printer friendly pageMUSIC 23: Elements of Music III
Preference to majors. Continuation of chromatic harmony and complex forms of late Romantic period. 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).
Terms: Aut, Spr
| Units: 3
| UG Reqs: WAY-A-II, WAY-CE, GER:DB-Hum
MUSIC 24A: Ear Training I
Class is closed by design. Please contact instructor Erika Arul (mailto:earul@stanford.edu) for permission to enroll.
Terms: Aut, Win
| Units: 1-2
MUSIC 24B: Ear Training II
Class is closed by design. Please contact instructor Erika Arul (mailto:earul@stanford.edu) for permission to enroll.
Terms: Aut, Win, Spr
| Units: 1-2
MUSIC 24C: Ear Training III
Class is closed by design. Please contact instructor Erika Arul (mailto:earul@stanford.edu) for permission to enroll.
Terms: Aut, Win, Spr
| Units: 1-2
Instructors:
Arul, E. (PI)
;
Miranda, N. (PI)
;
Ellis, G. (TA)
;
Fram, N. (TA)
;
Miranda, N. (TA)
;
Noufi, C. (TA)
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: Spr
| Units: 3
| UG Reqs: WAY-A-II
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 at Baccalaureate. This seminar provides students with the opportunity to get behind the big drums, literally and academically. In fact, 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 rapidly into other communities, most surprisingly to 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, by playing the drums, workshopping with taiko masters, and meeting members of the taiko community. With North American taiko as the focal point, we learn about Japanese music and Japanese American history, and explore relations between performance, cultural expression, community, and identity.
Terms: Spr
| Units: 3
| UG Reqs: WAY-A-II
MUSIC 32N: Sculpting with Sounds, Images, and Words
Throughout history and from East to West, cultures abound in multimedia forms. Whether in Coldplay's Music Video or Fantasia, Pepsi TV adds or Wagner's opera, Miyazaki anime or traditional Noh Theater of Japan, the three modes of expression (sounds, images, and word) are interwoven in distinctive ways. What are their individual and combined powers? How can one harness them in an online context? Can Web be a stage for multimedia theater? What is unique about the poetry of intermodal metaphor? The course will be an opportunity to face these questions in creative web-based projects as well as through in-class viewing of multimedia works, analysis and debates, readings, and student presentations. The seminar will be taught at the Center for Computer Research in Music and Acoustics where students will have access to new media technologies. Prior experience in music, literature, art practice or computer programming is welcome but not required.
Terms: Aut
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-CE
Instructors:
Kapuscinski, J. (PI)
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, West Side Story, Funny Girl, Company, Les Misérables, Wicked, Hamilton, Dear Evan Hansen, A Strange Loop); musical theater "song types" across eras; show tunes in jazz, cabaret, and recital contexts; musicals on film, television, and social media. Opportunities for performance and attending local productions.
Terms: Spr
| Units: 3
| UG Reqs: WAY-CE, GER:DB-Hum, WAY-A-II
Instructors:
Grey, T. (PI)
MUSIC 36H: Dangerous Ideas (ARTHIST 36, COMPLIT 36A, EALC 36, ENGLISH 71, ETHICSOC 36X, FRENCH 36, HISTORY 3D, PHIL 36, POLISCI 70, RELIGST 36X, SLAVIC 36)
Ideas matter. Concepts such as revolution, tradition, and hell have inspired social movements, shaped political systems, and dramatically influenced the lives of individuals. Others, like immigration, universal basic income, and youth play an important role in contemporary debates in the United States. All of these ideas are contested, and they have a real power to change lives, for better and for worse. In this one-unit class we will examine these ¿dangerous¿ ideas. Each week, a faculty member from a different department in the humanities and arts will explore a concept that has shaped human experience across time and space. Some weeks will have short reading assignments, but you are not required to purchase any materials.
Terms: Spr
| Units: 1
Instructors:
Anderson, R. (PI)
MUSIC 39B: Music and Healing (HUMBIO 179B)
To what extent can sound or music heal? This interdisciplinary course asks questions about music and healing around the world, drawing on the fields of medical ethnomusicology, medical anthropology, sound studies, and music therapy. Our case studies will be multi-sited, as we interrogate sound-based healings and healing sounds from diverse cross-cultural, global, and historic perspectives. No musical background is needed to interrogate these issues. We begin with the knowledge that the social, cultural, and political contexts where definitions of music and healing are created inform sound and its various¿and often conflicting¿interpretations and meanings.
Terms: Win
| Units: 3
| UG Reqs: WAY-A-II, WAY-EDP
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