated for credit. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. 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: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Wait, G. (PI)

MUSIC 65BS: Voice Class 2: Beginning Voice, Level 2 (Group)

Group (6 students to a section) beginning voice (A = level 1; B = level 2). Complete registration form available for download at: http://tinyurl.com/q43c48g. 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.
Last offered: Summer 2019 | Units: 1 | UG Reqs: WAY-CE | Repeatable 5 times (up to 5 units total)

MUSIC 65BZ: Voice Class II

Group (7 students to a section) beginning voice for the non-major (A = level 1; B = level 2). There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. 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. May be repeat for credit for 0 units and total completion of 99
Terms: Aut, Win, Spr | Units: 0 | Repeatable for credit (up to 0 units total)
Instructors: ; Wait, G. (PI)

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.
Terms: Sum | Units: 0

MUSIC 70: Stories and music of refugees

As part of a creative project to gather cultural materials of people who inhabited the shores of the Mekong River, this course will combine ethnomusicology, anthropology, and cultural history with creative projects based upon gathering and compiling first hand materials through interviews and recordings of people around the Bay Area, and perhaps beyond, who were transplanted from their native homes in the Mekong region.
Terms: Spr | Units: 3
Instructors: ; Berger, J. (PI)

MUSIC 72A: Intermediate Piano Class

For intermediate students. May be repeated for credit a total of 14 times. Prerequisites: 12C or equivalent, audition. There is a fee for this class. Please visit https://music.stanford.edu/ensembles-lessons/applied-music-policies/applied-music-fees-and-policies for class fee information. 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)
Instructors: ; Zerlang, T. (PI)

MUSIC 72AS: Intermediate Piano Class (Group)

Piano: Intermediate Level (Group; 10 students to a section) Class is closed by design. Please register on the wait-list and show up on the first day of class to receive a permission number for enrollment. Complete registration form available for download at: http://tinyurl.com/q43c48g. 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.
Last offered: Summer 2018 | Units: 1 | UG Reqs: WAY-CE | Repeatable 5 times (up to 5 units total)

MUSIC 72AZ: Intermediate Piano Class

For intermediate students. Prerequisites: 12C or equivalent, audition. There is a fee for this class. Please visit https://music.stanford.edu/ensembles-lessons/applied-music-policies/applied-music-fees-and-policies for class fee information. 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 for credit (up to 0 units total)
Instructors: ; Zerlang, T. (PI)

MUSIC 72C: Harpsichord Class

For beginning harpsichord students who have keyboard skills. May be repeated for credit a total of 14 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. 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)
Instructors: ; Bar-David, E. (PI)

MUSIC 72CZ: Harpsichord Class

For beginning harpsichord students who have keyboard skills. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. 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 for credit (up to 0 units total)
Instructors: ; Bar-David, E. (PI)

MUSIC 72D: Jazz Piano Class

There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee and 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. 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
Instructors: ; Low, M. (PI)

MUSIC 72DZ: Jazz Piano Class

There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee and 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. 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: 0
Instructors: ; Low, M. (PI)

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. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee information. 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)
Instructors: ; You, H. (PI)

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. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee information. 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 14 times (up to 0 units total)
Instructors: ; You, H. (PI)

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

For intermediate students. Admission by audition. May be repeated for credit a total of 14 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. This class is closed by design. Please register on the Axess 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: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Jennings, K. (PI)

MUSIC 73Z: Intermediate Voice Class

For intermediate students. Admission by audition. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. This class is closed by design. Please register on the Axess waitlist and show up on the first day of class to receive a permission number for enrollment.
Terms: Aut, Win, Spr | Units: 0 | Repeatable for credit (up to 0 units total)
Instructors: ; Jennings, K. (PI)

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 74AB: Introductory Violin Class Level 2: Intermediate

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: Winter 2019 | Units: 1 | UG Reqs: WAY-CE

MUSIC 74AC: Introductory Violin Class Level 3: Advanced Intermediate

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: Spring 2019 | Units: 1 | UG Reqs: WAY-CE

MUSIC 74AZ: Introductory Violin Class

(74A.1=Level 1 beginners; 74A.2=Level 2 continuing) 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: Spring 2019 | Units: 0 | Repeatable 2 times (up to 0 units total)

MUSIC 74C: Classical Guitar Class

May be repeated for credit a total of 14 times. There is a fee for this class. Please visit https://music.stanford.edu/ensembles-lessons/applied-music-policies/applied-music-fees-and-policies for class fee 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)
Instructors: ; Ferguson, C. (PI)

MUSIC 74CZ: Classical Guitar 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 for credit (up to 0 units total)
Instructors: ; Ferguson, C. (PI)

MUSIC 74D: Harp Class

May be repeated for credit a total of 14 times. 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: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Taubl, A. (PI)

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 for credit (up to 0 units total)
Instructors: ; Taubl, A. (PI)

MUSIC 75B: Renaissance Wind Instruments Class

May be repeated for credit. 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.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Myers, H. (PI)

MUSIC 75BZ: Renaissance Wind Instruments Class

May be repeated for credit. 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.
Terms: Aut, Win, Spr | Units: 0 | Repeatable for credit (up to 0 units total)
Instructors: ; Myers, H. (PI)

MUSIC 76: Brass Instruments Class

May be repeated for credit a total of 14 times. 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.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Kenley, M. (PI)

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. 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. May be repeated for credit
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Clements, T. (PI)

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. This course includes a fee of $175 for Music majors and minors, and $200 for non Music majors. 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)
Instructors: ; Clements, T. (PI)

MUSIC 76Z: Brass Instruments Class

May be repeated for credit a total of 14 times. 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.
Terms: Aut, Win, Spr | Units: 0 | Repeatable for credit (up to 0 units total)
Instructors: ; Kenley, M. (PI)

MUSIC 77: Percussion Class

May be repeated for credit a total of 14 times. 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.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Muncy, S. (PI)

MUSIC 77Z: Percussion Class

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.
Terms: Aut, Win, Spr | Units: 0 | Repeatable for credit (up to 0 units total)
Instructors: ; Muncy, S. (PI)

MUSIC 80: Russian Modernists: Stravinsky & Shostakovich

An examination and comparison of the lives and music of Igor Stravinsky and Dmitri Shostakovich, two of the most important Modernist composers of the 20th century. Although both composers were Russians closely affiliated with St. Petersburg, their lives diverged dramatically, with Stravinsky pursuing an international career in the West while Shostakovich spent his entire life in the USSR after the Russian Revolution. Major compositions, including symphonies, operas, chamber music, and keyboard works, will be covered, as well as key writings by and about both composers. The ability to read music, while beneficial, is not required. This course must be taken for a letter grade to be eligible for Ways credit.
Last offered: Autumn 2018 | 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 and industrialization 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 choose to enroll in the class for 4 units will create and publish a 12-20 minute EP according to their own musical taste and technical abilities. This course is a prerequisite for MUSIC 192A: Foundations of Sound Recording Technology. No previous experience required.
Terms: Aut, Win | Units: 3-4 | UG Reqs: WAY-CE

MUSIC 102: The Art of Music Video: Practice and Analysis (MUSIC 202)

Making and understanding music videos and other short audiovisual genres. This course is a critical and creative exploration of music and performing bodies in moving media. Listening/viewing includes music videos from the 1980s to today, along with musicals, dance, and opera on film, experimental film and video, and segments from feature film. We'll attend to both music and image, focusing on gesture, rhythm, and affect, and considering visual parameters like décor, lighting, texture, camera movement, and editing. Requirements include choosing and documenting a live performance; producing a short audiovisual work involving post-production; several short writing assignments; and weekly reading and viewing/listening assignments. No prerequisites; no previous videomaking experience required. This course must be taken for a minimum of 3 units for Ways-AII and a letter grade to be eligible for Ways-AII credit.
Last offered: Spring 2020 | Units: 2-4 | UG Reqs: WAY-A-II, WAY-CE | Repeatable 2 times (up to 8 units total)

MUSIC 103: Live Listening Lab (TAPS 130M)

The course is a one unit, discussion-based experience for non-musicians and musicians to explore live concerts, learn how to describe their listening experiences and reflect on their aesthetic preferences. In this course, we will attend live music concerts, some as a group and some individually, and reflect critically on those multi-modal sensory and cognitive experiences. Along the way, we will build our own listening toolkits and practice communicating our personal experiences. Students attend 5 course meetings and 5 concerts.
Last offered: Spring 2020 | Units: 1

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.
Last offered: Spring 2020 | 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.
Last offered: Autumn 2019 | Units: 2-3

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 14 times (up to 42 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: Autumn 2018 | Units: 3 | UG Reqs: WAY-A-II, WAY-ED

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)
Instructors: ; Redman, J. (PI)

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 14 times (up to 0 units total)
Instructors: ; Redman, J. (PI)

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)
Instructors: ; Redman, J. (PI)

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
Instructors: ; Ulman, E. (PI); Zhu, J. (TA)

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 20th-Century Composition

Contemporary works, with emphasis on music since 1945. Projects in free composition based on 20th-century models. Prerequisites: MUSIC 23 and MUSIC 24C; passing piano-proficiency examination; or, consent of instructor.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum
Instructors: ; Ulman, E. (PI)

MUSIC 122D: Analysis for Performance

Prerequisites: 23 or consent of instructor, successful completion of the ear-training and piano-proficiency examinations.
| Units: 2

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, Win | Units: 1-2 | UG Reqs: WAY-CE
Instructors: ; Rose, F. (PI)

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: Win, Sum | Units: 1-2 | UG Reqs: WAY-CE
Instructors: ; Rose, F. (PI)

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.
Terms: Win | Units: 1-2 | UG Reqs: 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 15 times (up to 30 units total)
Instructors: ; Applebaum, M. (PI)

MUSIC 124B: 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. Enrollment in 3-unit course is by permission of, and invites lessons with instructor.
Last offered: Winter 2018 | Units: 3 | Repeatable 15 times (up to 45 units total)

MUSIC 125: Individual Undergraduate Projects in Composition

May be repeated for credit a total of 14 times. Prerequisites: Music123A and Music123B or Instructor's permission.
Terms: Aut, Win, Spr | Units: 1-3 | Repeatable 15 times (up to 45 units total)

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: Spr | 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: 23.
Terms: Win, Sum | 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: Winter 2020 | 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
Instructors: ; Gavin, R. (PI)

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
Last offered: Spring 2020 | Units: 1-5 | UG Reqs: WAY-CE | Repeatable 4 times (up to 20 units total)

MUSIC 129: Advanced Ear-Training/Musicianship

A course in advanced aural analysis and musicianship skills for students who have completed the Music 24 series. Topics of study include analysis by ear of large scale forms, chromatic or extended-tertian harmony, modulations to distantly related keys, chromatic or atonal melodies, modal harmony and melody, as well as alternative forms of aural analysis.
Terms: Sum | Units: 1-2 | Repeatable 4 times (up to 8 units total)
Instructors: ; Arul, E. (PI)

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.
| Units: 1-2

MUSIC 130A: Introduction to Conducting

Baton techniques and rehearsal procedures. The development of coordination of the members of the body involved in conducting; fluency in beat patterns and meters; dynamics, tempi, cueing, and use of the left hand in conducting. Prerequisites: 122B and diagnostic musicianship exam given first day of class.
Last offered: Autumn 2018 | Units: 3 | UG Reqs: WAY-CE

MUSIC 130B: Elementary Instrumental Conducting

The theory, technique, and practice of instrumental conducting, with training in the art of physical gesture. Studies in clef reading, transposition, and structural analysis to develop the skills needed to read orchestral scores. Topics include baton technique; rehearsal procedure; working with soloists, singers, and composers; and conducting symphonic works as well as concertos, oratorio, opera, and Broadway musicals. Selected repertoire from the Baroque through contemporary periods will be studied and conducted in class. Prerequisite: MUSIC 130A or instructor's permission.
Last offered: Spring 2019 | Units: 2 | 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. Prerequisite: 130A.
Terms: Spr | Units: 2 | UG Reqs: WAY-CE
Instructors: ; Morgan, R. (PI)

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.
Last offered: Spring 2020 | Units: 3

MUSIC 133: Food, Text, Music: A Multidisciplinary Lab on the Art of Feasting (FRENCH 166, FRENCH 266, FRENCH 366, MUSIC 333)

Students cook a collection of unfamiliar recipes each week while learning about the cultural milieus in which they originated. The course focuses on the fourteenth and fifteenth centuries, a time of great banquets that brought together chefs, visual artists, poets, musicians, and dancers. Students read late-medieval cookbooks under the guidance of professional chefs, learn songs and poetry with the help of visiting performers, and delve into a burgeoning scholarly literature on food history and sensory experience. We will also study trade routes and food networks, the environmental impact of large-scale banquets, the science of food, and the politics of plenty. This course may count towards the Medieval component of the French major, and corresponds to DLCL 121, a course requirement for the Medieval Studies Minor. Students interested in applying for course must email the professor (jrodin@stanford.edu) by 20 September with a statement of up to 350 words that includes: (a) reasons for wanting to take the class; (b) relevant background in cooking/medieval studies/etc.; (c) stated commitment to attend all ten course meetings; and (d) any dietary restrictions/preferences.
Last offered: Autumn 2019 | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

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 130A, 130B, or 130C; or instructor's permission.
Last offered: Spring 2020 | Units: 2

MUSIC 142K: Studies in Music of the Baroque: Handel the Cosmopolitan (MUSIC 242K)

Music history seminar on the operatic, sacred, and instrumental works of G.F. Handel as examples of the diversity, cosmopolitanism, expression, formal and technical features, and social uses of music in the first half of eighteenth century. Traces Handel¿s career from his native Germany to an elite Roman circle of musical connoisseurs, and to the Italian opera company he founded in London and his transformation of Italian opera into a new genre of English oratorio. By analyzing Handel¿s works in context, we examine the aesthetic, harmonic, and dramatic principles of the major European Baroque art-music genres. Prerequisites: MUSIC 22, MUSIC 41. (WIM at 4-unit level only.)
Last offered: Spring 2019 | Units: 4-5 | UG Reqs: WAY-A-II

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.)
Terms: Win | Units: 3-4 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable for credit
Instructors: ; Grey, T. (PI)

MUSIC 144M: Robert Schumann and the Interpretation of Musical Romanticism (MUSIC 244M)

The creative personality, compositions, and writings of Robert Schumann (1810-1856) as exemplars of musical Romanticism in early nineteenth century European culture. Musical "interpretation" explored through a writing focus and a performance focus. Weekly writing assignments interpret compositions as texts, performances, and cultural documents. Students study and interpret up to three works (solo piano, chamber music, art-songs) by Schumann and/or contemporary figures (Schubert, Mendelssohn, Chopin, Brahms, Clara Schumann) for in-class presentation and final lecture-recital. Prerequisites: Music 42, and Music 22 or equivalent (intermediate music theory), intermediate or higher performance ability in piano, strings, or voice. (WIM at 4-unit level only.)
Last offered: Winter 2020 | Units: 3-4 | UG Reqs: WAY-A-II, WAY-CE

MUSIC 145K: Studies in Western Art Music Since 1900: Concepts of New Music (MUSIC 245K)

A survey of the history of Western classical music in the twentieth century, concentrating on shifts in the concept of New Music in the first half of the century. The aim is twofold: to study in depth a representative selection of works and to develop a historiographical framework for that study. Relevant concepts to be examined include Expressionism, Neo-Classicism, New Objectivity, Serialism, Aleatoricism, and Minimalism -- all of them key terms used by music historians and critics to describe and delineate the multifaceted phenomenon of "New Music." Composers to be studied include Schoenberg, Stravinsky, Berg, Weill, Shostakovich, Reich and Glass, and others. Prerequisites: MUSIC 23, MUSIC 42. (WIM course for Music majors.)
Last offered: Autumn 2018 | Units: 4

MUSIC 146M: New Keywords in African Sound (AFRICAAM 146D, AFRICAST 146M, CSRE 146D, MUSIC 246M)

This course identifies and considers new keywords for the study of contemporary African music and sound. Each week we will foster discussion around a keyword and a constellation of case studies. The sonic practices we will encounter range from South African house music to Ghanaian honk horns; from Congolese rumba bands to Tunisian trance singers; from listening to the radio in a Tanzanian homestead to making hip hop music videos on the Kenyan coast. By exploring the unexpected interconnections between contemporary African musical communities, we will discuss new keywords arising in current scholarship, including technologies like the amplifier and the hard drive, spaces like the studio and the city, and analytics like pleasure and hotness. We will also engage with established concepts for the study of postcolonial African cultures, including nationalism, cosmopolitanism, globalization, diaspora, and Pan-Africanism. This is a seminar-based course open to graduate students, upper level undergraduate students, and other students with consent of the instructor. Proficiency in music is not required. WIM at 4 units only.
Last offered: Winter 2019 | Units: 3-4 | UG Reqs: WAY-A-II

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. In AY 2020-21, a letter grade or `CR¿ grade satisfies the Ways requirement. WIM credit in Music at 4 units and a letter grade.
Terms: Win | Units: 2-4 | UG Reqs: WAY-A-II
Instructors: ; Kretz, H. (PI)

MUSIC 147J: Studies in Music, Media, and Popular Culture: The Soul Tradition in African American Music (AFRICAAM 19, AMSTUD 147J, CSRE 147J, MUSIC 247J)

1960s and 70s Black music, including rhythm and blues, Motown, Southern soul, funk, Philadelphia soul, and disco. Its origins in blues, gospel, and jazz to its influence on today's r&b, hip hop, and dance music. Soul's cultural influence and global reach; its interaction with politics, racism, gender, place, technology, and the economy. Synchronous and asynchronous remote learning, with class discussions, small-group activities, guest presenters, and opportunities for activism. Pre-/co-requisite (for music majors): MUSIC 22. (WIM at 4 units only.)
Terms: Aut | Units: 3-4 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED

MUSIC 147K: Studies in Music, Media, and Popular Culture: Music and Urban Film (CSRE 147D, MUSIC 247K)

How music and sound work in urban cinema. What happens when music's capacity to transform everyday reality combines with the realism of urban films? Provides an introduction to traditional theories of film music and film sound; considers how new technologies and practices have changed the roles of music in film. Readings discuss film music, realistic cinema, urban musical practices and urban culture. Viewing includes action/adventure, Hindi film, documentary, film noir, hip hop film, the musical, and borderline cases by Jean-Luc Godard, Spike Lee, Wong Kar-Wai and Tsai Ming-Liang. Pre- or corequisite (for music majors): MUSIC 22. (WIM at 4 unit level only.)
Last offered: Autumn 2018 | Units: 3-4 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-ED

MUSIC 150P: The Changing World of Popular Music (ARTSINST 150)

This course will cover changes in the business, economics, and practices of the popular music industry. It will provide a brief historical overview of the industry and its business models. The majority of the course will focus on the industry as it works today and on forces that are causing it to change rapidly. The course will feature guest artists and executives with current experience in the field, as well as project-based assignments designed to give students hands-on experience. Topics will include: economics and business models of commercial music business, music production, music distribution, marketing, leadership in the music industry and artist management.
Terms: Win | Units: 2
Instructors: ; LeBoeuf, J. (PI)

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, Sum | Units: 1 | UG Reqs: WAY-CE | Repeatable 12 times (up to 12 units total)
Instructors: ; Gavin, R. (PI)

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)
Instructors: ; Gavin, R. (PI)

MUSIC 151C: Stanford University Ragtime Ensemble

Performance ensemble of twelve musicians (5 winds, 5 strings, drums, piano) playing repertoire by Scott Joplin and other ragtime composers. The make-up of the ensemble is based on the Red Back Book arrangements of Joplin rags for flute/piccolo, clarinet, cornet (trumpet), trombone, tuba, 2 violins, viola, cello, double bass, drums, and piano.
Terms: Spr | Units: 1 | Repeatable 2 times (up to 2 units total)
Instructors: ; Phillips, P. (PI)

MUSIC 151CZ: Stanford University Ragtime Ensemble

Performance ensemble of twelve musicians (5 winds, 5 strings, drums, piano) playing repertoire by Scott Joplin and other ragtime composers. The make-up of the ensemble is based on the Red Back Book arrangements of Joplin rags for flute/piccolo, clarinet, cornet (trumpet), trombone, tuba, 2 violins, viola, cello, double bass, drums, and piano.
Terms: Spr | Units: 0 | Repeatable 2 times (up to 0 units total)
Instructors: ; Phillips, P. (PI)

MUSIC 151D: Orchestra Online

An inquiry into orchestral music, through videos, recordings, and readings, with live discussions with prominent individuals from the musical world. Topics may also include opera, musical theatre, and other non-orchestral aspects of music. All classes will be recorded and available to all participants in order to make it possible for anyone to take the course, even if they have a conflict with the meeting time or reside in a time zone that precludes them from participating in the live sessions.
Terms: Aut, Win, Spr | Units: 1-2
Instructors: ; Phillips, P. (PI)

MUSIC 151DZ: Orchestra Online

An inquiry into orchestral music, through videos, recordings, and readings, with live discussions with prominent individuals from the musical world. Topics may also include opera, musical theatre, and other non-orchestral aspects of music. All classes will be recorded and available to all participants in order to make it possible for anyone to take the course, even if they have a conflict with the meeting time or reside in a time zone that precludes them from participating in the live sessions.
Terms: Aut, Spr | Units: 0
Instructors: ; Phillips, P. (PI)

MUSIC 152B: Black Music Revealed: Black composers, performers, and themes from the 18th century to the present (CSRE 152B)

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)
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II

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 during the COVID-19 pandemic are making use of the technology. The open-source project has developed rapidly in the past 6 months, 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.
Terms: Aut | Units: 2-4 | Repeatable 4 times (up to 16 units total)
Instructors: ; Chafe, C. (PI)

MUSIC 153AZ: Network Performance Practice

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 during the COVID-19 pandemic are making use of the technology. The open-source project has developed rapidly in the past 6 months, 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.
Terms: Aut | Units: 0 | Repeatable 4 times (up to 0 units total)
Instructors: ; Chafe, C. (PI)

MUSIC 153B: Internet Ensemble Tech Force (ARTSINST 141B)

This course inaugurates an Internet Ensemble Tech Force which is needed urgently worldwide and locally to support music ensembles going online. Calling it urgent is not an exaggeration. We can provide a valuable service and that's the purpose of the course. Course participants will quickly come up to speed on low-latency audio collaboration technology and will then pair with ensembles interested in using it. Ensemble rehearsals, coaching and concert broadcasting are planned for the quarter. 153B participants will work from home and be able to use CCRMA facilities remotely. The course can be audited or coordinated with another course. Let's help make group playing possible during this public health challenge.
Last offered: Spring 2020 | Units: 1 | Repeatable 4 times (up to 4 units total)

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 154E: Creative Agency in the Pandemic World

Distributed workshop for creative invention and artistic collaboration within radical pandemic constraints. Students imagine, design, and explore emergent creative strategies for art-making under quarantine conditions. Small art projects--in ANY artistic medium--will be made every two weeks, some collaborative. By reframing sub-optimal working conditions as super-optimal, participants create a modest canon of pieces that serve as a manual for sustaining creative vibrancy during stressful periods. Weekly synchronous conversation about artistic strategies and an overview of historical artistic constraints (both necessitated and voluntarily adopted); breakout group collaborations; consultations with professor; sharing of work; mutual critique, support, and mentorship.
Terms: Aut | Units: 3 | UG Reqs: WAY-CE
Instructors: ; Applebaum, M. (PI)

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
Last offered: Winter 2020 | Units: 3-4 | 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)
Instructors: ; Arul, K. (PI)

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)
Instructors: ; Arul, K. (PI)

MUSIC 155S: String Literature (MUSIC 255S)

An exploration of the repertoire for stringed instruments, 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)
Instructors: ; Harrison, S. (PI)

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.
Last offered: Winter 2020 | 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.
Last offered: Winter 2020 | Units: 0 | Repeatable 3 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, background knowledge of the culture of Trinidad and Tobago that created this instrument, and the opportunity to expand and share that knowledge through rehearsals, lecture topics/discussion, performances, and guest performers. Soca and Calypso music are genres of focus, but we will cover a diverse range of other genres as well.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 12 times (up to 12 units total)
Instructors: ; Abrefah, A. (PI)

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, background knowledge of the culture of Trinidad and Tobago that created this instrument, and the opportunity to expand and share that knowledge through rehearsals, lecture topics/discussion, performances, and guest performers. Soca and Calypso music are genres of focus, but we will cover a diverse range of other genres as well.
Terms: Aut, Win, Spr | Units: 0 | Repeatable 12 times (up to 0 units total)
Instructors: ; Abrefah, A. (PI)

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)
Instructors: ; Mahrt, W. (PI)

MUSIC 159J: Performance as Analysis: Late-Medieval Music in Action

This experimental course channels embodied musical knowledge into text-based analysis. Centered around a group of Italian manuscripts recently deposited at Stanford (the Burke Collection), Part I features an intensive period of workshops and rehearsals: working with members of Cut Circle (http://cutcircle.org) as well as specialists in computer science and art history, students prepare a concert to be held during Week 2 of the quarter. In Part II (Weeks 3­-4) students perform "embodied analysis," channeling their experiences performing into deepening engagement with the repertoire. Regular meetings conclude after Week 5; a paper is due in Week 7. Prerequisites: good sight-singing skills; at least one quarter's experience in MUSIC 165 (Chamber Chorale) or an ensemble of a similar caliber. 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. All meetings at Green Library Rotunda except Weeks 3-5 meetings which will be in Braun 131. Week 1: Mon 6 January: 4:30 - 7:00; Wed 8 January: 4:30 - 7:00; Fri 10 January; Sat 11 and Sun 12 January: 2:30 - 6pm; Week 2: Tues 14 January: 4:30 - 7:00; Wed 15 January: 5:30pm call for 7:30p concert; Weeks 3-5: Tues/Thurs, 3:00-4:30, Braun 131; Weeks 6-10: No class meeting.
Last offered: Winter 2020 | Units: 1-3 | Repeatable 4 times (up to 12 units total)

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)
Instructors: ; Mahrt, W. (PI)

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: Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Phillips, P. (PI)

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: Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Phillips, P. (PI)

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: Win, Spr | Units: 0 | Repeatable for credit (up to 0 units total)
Instructors: ; Phillips, P. (PI)

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 | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Kretz, H. (PI)

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 | Units: 0 | Repeatable for credit (up to 0 units total)
Instructors: ; Kretz, H. (PI)

MUSIC 160C: 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: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Martin, A. (PI)

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 for credit (up to 0 units total)
Instructors: ; Martin, A. (PI)

MUSIC 160S: Stanford Summer Orchestra

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)
Instructors: ; Phillips, P. (PI)

MUSIC 160SZ: Summer Orchestra

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: 0 | Repeatable 6 times (up to 0 units total)
Instructors: ; Phillips, P. (PI)

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: Win, Spr | Units: 0 | Repeatable for credit (up to 0 units total)
Instructors: ; Phillips, P. (PI)

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 for credit (up to 0 units total)

MUSIC 161B: Jazz Orchestra

Jazz Orchestra will begin a hybrid approach for the upcoming Fall Quarter. The first four weeks will be conducted in a virtual format, and will be dedicated to the production of a virtual recording. Weekly virtual meetings either as a group, or section within the group, will serve to discuss, prepare, and evaluate selections for the recording assignments. In-person sectional rehearsals could resume when appropriate to university Covid-19 protocols and necessary on an artistic and preparatory basis.
Terms: Aut, Win, Spr | Units: 1 | UG Reqs: WAY-CE | Repeatable 15 times (up to 15 units total)
Instructors: ; Galisatus, M. (PI)

MUSIC 161BZ: Jazz Orchestra

Jazz Orchestra will begin a hybrid approach for the upcoming Fall Quarter. The first four weeks will be conducted in a virtual format, and will be dedicated to the production of a virtual recording.  Weekly virtual meetings either as a group, or section within the group, will serve to discuss, prepare, and evaluate selections for the recording assignments. In-person sectional rehearsals could resume when appropriate to university Covid-19 protocols and necessary on an artistic and preparatory basis.
Terms: Aut, Win, Spr | Units: 0 | Repeatable 15 times (up to 0 units total)
Instructors: ; Galisatus, M. (PI)

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)
Instructors: ; Kenley, M. (PI)

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)
Instructors: ; Kenley, M. (PI)

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 for credit
Instructors: ; Low, M. (PI)

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 for credit (up to 0 units total)
Instructors: ; Low, M. (PI)

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 2020 | 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 2020 | 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.
Last offered: Spring 2020 | 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.
Last offered: Spring 2020 | Units: 0 | Repeatable for credit (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)
Instructors: ; Morgan, R. (PI)

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 for credit (up to 0 units total)
Instructors: ; Morgan, R. (PI)

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)
Instructors: ; Sano, S. (PI)

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 for credit (up to 0 units total)
Instructors: ; Sano, S. (PI)

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)
Instructors: ; Morgan, R. (PI)

MUSIC 167S: 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.
Terms: Sum | Units: 1

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.
Terms: Sum | Units: 0 | Repeatable for credit (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 for credit (up to 0 units total)
Instructors: ; Morgan, R. (PI)

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)
Instructors: ; Sano, S. (PI); Uyechi, L. (PI)

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 for credit (up to 0 units total)
Instructors: ; Sano, S. (PI); Uyechi, L. (PI)

MUSIC 170: Collaborative Piano

Performance class in a workshop setting. Techniques of collaboration with vocalists and instrumentalists in repertoire ranging from songs and arias to sonatas and concertos. Prerequisite: private-lesson proficiency level in piano, or consent of instructor.
Terms: Win | Units: 1 | UG Reqs: WAY-CE
Instructors: ; Dahl, L. (PI)

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 for credit

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 for credit (up to 0 units total)

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)
Instructors: ; Morgan, R. (PI)

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)
Instructors: ; Bar-David, E. (PI)

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,nplease contact instructor for further information.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 15 times (up to 45 units total)
Instructors: ; Low, M. (PI)

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)
Instructors: ; Barth, G. (PI)

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)
Instructors: ; Zerlang, T. (PI)

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)
Instructors: ; You, H. (PI)

MUSIC 173: Voice

Private lessons and group master classes 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 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)
Instructors: ; Moyer, B. (PI)

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)
Instructors: ; Ferguson, C. (PI)

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)
Instructors: ; Taubl, A. (PI)

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)
Instructors: ; Martin, A. (PI)

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)
Instructors: ; Thurston-Milgrom, J. (PI)

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)
Instructors: ; Vandivier, R. (PI)

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)
Instructors: ; May, C. (PI)

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)
Instructors: ; Brandenburg, M. (PI)

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)
Instructors: ; Olivier, R. (PI)

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)
Instructors: ; Myers, H. (PI)

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)
Instructors: ; Henderson, D. (PI)

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)
Instructors: ; Ellison, G. (PI)

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)
Instructors: ; McCarthy, C. (PI)

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)
Instructors: ; Ragent, L. (PI)

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)
Instructors: ; Luftman, A. (PI)

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)
Instructors: ; Kenley, M. (PI)

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)
Instructors: ; Clements, T. (PI)

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)
Instructors: ; Worley, J. (PI)

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)
Instructors: ; Muncy, S. (PI)

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.
Terms: Aut, Win, Spr | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 14 times (up to 42 units total)
Instructors: ; Rokeach, D. (PI)

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 for credit (up to 0 units total)

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, Sum | Units: 1 | UG Reqs: WAY-CE | Repeatable 14 times (up to 14 units total)

MUSIC 181Z: Jazz Combo

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, Sum | Units: 0

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: Aut | Units: 1
Instructors: ; Dahl, L. (PI)

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)
Instructors: ; Dahl, L. (PI)

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 2019 | Units: 1 | UG Reqs: WAY-CE | Repeatable 2 times (up to 2 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)
Instructors: ; Catsalis, M. (PI)

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
Instructors: ; Catsalis, M. (PI)

MUSIC 183D: Musical Theater (TAPS 115)

In this workshop we will traverse the landscape of world of Musical Theater. It will serve as an introduction for the beginning actor and singer, and expand the more experienced performer's range in this genre. The world of Musical Theater is filled with stories of love, passion, joy, violence, heartbreak and rage. The class will include an introduction to vocal and movement skills for musical theater, beginning with exercises to build an ensemble and encourage a sense of play and relaxation in supportive environment. Our class must be a place where everyone feels safe. As ensemble members, we will be responsible for each other in this environment. nStudents will choose one solo song, and perform in a group number from this exciting discipline. The instructor will work with the actors on technique, utilization of action, specificity of language, personalization, and emotional truth. A professional coach from the theater community will conduct vocal coaching. Physical warm-ups and choreography will be suited for both the dancer and non-dancer.nThe class will culminate in the last week with live performance for friends and family.nSTUDENTS ARE ENCOURAGED TO BRING THEIR OWN SUGGESTIONS. (Isn't there a role you've always wanted to sing?)nRequired text: Broadway Musicals Show by Show: Sixth Edition - Stanley Green; Paperback
Last offered: Spring 2018 | Units: 1-3 | UG Reqs: WAY-CE

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. Each student will work on solo selections and ensembles, and sing in most classes. Through understanding vocal technique, students will become more confident and joyful performers. The course will culminate in a final public workshop performance. Admission to course by audition or permission of the instructor. Due to the COVID-19 situation, the Singing for Musicals class will be taught online. 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.
Terms: Spr | Units: 2 | UG Reqs: WAY-CE | Repeatable 4 times (up to 8 units total)
Instructors: ; Jennings, K. (PI)

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: Win | Units: 1-3 | UG Reqs: WAY-CE | Repeatable 4 times (up to 12 units total)
Instructors: ; Catsalis, M. (PI)

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: Win | Units: 0 | Repeatable 4 times (up to 0 units total)
Instructors: ; Catsalis, M. (PI)

MUSIC 184B: 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: 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)
Instructors: ; Catsalis, M. (PI)

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)
Instructors: ; Catsalis, M. (PI)

MUSIC 184D: Creating a Musical (TAPS 177C)

This practical, hands on class in the making of musicals explores all aspects of creating musical theater, including writing, composing, producing, directing, designing, and casting this most American of theater genres. The class will include direct engagement and discussion with the producers and artists of TheatreWorks Silicon Valley's production of The Bridges of Madison County, book by Marsha Norman and music by Jason Robert Brown, including off-campus field trip to rehearsal of the show. The class will explore the creation of several renowned musicals including Stephen Sondheim's Merrily We Roll Along, and will include live Skype interviews with Broadway composers Andrew Lippa (The Wild Party), Paul Gordon (Jane Eyre), and David Hein and Irene Sankoff (Come from Away, winner of the 2017 Drama Desk Award for Best Musical). The quarter will culminate in the creation, production, and performance of several mini-musicals created by members of the class. Instructor Robert Kelley is the Founding Artistic Director of TheatreWorks Silicon Valley, where he has directed 170 productions, including many world and regional premieres.
Last offered: Winter 2018 | Units: 4

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 186B: American Song in the 20th Century and after (AMSTUD 186B, MUSIC 286B)

Critical and creative exploration of song in the Americas. About twenty-five key examples will guide discussion of the interactions between words, music, performance and culture. Weekly listening, reading and assignments will be organized around central themes: love, sex and romance; war and politics; labor and money; place; identity; society and everyday life. Genres include art song; blues, gospel, jazz and country; pop, soul, rock and hip-hop; bossa nova, nueva canción and salsa; electronic and experimental. Takehome and in-class assignments will include critical and creative writing, and music composition, production and performance; final projects may emphasize any of the above.
Last offered: Winter 2020 | Units: 3-4 | UG Reqs: WAY-A-II, WAY-CE

MUSIC 186E: Sounds of Islam (RELIGST 156X)

This course explores diverse intersections of sound and Islam in religious and secular contexts throughout the world. From studying Islamic philosophies about the art of listening to interrogating Muslim hip hop, we examine how sonic practices simultaneously reflect and shape different Muslim identities globally. Issues of nationalism, war and trauma, class, race and ethnicity, gender and sexualities, colonialism, social in/justice, and migration will remain central to our exploration of spirituality, secularism, piety, and religiosity for the individuals and communities making or listening to sounds of Islam.
Last offered: Winter 2020 | Units: 3 | UG Reqs: WAY-A-II, WAY-ED

MUSIC 187: Spiritual Sound of Central Asia: Introduction to the Music of Central Asia

In this course, master-musician Imamyar Hasanov teaches students to perform and appreciate music from Central Asia. Students learn a spectrum of traditional Azerbaijani, Kazakh, Kyrgyz, Uyghur and Uzbek folk melodies, including improvisational art music of mugham. The class is also a seminar, with discussions led by Professor Denise Gill on music of Central Asia, guest lectures and demonstrations, and Skype interviews with a musician in Kyrgyzstan and instrument maker in Istanbul. No prerequisites or prior knowledge of Azeri, Uzbek and Kyrgyz music for this course. Both a music workshop and seminar, this course is open to students who have experience playing musical instruments and those who do not. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways-ED credit. For Ways-CE credit, it may be taken for any number of units.
Last offered: Winter 2019 | Units: 1-5 | UG Reqs: WAY-CE, WAY-ED

MUSIC 192A: Foundations of Sound-Recording Technology

This course serves as an introduction to recording technologies and practices in a studio, at home, and in the field. The facilities available at CCRMA provide a basis for learning studio operation, as well as a space for recording projects remotely. Students also receive a portable recording kit* to develop professional-sounding projects at home with audio recordings from inside and outside their location. The course addresses various audio engineering topics: room acoustics, analog and digital recording, microphone selection and placement, audio editing and mixing, audio effects processing (equalization, compression, convolution reverb, etc.), and sound design. (*subject to availability of funds). Prerequisite: MUSIC 101 or consent of instructor.
Terms: Aut | Units: 3 | UG Reqs: GER:DB-EngrAppSci, WAY-SMA
Instructors: ; Basica, C. (PI); Qu, H. (TA)

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.
Last offered: Spring 2020 | Units: 1-3 | Repeatable 15 times (up to 30 units total)

MUSIC 192F: Sound Installation (ARTSTUDI 175)

This class will cover creative, historical and theoretical aspects of sited artworks based in sound. We will create, install and critique new works that use sound with special attention the ways that sound intersects with time, space and architecture. Attention will be given both to sound as immaterial signal and to sound in its relation to visual environments and objects. The class is intended for artists, composers and others who want to explore the spatial, social and aesthetic dimensions of sound. Assigned readings will cover sound practices in the contexts of art, music, sound studies and anthropology. Experience in sound recording or production, signal processing and spatialization, or installation are valuable but not required. Curiosity and attention to sounds are.
Last offered: Spring 2019 | Units: 4

MUSIC 196: Music Outside the Concert Hall

Some of the most engaging and important work we do as musicians is outside of the concert hall at the intersection of music and public service. Candidates will be encouraged to explore these intersections either by reviewing existing programs or by participating in or creating new initiatives. Some jumping off points may include exploring programming for incarcerated populations through the work of Arts on the Edge in Alaska, DeCoda in NY, Community Music Works and more locally, SLSQ¿s community programming. Quarterly informational meetings will be convened to point students to resources, programs, etc., they could research or in which they can become involved.
Terms: Aut | Units: 1 | Repeatable 4 times (up to 4 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 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.
Terms: Aut | 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.
Last offered: Winter 2019 | 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 | Repeatable 18 times (up to 18 units total)
Instructors: ; Worthey, N. (PI)

MUSIC 202: The Art of Music Video: Practice and Analysis (MUSIC 102)

Making and understanding music videos and other short audiovisual genres. This course is a critical and creative exploration of music and performing bodies in moving media. Listening/viewing includes music videos from the 1980s to today, along with musicals, dance, and opera on film, experimental film and video, and segments from feature film. We'll attend to both music and image, focusing on gesture, rhythm, and affect, and considering visual parameters like décor, lighting, texture, camera movement, and editing. Requirements include choosing and documenting a live performance; producing a short audiovisual work involving post-production; several short writing assignments; and weekly reading and viewing/listening assignments. No prerequisites; no previous videomaking experience required. This course must be taken for a minimum of 3 units for Ways-AII and a letter grade to be eligible for Ways-AII credit.
Last offered: Spring 2020 | Units: 2-4 | Repeatable 2 times (up to 8 units total)

MUSIC 203: Audiovisual Performance

Students perform with music and video in synergy. This course explores theories and practices of engaging audiovisual media in performance on stage and online. 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, network art. Readings, listening-viewings, discussions, and analyses of relevant works provide a conceptual framework. Labs and assignments give students hands-on experience in crafting and performing their own audiovisual works. The course culminates with a public live streaming show. A background in either music or visual arts is recommended, but not required.
Terms: Aut | Units: 3-4 | UG Reqs: WAY-CE
Instructors: ; Basica, C. (PI)

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. The course will use the Web Audio/MIDI API (JavaScript) for computer music programming. Majors (undergraduate or graduate) must take for 4 units. See https://ccrma.stanford.edu/courses/220a/.
Terms: Spr, Sum | Units: 2-4

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. In AY 2020-21, a letter grade or `CR¿ grade satisfies the Ways requirement. See http://ccrma.stanford.edu/. Prerequisite: 220A.
Terms: Win | Units: 2-4 | 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: 2-4 | Repeatable for credit

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

MUSIC 221N: Deep Learning for Music and Audio

Seminar reviewing the development of deep-learning methods in music and audio fields.
Last offered: Spring 2020 | Units: 1

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.
Terms: Win | Units: 1-4 | UG Reqs: WAY-CE

MUSIC 223B: Sonic Experiments in Composition

The course will present post-1945 works with timbre serving as an organizing principle or compositional metaphor, in the context of historical works in which timbre plays a structural role. Composers considered may include: Alvin Lucier, Pauline Oliveros and other American experimentalists; Scelsi and his influence on the French Spectral school; the first and subsequent generations of French Spectralism; and contemporary composers of experimental music such as Peter Ablinger. Topics will include: process and form; timbre in relation to time and space; harmonicity and noise; and the influence of analog and digital technology on instrumental composition. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit for AII.
Last offered: Spring 2019 | Units: 2-3 | UG Reqs: WAY-A-II, WAY-CE

MUSIC 223C: Tradition, Experimentation, and Technology in String Quartet Composition and Performance

This course will explore string quartet composition and performance by focusing in on the act of composer-performer collaboration. It will investigate this relationship and its facets through the composition of a work for the Saint Lawrence String Quartet by Patricia Alessandrini based on the SLSQ's relationship with the Opus 76 quartets of Haydn employing Artificial Intelligence (AI) techniques, in addition to workshopping of student exercises and compositions. Students will have the opportunity to participate in the class as performers, composers, technologists, or musicologically, through analysis of the collaborative process informed by concepts such as agency, representation, interpretation, expression, and experimentation.
Last offered: Spring 2020 | Units: 1-3

MUSIC 223D: Sound Practice: Embodiment and the Social

How can sound-making impact interpersonal relations and institutional practices? This class offers space to creatively re-think and challenge received relationships between artists, audiences, technologies, and environments. In class, we will create, perform, and analyze sound and music. We will explore sound¿s potential to catalyze social change via experimental and embodied approaches to sound-making. We will engage with sound practices that compose communal solidarity, augment and transform vocal identities, and potentially, alter how we listen to and live in the world. Readings/listenings include Björk, Maria Chavez, Donna Haraway, Pauline Oliveros, George Lewis, Meredith Monk, Maurice Merleau-Ponty, Hildegard Westerkamp, and Pamela Z.
Last offered: Spring 2020 | Units: 2-3

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: 2-3 | Repeatable 6 times (up to 18 units total)
Instructors: ; Phillips, P. (PI)

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.
Last offered: Spring 2020 | Units: 2-3 | Repeatable 9 times (up to 27 units total)

MUSIC 236: Future Media, Media Archaeologies (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 2019 | Units: 3-4

MUSIC 242K: Studies in Music of the Baroque: Handel the Cosmopolitan (MUSIC 142K)

Music history seminar on the operatic, sacred, and instrumental works of G.F. Handel as examples of the diversity, cosmopolitanism, expression, formal and technical features, and social uses of music in the first half of eighteenth century. Traces Handel¿s career from his native Germany to an elite Roman circle of musical connoisseurs, and to the Italian opera company he founded in London and his transformation of Italian opera into a new genre of English oratorio. By analyzing Handel¿s works in context, we examine the aesthetic, harmonic, and dramatic principles of the major European Baroque art-music genres. Prerequisites: MUSIC 22, MUSIC 41. (WIM at 4-unit level only.)
Last offered: Spring 2019 | Units: 4-5

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.)
Terms: Win | Units: 3-4 | Repeatable for credit
Instructors: ; Grey, T. (PI)

MUSIC 244M: Robert Schumann and the Interpretation of Musical Romanticism (MUSIC 144M)

The creative personality, compositions, and writings of Robert Schumann (1810-1856) as exemplars of musical Romanticism in early nineteenth century European culture. Musical "interpretation" explored through a writing focus and a performance focus. Weekly writing assignments interpret compositions as texts, performances, and cultural documents. Students study and interpret up to three works (solo piano, chamber music, art-songs) by Schumann and/or contemporary figures (Schubert, Mendelssohn, Chopin, Brahms, Clara Schumann) for in-class presentation and final lecture-recital. Prerequisites: Music 42, and Music 22 or equivalent (intermediate music theory), intermediate or higher performance ability in piano, strings, or voice. (WIM at 4-unit level only.)
Last offered: Winter 2020 | Units: 3-4

MUSIC 245K: Studies in Western Art Music Since 1900: Concepts of New Music (MUSIC 145K)

A survey of the history of Western classical music in the twentieth century, concentrating on shifts in the concept of New Music in the first half of the century. The aim is twofold: to study in depth a representative selection of works and to develop a historiographical framework for that study. Relevant concepts to be examined include Expressionism, Neo-Classicism, New Objectivity, Serialism, Aleatoricism, and Minimalism -- all of them key terms used by music historians and critics to describe and delineate the multifaceted phenomenon of "New Music." Composers to be studied include Schoenberg, Stravinsky, Berg, Weill, Shostakovich, Reich and Glass, and others. Prerequisites: MUSIC 23, MUSIC 42. (WIM course for Music majors.)
Last offered: Autumn 2018 | Units: 4

MUSIC 246M: New Keywords in African Sound (AFRICAAM 146D, AFRICAST 146M, CSRE 146D, MUSIC 146M)

This course identifies and considers new keywords for the study of contemporary African music and sound. Each week we will foster discussion around a keyword and a constellation of case studies. The sonic practices we will encounter range from South African house music to Ghanaian honk horns; from Congolese rumba bands to Tunisian trance singers; from listening to the radio in a Tanzanian homestead to making hip hop music videos on the Kenyan coast. By exploring the unexpected interconnections between contemporary African musical communities, we will discuss new keywords arising in current scholarship, including technologies like the amplifier and the hard drive, spaces like the studio and the city, and analytics like pleasure and hotness. We will also engage with established concepts for the study of postcolonial African cultures, including nationalism, cosmopolitanism, globalization, diaspora, and Pan-Africanism. This is a seminar-based course open to graduate students, upper level undergraduate students, and other students with consent of the instructor. Proficiency in music is not required. WIM at 4 units only.
Last offered: Winter 2019 | 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. In AY 2020-21, a letter grade or `CR¿ grade satisfies the Ways requirement. WIM credit in Music at 4 units and a letter grade.
Terms: Win | Units: 2-4
Instructors: ; Kretz, H. (PI)

MUSIC 247J: Studies in Music, Media, and Popular Culture: The Soul Tradition in African American Music (AFRICAAM 19, AMSTUD 147J, CSRE 147J, MUSIC 147J)

1960s and 70s Black music, including rhythm and blues, Motown, Southern soul, funk, Philadelphia soul, and disco. Its origins in blues, gospel, and jazz to its influence on today's r&b, hip hop, and dance music. Soul's cultural influence and global reach; its interaction with politics, racism, gender, place, technology, and the economy. Synchronous and asynchronous remote learning, with class discussions, small-group activities, guest presenters, and opportunities for activism. Pre-/co-requisite (for music majors): MUSIC 22. (WIM at 4 units only.)
Terms: Aut | Units: 3-4

MUSIC 247K: Studies in Music, Media, and Popular Culture: Music and Urban Film (CSRE 147D, MUSIC 147K)

How music and sound work in urban cinema. What happens when music's capacity to transform everyday reality combines with the realism of urban films? Provides an introduction to traditional theories of film music and film sound; considers how new technologies and practices have changed the roles of music in film. Readings discuss film music, realistic cinema, urban musical practices and urban culture. Viewing includes action/adventure, Hindi film, documentary, film noir, hip hop film, the musical, and borderline cases by Jean-Luc Godard, Spike Lee, Wong Kar-Wai and Tsai Ming-Liang. Pre- or corequisite (for music majors): MUSIC 22. (WIM at 4 unit level only.)
Last offered: Autumn 2018 | Units: 3-4

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.
Terms: Win | Units: 2-3

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: Aut, Win | Units: 1-5

MUSIC 253: Symbolic Musical Information (CS 275A)

Focus on symbolic data for music applications including advanced notation systems, optical music recognition, musical data conversion, and internal structure of MIDI files.
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
Last offered: Winter 2020 | Units: 3-4 | 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)
Instructors: ; Arul, K. (PI)

MUSIC 255S: String Literature (MUSIC 155S)

An exploration of the repertoire for stringed instruments, 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.
| Units: 1 | Repeatable 14 times (up to 14 units total)

MUSIC 256A: Music, Computing, Design: The Art of Design (CS 476A)

Creative design for computer music software. Programming, audiovisual design, as well as software design for musical tools, instruments, toys, and games. Provides paradigms and strategies for designing and building music software, with emphases on interactive systems, aesthetics, and artful product design. Course work includes several programming assignments and a "design+implement" final project. Prerequisite: experience in C/C++ and/or Java.See https://ccrma.stanford.edu/courses/256a/
Terms: Aut | Units: 3-4
Instructors: ; Wang, G. (PI); Kim, K. (TA)

MUSIC 256B: Music, Computing, Design II: Virtual and Augmented Reality for Music (CS 476B)

Aesthetics, design, and exploration of creative musical applications of virtual reality (VR) and augmented reality (AR), centered around VR and mobile technologies. Comparison between AR, VR, and traditional software design paradigms for music. Topics include embodiment, interaction design, novel instruments, social experience, software design + prototyping. Prerequisite: MUSIC 256A / CS 476A.
Last offered: Winter 2016 | 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
Instructors: ; Crum, P. (PI); Noufi, C. (TA)

MUSIC 258: Orchestration and Timbral Analysis

Hands-on approach to orchestration and applied computational timbral analysis. For Music majors with a concentration or interest in composition or MST. Assignments in orchestration and timbre analysis, and computer-based timbre analysis. Final project involving either computer-based analysis or an advanced orchestration assignment. See http://ccrma.stanford.edu/courses/255/.
| Units: 1-4

MUSIC 258A: Computational Music Theory & Analysis

Topics in music analysis, with emphasis on perception and cognition. Topics include engagement, expectation formulation and processing, timbre and time perception, with particular relevance to computer applications in music.
Last offered: Autumn 2018 | Units: 1-3 | Repeatable 3 times (up to 9 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 271: Chamber Music Discovery

Weekly class to include a series of presentations by Stanford¿s Ensemble-in-Residence the St. Lawrence String Quartet with live and recorded performances and live discussion. Students are expected to develop a final project in the style of Discovery for presentation at the end of the quarter.
Terms: Aut | Units: 1 | UG Reqs: WAY-CE

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)
Instructors: ; Morgan, R. (PI)

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)
Instructors: ; Bar-David, E. (PI)

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)
Instructors: ; Low, M. (PI)

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)
Instructors: ; Barth, G. (PI)

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)
Instructors: ; Zerlang, T. (PI)

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)
Instructors: ; You, H. (PI)

MUSIC 273: Advanced Voice

Private lessons and group master class weekly. May be repeated for credit. 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 45 times (up to 135 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)
Instructors: ; Moyer, B. (PI)

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)
Instructors: ; Ferguson, C. (PI)

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)
Instructors: ; Taubl, A. (PI)

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)
Instructors: ; Martin, A. (PI)

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)
Instructors: ; Thurston-Milgrom, J. (PI)

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)
Instructors: ; Vandivier, R. (PI)

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)
Instructors: ; May, C. (PI)

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)
Instructors: ; Brandenburg, M. (PI)

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)
Instructors: ; Olivier, R. (PI)

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)
Instructors: ; Myers, H. (PI)

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)
Instructors: ; Henderson, D. (PI)

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)
Instructors: ; Ellison, G. (PI)

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)
Instructors: ; McCarthy, C. (PI)

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)
Instructors: ; Ragent, L. (PI)

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)
Instructors: ; Luftman, A. (PI)

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)
Instructors: ; Kenley, M. (PI)

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)
Instructors: ; Clements, T. (PI)

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)
Instructors: ; Worley, J. (PI)

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)
Instructors: ; Muncy, S. (PI)

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.
Terms: Aut, Win, Spr | Units: 1-3 | Repeatable 14 times (up to 42 units total)
Instructors: ; Rokeach, D. (PI)

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
Instructors: ; Ellis, G. (PI); Zhu, J. (PI)

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 -nintermedial projects in the Autumn term, as the CCRMA spaces listed in the course description may not yet be accessible. We are currently pursuing the possibility of kits and/or equipment loans from CCRMA for student projects involving physical media.
Terms: Aut, Win, Spr | Units: 1

MUSIC 286B: American Song in the 20th Century and after (AMSTUD 186B, MUSIC 186B)

Critical and creative exploration of song in the Americas. About twenty-five key examples will guide discussion of the interactions between words, music, performance and culture. Weekly listening, reading and assignments will be organized around central themes: love, sex and romance; war and politics; labor and money; place; identity; society and everyday life. Genres include art song; blues, gospel, jazz and country; pop, soul, rock and hip-hop; bossa nova, nueva canción and salsa; electronic and experimental. Takehome and in-class assignments will include critical and creative writing, and music composition, production and performance; final projects may emphasize any of the above.
Last offered: Winter 2020 | Units: 3-4

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 | Units: 1-5 | Repeatable 3 times (up to 15 units total)

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)

MUSIC 300A: Medieval Notation

Western notation of the Middle Ages and Renaissance: principles, purposes, and transcription.
Terms: Spr | Units: 3-4
Instructors: ; Mahrt, W. (PI)

MUSIC 300B: Renaissance Notation

Western notation of the Middle Ages and Renaissance: principles, purposes, and transcription.
Terms: Win | Units: 3-4
Instructors: ; Rodin, J. (PI)

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.
Terms: Spr | 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.
| 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.
| 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
Instructors: ; Berger, K. (PI)

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.
| Units: 3-4

MUSIC 300J: Methods for Studying Gender and Sexuality in Music

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.
Terms: Spr | Units: 3-5
Instructors: ; Hadlock, H. (PI)

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 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: 4
Instructors: ; Ulman, E. (PI)

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 | Units: 1-3 | Repeatable 15 times (up to 45 units total)
Instructors: ; Slaney, M. (PI)

MUSIC 320A: Introduction to Audio Signal Processing Part I: Spectrum Analysis

Digital signal representations and transforms for music and audio research. Topics: complex numbers, sinusoids, spectrum representation, sampling and aliasing, the Discrete Fourier Transform (DFT), Fourier theorems, z transform, Laplace transform, and introduction to the associated Python software. See http://ccrma.stanford.edu/courses/320/.
Terms: Aut | Units: 3-4

MUSIC 320B: Introduction to Audio Signal Processing Part II: Digital Filters

Digital filters for music and audio research. Topics: digital filter structures, frequency response, z transforms, transfer-function analysis, and associated Matlab software. See http://ccrma.stanford.edu/courses/320/.
Terms: Win | Units: 3-4

MUSIC 320C: Software Projects in Music/Audio Signal Processing

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: Spr | Units: 3-10 | Repeatable for credit (up to 990 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)

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 | 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)
Instructors: ; Berger, J. (PI)

MUSIC 325: Individual Graduate Projects in Composition

May be repeated for credit.
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable for credit

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: Win | Units: 1-4 | Repeatable for credit
Instructors: ; Rodin, J. (PI)

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. May be repeated for credit. In this year¿s installment, we focus on how artistic kinds or genres help set the terms on which individual works are experienced, understood, and valued, with special attention to lyric poetry and music.
Terms: Spr | Units: 2-4 | Repeatable 5 times (up to 20 units total)

MUSIC 333: Food, Text, Music: A Multidisciplinary Lab on the Art of Feasting (FRENCH 166, FRENCH 266, FRENCH 366, MUSIC 133)

Students cook a collection of unfamiliar recipes each week while learning about the cultural milieus in which they originated. The course focuses on the fourteenth and fifteenth centuries, a time of great banquets that brought together chefs, visual artists, poets, musicians, and dancers. Students read late-medieval cookbooks under the guidance of professional chefs, learn songs and poetry with the help of visiting performers, and delve into a burgeoning scholarly literature on food history and sensory experience. We will also study trade routes and food networks, the environmental impact of large-scale banquets, the science of food, and the politics of plenty. This course may count towards the Medieval component of the French major, and corresponds to DLCL 121, a course requirement for the Medieval Studies Minor. Students interested in applying for course must email the professor (jrodin@stanford.edu) by 20 September with a statement of up to 350 words that includes: (a) reasons for wanting to take the class; (b) relevant background in cooking/medieval studies/etc.; (c) stated commitment to attend all ten course meetings; and (d) any dietary restrictions/preferences.
Last offered: Autumn 2019 | Units: 3-5

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)

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 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 for credit

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)

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)

MUSIC 408C: Architecture, Acoustics and Ritual in Byzantium (ARTHIST 408C, REES 408C, RELIGST 308C)

Onassis Seminar "Icons of Sound: Architecture, Acoustics and Ritual in Byzantium". This year-long seminar explores the creation and operations of sacred space in Byzantium by focusing on the intersection of architecture, acoustics, music, and ritual. Through the support of the Onassis Foundation (USA), nine leading scholars in the field share their research and conduct the discussion of their pre-circulated papers. The goal is to develop a new interpretive framework for the study of religious experience and assemble the research tools needed for work in this interdisciplinary field.nnNOTE: This course is only offered on the graduate level and undergraduates would be admitted by request (sending a letter expressing interest to the instructor and specifying what other courses in music or art history has prepared them to tackle this subject) and special permission only.
Last offered: Spring 2014 | Units: 1-3 | Repeatable 3 times (up to 9 units total)

MUSIC 420A: Signal Processing Models in Musical Acoustics

Computational methods in musical sound synthesis and digital audio effects based on acoustic physical models. Topics: mass-spring-dashpot systems; electric circuit analogies; finite difference schemes; state-space models and the modal representation; impedance; ports; acoustic simulation using delay lines, digital filters, and nonlinear elements; interpolation and sampling-rate conversion; delay effects; wave digital filters; real-time computational models for musical instruments and effects, both acoustic and electronic. See http://ccrma.stanford.edu/courses/420/. Prerequisites: MUSIC 320A and MUSIC 320B or equivalent; PHYSICS 21 or equivalent course applying Newton's laws of motion; and CS 106B or equivalent programming in C and C++.
Last offered: Winter 2020 | Units: 3-4

MUSIC 421A: Time-Frequency Audio Signal Processing

Spectrum analysis and signal processing using Fast Fourier Transforms (FFTs) with emphasis on audio applications. Topics: Fourier theorems; FFT windows; spectrum analysis; spectrograms; sinusoidal modeling; spectral modeling synthesis; FFT convolution; FIR filter design and system identification; overlap-add and filter-bank-summation methods for short-time Fourier analysis, modification, and resynthesis. See http://ccrma.stanford.edu/courses/421/. Prerequisites: Music 320A and Music 320B or equivalent background in spectrum analysis and linear systems.
Last offered: Spring 2020 | Units: 3-4

MUSIC 421N: Deep Learning for Music and Audio

Seminar reviewing the development of deep-learning methods in music and audio fields. See the course website for latest information: http://ccrma.stanford.edu/courses/mus421n/
Last offered: Autumn 2017 | Units: 1

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
Instructors: ; Bosi, M. (PI); Oshiro, S. (TA)

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 for credit (up to 990 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.
Terms: Spr | Units: 3-4

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: Win | Units: 2-5
Instructors: ; Fujioka, T. (PI)

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 2020 | 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
Last offered: Winter 2019 | Units: 2-5 | Repeatable 4 times (up to 20 units total)
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