printer friendly pageMUSIC 200B: Proseminar in Ethnomusicology
A graduate-level introduction to the field of ethnomusicology. Issues and debates are traced through the history of the discipline, with emphasis on influences from anthropology, performance studies, linguistics, and cultural studies. Topics include music and: social organization, "culture," structure, practice, comparison, representation, globalization, identity, transcription, and embodiment.
Terms: Win
| Units: 3-5
Instructors:
Gill, D. (PI)
MUSIC 201: CCRMA Colloquium
Weekly review of work being done in the field, research taking place at CCRMA, and tools to make the most of the CCRMA technical facilities.
Terms: Aut
| Units: 1
| Repeatable
18 times
(up to 18 units total)
Instructors:
Worthey, N. (PI)
MUSIC 202: Picturing Performance, Re-Envisioning the Arts (MUSIC 102)
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
| Repeatable
2 times
(up to 8 units total)
Instructors:
Vernallis, C. (PI)
MUSIC 220A: Fundamentals of Computer-Generated Sound
What are the basic tools that computer music researchers and artists use to create sound? This course will include a summary of digital synthesis techniques (additive, subtractive, wavetable, frequency modulation and physical-modeling), signal processing techniques for digital effects, (reverberation, panning, filters), and basic psychoacoustics. Programming experience is recommended, but not required. Course will use the ChucK computer music language. Majors (undergraduate or graduate) must take for 4 units. See
http://ccrma.stanford.edu/.
Terms: Aut
| Units: 2-4
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. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit. See
http://ccrma.stanford.edu/. Prerequisite: 220A.
Terms: Win
| Units: 2-4
| UG Reqs: WAY-A-II
Instructors:
Wang, G. (PI)
;
Fram, N. (TA)
MUSIC 220C: Research Seminar in Computer-Generated Music
Individual projects in composition, psychoacoustics, or signal processing. See
http://ccrma.stanford.edu. May be repeated for credit. Prerequisite: 220B.
Terms: Spr
| Units: 2-4
| Repeatable
for credit
Instructors:
Chafe, C. (PI)
;
Rau, M. (TA)
MUSIC 220D: Research in Computer-Generated Music
Independent research projects in composition, psychoacoustics, or signal processing. See
http://ccrma.stanford.edu/. May be repeated for credit. Prerequisite: 220C.
Terms: Aut, Win, Spr, Sum
| Units: 1-10
| Repeatable
for credit
Instructors:
Abel, J. (PI)
;
Alessandrini, P. (PI)
;
Berger, J. (PI)
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Instructors:
Abel, J. (PI)
;
Alessandrini, P. (PI)
;
Berger, J. (PI)
;
Berners, D. (PI)
;
Bosi, M. (PI)
;
Callery, E. (PI)
;
Chafe, C. (PI)
;
Chowning, J. (PI)
;
DeMarinis, P. (PI)
;
Fujioka, T. (PI)
;
Jette, C. (PI)
;
Kadis, J. (PI)
;
Kaneshiro, B. (PI)
;
Kapuscinski, J. (PI)
;
Lopez-Lezcano, F. (PI)
;
Michon, R. (PI)
;
Mysore, G. (PI)
;
Rossing, T. (PI)
;
Selfridge-Field, E. (PI)
;
Slaney, M. (PI)
;
Smith, J. (PI)
;
Wang, G. (PI)
;
Wright, M. (PI)
MUSIC 222: Sound in Space
Historical background, techniques and theory on the use of space in music composition and diffusion. Listening and analysis of relevant pieces. Experimental work in spatialization techniques leading to short studies to be diffused in concert at the end of the quarter.
Terms: Win
| Units: 1-4
| UG Reqs: WAY-CE
Instructors:
Lopez-Lezcano, F. (PI)
;
Nerness, B. (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.
Terms: Spr
| Units: 2-3
| UG Reqs: WAY-A-II, WAY-CE
Instructors:
Alessandrini, P. (PI)
MUSIC 230: Advanced Orchestral Conducting
May be repeated for credit a total of 8 times. Prerequisite: 130B.
Terms: Aut, Win, Spr
| Units: 2-4
| Repeatable
9 times
(up to 36 units total)
Instructors:
Phillips, P. (PI)
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