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Poets, lyricists, rappers, composers, intermedia experimentalists, and others curious about combining words and sounds are invited to explore the exciting world of sound poetry. Students will make electronic works, musique concrète soundscapes, songs, or audio essays featuring their voice or that of others, with vocal sounds produced by singing, speaking, or speech synthesis, and employing digitally processed or collaged words. Our words can be original, collaboratively composed, quoted, or AI-generated. Students will complete several short creative etudes that build to a public concert featuring original multi-channel works, pieces with video, or live performances. No prerequisites.

Queer Electronic Music Composition is a creative course structured around the historical and theoretical contributions of composers from the LBGQT+ community with an emphasis on computer-based electronic music. Through a series of reading, listening, and media assignments, students will be exposed to the social and historical implications of LGBTQ+ perspectives in music. Queer-led workshops and lectures will provide further insight into the experience of working professionals in music who identify as being a part of the LGBTQ+ community. Creative assignments for the course are centered around personal experience and the subversion or 'queering' of process and/or perspective. Previous experience working in a Digital Audio Workstation is highly recommended. Enrollment permissions are offered through an application process only. Permission numbers will be distributed during the first week of classes.

The Stanford Virtual Reality Orchestra (sVoRk) is an unprecedented form of computer music ensemble, where both performers and audience are in a shared fully-immersive virtual environment. sVoRk embodies aesthetics and philosophies central to the laptop orchestra while exploring new ways of thinking and doing. This course has the express mission of creating new works and delivering a full VR concert experience that encompasses both the performance itself and the contexts that surround the performance. Each student will take on roles of VR instrument designers, audiovisual programmers, experiential engineers, and performers. How do we create a successful VR concert? Prerequisite: Music 228X.

The Stanford Virtual Reality Orchestra (sVoRk) is an unprecedented form of computer music ensemble, where both performers and audience are in a shared fully-immersive virtual environment. This project-based course explores artful ways of designing VR instruments, avatars, virtual environments, and audience experiences directly in support of a full VR concert to be delivered as part of Music 228 in Spring Quarter. Pre-requisite Music 256a / CS 476a.

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.

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.

This seminar narrows the divide between performance and musicology. With nineteenth-century pianism as an extended case study, this course will explore representative and less common composers, works, and performers. Subtopics will include historical performance practices, notation, critical editions, period pianos, hermeneutics, recording analysis, and the cultural politics of performing and listening. Students will hone writing, research, and performance skills through a variety of assignments, seminar discussions, and in-class exercises, culminating with a lecture-recital. Possible field trips will include Stanford's Archive of Recorded Sound and selected live performances. Prerequisites: Intermediate to advanced performance ability; intermediate or higher music theory. WIM at 4 units only.

This course will explore the links between aspects of South-East Asian cultures and their influence on modern and contemporary Western art and literature, particularly in France; examples of this influence include Claude Debussy (Gamelan music), Jacques Charpentier (Karnatak music), Auguste Rodin (Khmer art) and Antonin Artaud (Balinese theater). In the course of these interdisciplinary analyses - focalized on music and dance but not limited to it - we will confront key notions in relation to transculturality: orientalism, appropriation, auto-ethnography, nostalgia, exoticism and cosmopolitanism. We will also consider transculturality interior to contemporary creation, through the work of contemporary composers such as Tran Kim Ngoc, Chinary Ung and Tôn-Thât Tiêt. Viewings of sculptures, marionette theater, ballet, opera and cinema will also play an integral role. To satisfy a Ways requirement, this course must be taken for at least 3 units. WIM credit in Music at 4 units and a letter grade.

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