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601 - 610 of 853 results for: all courses

MUSIC 26N: Japanese Arts: a Creative Exploration

The striking originality of Japanese contemporary culture seems to defy unifying pressures of globalization. What are the sources of this originality? Can it be traced to the unique and sophisticated art forms like rock gardens, haiku, tea ceremony, martial arts, ikebana and Noh Theater or to the illusive aesthetic notions of wabi, sabi, yûgen, ma or jo-ha-kyû? Exploration of Japanese arts through comparative examination and direct engagement. Creative projects and workshops in traditional Japanese arts.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II, WAY-CE

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

MUSIC 30N: A Stranger in a Strange Land: Jewish Musics in Translation

What does it mean to be a stranger in a strange land? For centuries Jewish people have struggled to shape their identities in unfamiliar surroundings, using music to remember the past and generate new, hybrid identities. In this class we adopt the metaphor of translation to think about how minority Jewish communities bridge distinct languages, musical idioms, and cultural practices. Our theme will take us on a journey across time and space¿from Italy to India, New York, Syria, Russia, and Israel. We consider the case of Salamone Rossi, a 17th-century Italian Jewish composer who moved uneasily between dual careers in the synagogue and a secular/Christian court. We also explore a group of Indian Jews (Bene Israel) who combine idioms learned from Jewish and Christian missionaries with local Hindu musical traditions. In all our examples musicians translate languages, musical styles, and cultures to unite memories of a Jewish past with the realities of minority status in the present. The class format includes listening, discussion, some singing, student presentations, and guest lectures.
Last offered: Winter 2013 | UG Reqs: GER:DB-Hum, WAY-A-II

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!
Last offered: Autumn 2015 | UG Reqs: WAY-A-II

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, Bloody Bloody Andrew Jackson, Book of Mormon), show tunes in jazz performance, film musicals, and television. Opportunities for performance and attendance at local productions.
Terms: Spr | Units: 3 | UG Reqs: WAY-CE, GER:DB-Hum, WAY-A-II
Instructors: Grey, T. (PI)

MUSIC 36N: Humor in Music

Through theoretical readings the course will touch on psychological and neurological bases of humor, explore contingent, tactical, modal, and ontological difficulties in the apprehension of humor, and address ethical issues surrounding humor in music. In addition to in-class listening and screening sessions, analytic discussions will be led by students who will find and present examples of humor in music. Students will also be invited to compose original humorous song lyrics and to create collaborative works of musical humor.
Last offered: Autumn 2012 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE

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

Preference to freshman. Developed in the Hawaiian Islands during the 1830s, ki ho'alu, or Hawaiian slack key guitar, is an art form experiencing newfound popularity coinciding with the growth of political activism in Hawaiian culture. The musical, cultural, historical, and political perspectives of Hawaiian music and ki ho'alu, through hands-on experience, readings, discussion, and workshops. Hawaiian music and history and relationships among performance, cultural expression, community, and identity.
Terms: Aut | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-CE
Instructors: Sano, S. (PI)

MUSIC 39N: The Classical String Quartet: Haydn, Mozart, Beethoven & Schubert

This seminar, an in-depth historical survey of canonic works from the string quartet repertory, is intended for performers and non-performers alike. Topics to be explored include the origins of the genre in the pre-classical period; the establishment of enduring conventions in the early quartets of Haydn; aesthetic criteria that distinguish the approaches of Haydn and Mozart; the epoch-defining shifts in musical composition that are reflected in Beethoven¿s works for the medium; the tension between classicism and romanticism in the chamber music of Schubert; and issues of historical performance practice. Field trips will include a visit to the Beethoven Center in San Jose and attending chamber music concerts on campus. The St. Lawrence String Quartet (Stanford¿s ensemble-in-residence) will be joining the seminar on a regular basis to provide live demonstrations and coaching. Students who are string players are strongly encouraged to bring their instruments to class. Class activities will cover history, criticism, analysis, and performance (usually in combination). Informed listening is a primary goal of the seminar. Assignments will be tailored to student interests and abilities.
Last offered: Winter 2015 | UG Reqs: WAY-A-II

MUSIC 40: Music History to 1600

Pre- or corequisite: 21.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II

MUSIC 41: Music History 1600-1830

Pre- or corequisite: 22.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
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