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MUSIC 20A: Jazz Theory (AFRICAAM 20A)

Introduces the language and sounds of jazz through listening, analysis, and compositional exercises. Students apply the fundamentals of music theory to the study of jazz. Prerequisite: Music 19, consent of instructor, or satisfactory demonstration of basic musical skills proficiency on qualifying examination on first day of class. This class is closed by design. Please register on the waitlist and show up on the first day of class to receive a permission number for enrollment.
Terms: Aut | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
Instructors: Nadel, J. (PI)

MUSIC 20AX: The Singer-Songwriter & American Popular Culture

This is a course about the emergence of a mythological figure in twentieth-century American popular culture: the singer-songwriter. From the storied travels of Woody Guthrie across the Great Plains, to the rebellious genius of Bob Dylan, whose poetic lyrics won him the Nobel Prize in Literature, to the genre-bending feminist icon of our modern age, Taylor Swift, singer-songwriters have been at the heart of American cultural expression for nearly a century. By taking seriously how both individual and national identity are shaped by discourses of race, ethnicity, class, gender, and sexuality, we will explore how political transformations in American social life might help us to understand the careers of Guthrie, Dylan, Swift and many others, as well as vice-versa: how singer-songwriters transformed American social life in the mid to late twentieth century. What remains so alluring about these poet-performers? What can their enduring significance tell us about the development of American popular culture in the twentieth century and today? Note: No musical training is required to take this course.
Terms: Sum | Units: 3 | UG Reqs: WAY-A-II
Instructors: Gilbert, M. (PI)

MUSIC 20B: Advanced Jazz Theory

Approaches to improvisation and composed jazz lines through listening, transcribing, analysis, and compositional exercises. Topics include: chord/scale theory, melodic minor harmony, altered chords, and substitute harmony. Prerequisite: 20A or consent of instructor.
Terms: Win, Spr | Units: 3 | UG Reqs: WAY-A-II, WAY-CE, GER:DB-Hum
Instructors: Nadel, J. (PI)

MUSIC 20C: Jazz Arranging and Composition

Jazz arranging and composition for small ensembles. Foundation for writing for big band. Prerequisite: 20A or consent of instructor.
Last offered: Spring 2022 | UG Reqs: WAY-A-II, WAY-CE

MUSIC 21: Introduction to Tonal Theory

Preference to majors. Introduction to tonal theory. Practice and analysis. Diatonic harmony focusing on melodic and harmonic organization, functional relationships, voice-leading, and tonal structures. Students must concurrently enroll in an Ear-training and musicianship lab ( MUSIC 24a, 24b, or 24c as appropriate). Music majors must take 4 courses in ear training, and pass an ear training exit exam in their Junior year. Enrollment limited to 40. Prerequisites: (1) Piano Proficiency Exam (must be passed within the first two weeks of the term) or MUSIC 12A (may be taken concurrently); (2) Passing grade on a basic musical skills proficiency examination on the first day of class or MUSIC 19.
Terms: Aut, Win | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE

MUSIC 22: Intermediate Tonal Theory

Preference to majors. Introduction to chromatic harmony focusing on secondary functions, modulations, and harmonic sequences.  Analysis of musical forms and harmonizations complemented by harmonic and melodic dictation, sight-singing, and other practical skills. Students must concurrently enroll in an ear-training and musicianship lab (  MUSIC 24A, 24B, or 24C as appropriate). Music majors must take 4 courses in ear training, and pass an ear training exit exam in their Junior year. Prerequisites: (1)  MUSIC 21; (2) Piano Proficiency Exam or  MUSIC 12B (may be taken concurrently); or consent of instructor.
Terms: Win, Spr | Units: 3 | UG Reqs: WAY-A-II, WAY-CE, GER:DB-Hum

MUSIC 23: Advanced Tonal Theory

Preference to majors. Continuation of chromatic harmony such as mode mixture, Neapolitan, augmented sixth chords, enharmonic modulation, complex forms of the late Romantic and early Modern period, and the transition to post-tonal theory (church modes, octatonic, pentatonic, whole-tone scales, amongst other topics). Students must concurrently enroll in an ear-training and musicianship lab ( MUSIC 24A, 24B, or 24C as appropriate). Music majors must take 4 courses in ear training, and pass an ear training exit exam in their Junior year. Prerequisites: (1) MUSIC 22; (2) Piano Proficiency Exam or MUSIC 12C (may be taken concurrently); or consent of instructor.
Terms: Aut, Spr | Units: 3 | UG Reqs: WAY-A-II, WAY-CE, GER:DB-Hum

MUSIC 25: Decoding Anime

Anime as an artistic form often boasts highly imaginative graphics, striking music, vibrant characters, and fantastical stories. The course aims at decoding the expressive power of anime by applying a method of multimedia analysis that focuses on the interaction between its component elements: story, image, sound and music. Through close reading of works by five leading and innovative directors the students will develop tools to analyze anime and interpret it in a larger cultural context.
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II

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, y¿gen, ma or jo-ha-ky¿? Exploration of Japanese arts through comparative examination and direct engagement. Creative projects and workshops in traditional Japanese arts.
Last offered: Spring 2023 | UG Reqs: WAY-A-II, WAY-CE

MUSIC 31N: Behind the Big Drums: Exploring Taiko (ASNAMST 31N)

Preference to Freshman. Since 1992 generations of Stanford students have heard, seen, and felt the power of taiko, big Japanese drums, at Admit Weekend, NSO, or Baccalaureate. Taiko is a relative newcomer to the American music scene. The contemporary ensemble drumming form, or kumidaiko, developed in Japan in the 1950s. The first North American taiko groups emerged from the Japanese American community shortly after and coincided with increased Asian American activism. In the intervening years, taiko has spread into communities in the UK, Europe, Australia, and South America. What drives the power of these drums? In this course, we explore the musical, cultural, historical, and political perspectives of taiko through readings and discussion, conversations with taiko artists, and learn the fundamentals of playing. With the taiko as our focal point, we find intersections of Japanese music, Japanese American history, and Asian American activism, and explore relations between performance, cultural expression, community, and identity.
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II, WAY-EDP
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