printer friendly pageMUSIC 147K: Studies in Music, Media, and Popular Culture: Music and Urban Film (CSRE 147D, MUSIC 247K)
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.)
Last offered: Autumn 2018
| UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-EDP
MUSIC 152B: Black Music Revealed: Black composers, performers, and themes from the 18th century to the present (CSRE 152B)
Online seminar on the achievements of Black composers and performers in ragtime, jazz, and classical music, from Chevalier de Saint-Georges, whose music influenced Mozart, and George Bridgetower, for whom Beethoven composed his "Kreutzer" Sonata, to Anthony Davis's opera "The Central Park Five". Students will examine issues of cultural borrowing in operas by Mozart and Verdi, and shows like Showboat and Porgy and Bess. Guest speakers will include composers and performers. Students will work together in groups to produce materials on course topics in coordination with the African American Museum & Library at Oakland. (Cardinal Course certified by the Haas Center)
Terms: Aut
| Units: 3
| UG Reqs: WAY-A-II
Instructors:
Phillips, P. (PI)
;
Gur, M. (TA)
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 2020
| 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: Winter 2020
| UG Reqs: WAY-A-II, WAY-CE
MUSIC 186E: Sounds of Islam (RELIGST 156X)
This course explores diverse intersections of sound and Islam in religious and secular contexts throughout the world. From studying Islamic philosophies about the art of listening to interrogating Muslim hip hop, we examine how sonic practices simultaneously reflect and shape different Muslim identities globally. Issues of nationalism, war and trauma, class, race and ethnicity, gender and sexualities, colonialism, social in/justice, and migration will remain central to our exploration of spirituality, secularism, piety, and religiosity for the individuals and communities making or listening to sounds of Islam.
Last offered: Winter 2020
| UG Reqs: WAY-A-II, WAY-EDP
MUSIC 186F: Broadway Songbook (TAPS 186F)
Close study of about two dozen of the songs from across the history of the Broadway musical: from the Tin Pan Alley era (Jerome Kern, the Gershwins, Cole Porter, Harold Arlen) through the so-called "Golden Age" (Rodgers & Hammerstein, Lerner & Lowe, Kander and Ebb) to Stephen Sondheim, Andrew Lloyd Webber, Stephen Schwartz, Lin-Manuel Miranda, Pasek and Paul. Analysis of lyrics, melody, harmony, instrumental/vocal arrangements, classic and contemporary performances. Workshop development of 2-3 songs per student including arrangement, performance, and discussion.
Terms: Spr
| Units: 3
| UG Reqs: WAY-A-II
Instructors:
Grey, T. (PI)
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. To satisfy a Ways requirement, this course must be taken for at least 3 units. In AY 2020-21, a letter grade or `CR¿ grade satisfies the Ways requirement. See
http://ccrma.stanford.edu/. Prerequisite: 220A.
Terms: Win
| Units: 2-4
| UG Reqs: WAY-A-II
Instructors:
Wang, G. (PI)
;
Mulshine, M. (TA)
MUSIC 223B: Sonic Experiments in Composition
The course will present post-1945 works with timbre serving as an organizing principle or compositional metaphor, in the context of historical works in which timbre plays a structural role. Composers considered may include: Alvin Lucier, Pauline Oliveros and other American experimentalists; Scelsi and his influence on the French Spectral school; the first and subsequent generations of French Spectralism; and contemporary composers of experimental music such as Peter Ablinger. Topics will include: process and form; timbre in relation to time and space; harmonicity and noise; and the influence of analog and digital technology on instrumental composition. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit for AII.
Last offered: Spring 2019
| UG Reqs: WAY-A-II, WAY-CE
NATIVEAM 39: Long Live Our 4Bil. Year Old Mother: Black Feminist Praxis, Indigenous Resistance, Queer Possibility (AFRICAAM 39, CSRE 39, FEMGEN 39)
How can art facilitate a culture that values women, mothers, transfolks, caregivers, girls? How can black, indigenous, and people of color frameworks help us reckon with oppressive systems that threaten safety and survival for marginalized people and the lands that sustain us? How can these questions reveal the brilliant and inventive forms of survival that precede and transcend harmful systems toward a world of possibility? Each week, this course will call on artists, scholars, and organizers of color who clarify the urgency and interconnection of issues from patriarchal violence to environmental degradation; criminalization to legacies of settler colonialism. These same thinkers will also speak to the imaginative, everyday knowledge and creative healing practices that our forebears have used for millennia to give vision and rise to true transformation.
Last offered: Spring 2020
| UG Reqs: WAY-A-II, WAY-EDP
NATIVEAM 122: Historiography & Native American Oral Traditions and Narratives
This course is an introduction to Native American Literature in the United States in a (post) colonial, or decolonized context (in the last seventy years). The readings focus on the complex social and political influences that have shaped Native American literature in the last half of the twentieth century to the present. It is an introduction to nNative American fiction, poetry, drama, nonfiction and autobiography. It draws on the historical (literary sovereignty) and theoretical frameworks (American Indian Literary Nationalism) used by Native American writers in the United States; how trends in Native American writing build on and integrate traditional modes of Native American nstorytelling (oral tradition & the verbal arts). It takes a specific in - depth look at Native American oral tradition. Where the overarching aim of the course is to address the nquestion: How do you define Native American literature? Students will be required to provide their own definition from what they learn about Native American oral tradition and the challenges (historic and otherwise) inherent in a (post) colonial or decolonized world for Native Americans.
Last offered: Autumn 2019
| UG Reqs: WAY-A-II
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