printer friendly pageMUSIC 144: Studies in Romantic Music (MUSIC 244)
Terms: Win
| Units: 3-4
| UG Reqs: GER:DB-Hum, WAY-A-II
| Repeatable
for credit
Instructors:
Berger, K. (PI)
;
Chang, V. (TA)
MUSIC 146: Music and Urban Film (MUSIC 246)
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.)
Terms: Win
| Units: 3-4
| UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-EDP
MUSIC 147A: Listening to the Local: Music Ethnography of the Bay Area (MUSIC 247A)
An introduction to music ethnography through student research on musical life in the Bay Area. Focus is on the intersections of music, social life, and cultural practice by engaging with people as they perform music and culture in situ. Techniques taught include participant-observation, interviewing and oral history, writing fieldnotes, recording, transcription, analysis, and ethnographic writing. Pre-/corequisite (for music majors):
MUSIC 22. (WIM at 4 units only.)
Terms: Spr
| Units: 3-5
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-EDP
Instructors:
Schultz, A. (PI)
;
Callery, E. (TA)
MUSIC 147C: Latin American Music and Globalization (MUSIC 247C)
Focuses on vernacular music of Latin America and the Caribbean, including Mexico, Cuba, Dominican Republic, Peru, Brazil, Colombia, and Argentina. Musical examples discussed in relation to: globalization, migration, colonialism, nationalism, diaspora, indigeneity, politics, religion, dance, ethnicity, and gender. How music reflects and shapes cultures, identities, and social structures. Genres addressed: bachata, bossa nova, cumbia, forro, ranchero, reggaeton, rock, salsa, tango, and others. Seminar, guest performances, reading, listening, and analysis. Pre-/corequisite (for music majors):
MUSIC 22. (WIM at 4 units only.)
Terms: Aut
| Units: 3-4
| UG Reqs: WAY-A-II, WAY-EDP
| Repeatable
2 times
(up to 8 units total)
MUSIC 149: Reactions to the Record: Early Recordings, Lost Styles, and Music's Future (MUSIC 249)
This is a seminar on the transformation of musical style in the era of recordings in light of their roots in cultural trends, including shifting hierarchies between composer and performer, work and notation, text and act. Early recordings will be studied as documents of musical values and conceptions different from those around us today. Methodologies of performance analysis will be explored and used to contextualize sources, which include historic recordings from Stanford's Archive of Recorded Sound, performance documents, and field research with performers, composers, critics, and listeners. Repertoire includes works for orchestra, piano, strings, chamber ensemble and voice. Outstanding contributions from seminar members may be featured in the Music Department¿s May 2014 Reactions to the Record symposium. May be repeated for credit. Pre- or corequisite (for music majors):
MUSIC 22. (WIM at 4-unit level only.)
Terms: Aut, Spr
| Units: 3-4
| UG Reqs: GER:DB-Hum, WAY-A-II
| Repeatable
for credit
Instructors:
Arul, K. (PI)
;
Barth, G. (PI)
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
Terms: Win
| Units: 3-4
| UG Reqs: WAY-A-II, WAY-CE
| Repeatable
2 times
(up to 8 units total)
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