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MUSIC 154: History of Electronic Music

What is electronic music? Acousmatic, computer music, algorithmic composition, tape music, glitch, electronic, musique concrète, noise, laptop music, DJ'ing, organized sound...what do these labels mean? This course will provide a brief historical survey of electroacoustic music and discuss some of the most salient questions associated with it, from both a compositional and musicological point of view. Topics to be covered include: definitions of musical sounds; Schaefferian theory and musique concrète; serialism and elektronische Musik; tape music and computer music in the USA; analysis of electroacoustic music; sampling and intellectual property; algorithmic and computer-assisted composition; live-electronics and improvisation. The course does not require previous experience in the field. Classes will be based on discussion of selected listening and reading materials, as well as hands-on digital experimentation with sounds.
| UG Reqs: WAY-A-II | Repeatable 2 times (up to 6 units total)

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 2016 | UG Reqs: WAY-A-II, WAY-CE | Repeatable 2 times (up to 8 units total)

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: Spring 2015 | UG Reqs: WAY-A-II, WAY-CE

MUSIC 208C: Architecture, Acoustics and Ritual in Byzantium (ARTHIST 208C, ARTHIST 408C, CLASSICS 175, MUSIC 408C, REES 208C, REES 408C, RELIGST 208C, 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.
Last offered: Spring 2014 | UG Reqs: WAY-A-II | Repeatable 3 times (up to 9 units total)

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. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit. See http://ccrma.stanford.edu/. Prerequisite: 220A.
Terms: Win | Units: 2-4 | UG Reqs: WAY-A-II

NATIVEAM 134: Museum Cultures: Material Representation in the Past and Present (AMSTUD 134, ARCHLGY 134, ARCHLGY 234, ARTHIST 284B, CSRE 134, EDUC 214)

Students will open the "black box" of museums to consider the past and present roles of institutional collections, culminating in a student-curated exhibition. Today, museums assert their relevance as dynamic spaces for debate and learning. Colonialism and restitution, the politics of representation, human/object relationships, and changing frameworks of authority make museum work widely significant and consistently challenging. Through thinking-in-practice, this course reflexively explores "museum cultures": representations of self and other within museums and institutional cultures of the museum world itself.n3 credits (no final project) or 5 credits (final project). May be repeat for credit
Terms: Spr | Units: 3-5 | UG Reqs: WAY-CE, WAY-A-II | Repeatable 3 times (up to 15 units total)
Instructors: Hodge, C. (PI)

NATIVEAM 143A: American Indian Mythology, Legend, and Lore

(English majors and others taking 5 units, register for 143A.) Readings from American Indian literatures, old and new. Stories, songs, and rituals from the 19th century, including the Navajo Night Chant. Tricksters and trickster stories; war, healing, and hunting songs; Aztec songs from the 16th century. Readings from modern poets and novelists including N. Scott Momaday, Louise Erdrich, and Leslie Marmon Silko, and the classic autobiography, "Black Elk Speaks."
Last offered: Autumn 2015 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-EDP

NATIVEAM 211: The California Missions: Art History and Reconciliation (ARTHIST 211, CSRE 111)

Sites of the spirit and devotion, sites of genocide, foreboding actors in Alfred Hitchcock's Vertigo, the subject of fourth-grade school projects, the Spanish Missions of Alta California are complex sites of inquiry, their meanings and associations different for each visitor. This seminar examines the art and architecture of the California Missions built between 1769 and 1823. Constructed with local materials and decorated with reredos, paintings and sculptures from Mexico and Spain, the Missions are at once humble spaces and flagships of a belated global baroque. They were also the laboratories of indigenous artists and artisans. This course seeks to understand how Mission art was meant to function, how and why it was made, what its materials were, while asking what the larger role of art was in a global system of missions. Can the study of this art lead to the reconciliation of populations in North America and within the field of art history? The Missions require a specific reexamination of the relationship between European and colonial forms, not as objects of curiosity or diffusion but as viable and globally informed agents.
Terms: Win | Units: 5 | UG Reqs: WAY-A-II, WAY-EDP
Instructors: Kinew, S. (PI)

OSPBER 17: Split Images: A Century of Cinema

20th-century German culture through film. The silent era, Weimar, and the instrumentalization of film in the Third Reich. The postwar era: ideological and aesthetic codes of DEFA, new German cinema, and post-Wende filmmaking including Run Lola Run and Goodbye Lenin. Aesthetic aspects of the films including image composition, camera and editing techniques, and relation between sound and image.
Terms: Win | Units: 3-4 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II
Instructors: Kramer, K. (PI)

OSPBER 35: Documentary Film: Issues and Traditions

Conceptual and historical overview of the forms, strategies, and conventions of nonfiction film with a particular focus on the European tradition of social and political documentary. Building on John Grierson's assertion that documentary film is a "creative treatment of actuality," examine films that proffer a point of view and eschew a pretense of objectivity. Topics include nonfiction storytelling, the documentary aesthetic, filmmaker voice, and the ethics of representation. Historical, political, and social issues from the 1920's to the present as seen through films, considering both form and content as a springboard for analysis.
Terms: Aut | Units: 5 | UG Reqs: WAY-A-II
Instructors: Krawitz, J. (PI)
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