printer friendly pageMUSIC 101: Introduction to Creating Electronic Sounds
Students to explore their creative voices by learning the practical nuts and bolts of making sounds with computers and professional audio equipment. Basic concepts include mixing and production techniques used in podcasts, documentaries, live performance, electronic music, and sound art. Students will create a midterm soundscape project as well as a final class project that is focused on their particular creative interests.
Terms: Win, Spr
| Units: 3-4
| UG Reqs: WAY-CE
MUSIC 102: Picturing Performance, Re-Envisioning the Arts (MUSIC 202)
Critical and creative exploration of the performing body as captured on film. Viewing/listening includes musicals, dance and opera on film, music video, experimental film and video, and moments of heightened musicality in feature film. Focus on examples of moving media that possess a kinship with music through gesture, rhythm or affect and through 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, and weekly reading and viewing/listening assignments. No previous videomaking experience required. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.
Terms: Spr
| Units: 2-4
| UG Reqs: WAY-A-II, WAY-CE
| Repeatable
2 times
(up to 8 units total)
Instructors:
Vernallis, C. (PI)
MUSIC 112: Creative Expression: Musical Theater
Students begin to create pieces that are fresh and innovative forms of musical theater that do not necessarily appeal to specifically popular audiences but perhaps to audiences more associated with high art, opera, or even contemporary independent music. Musical theater is an untapped resource of potential artistic innovation and has unfortunately become stuck in an ideal of universal accessibility. In present popular culture and the culture of contemporary art forms, musical theater almost exclusively refers to popular productions such as Phantom of the Opera, Rent, Wicked, Jesus Christ Superstar. Although excellent pieces of art in their own way, both dramaturgically and in their ability to evoke emotion through catchy melodies, for the most part each of them have their basis in popular and traditional musical idioms and theatrical forms, seldom exploring more advanced or avant-garde and experimental compositional and theatrical techniques.
Last offered: Winter 2014
| UG Reqs: WAY-CE
MUSIC 123: Undergraduate Seminar in Composition
Current trends in composition. May be repeated for credit a total of 7 times. Prerequisites: Music major; 23 or consent of instructor.
Last offered: Spring 2017
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
| Repeatable
8 times
(up to 24 units total)
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
| Units: 1
| 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
| Units: 1
| UG Reqs: WAY-CE
Instructors:
Rose, F. (PI)
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 127: 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: Aut
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-CE
Instructors:
Aquilanti, G. (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
Terms: Spr
| Units: 1-5
| UG Reqs: WAY-CE
| Repeatable
4 times
(up to 20 units total)
Instructors:
Wang, G. (PI)
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 2016
| UG Reqs: WAY-CE
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