printer friendly pageMUSIC 20B: Advanced Jazz Theory
Approaches to improvisation through listening and transcribing, and developing familiarity with important contributors to this music. Topics: scale theory, altered dominants, and substitute harmony. Prerequisite: 20A or consent of instructor.
Terms: 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: Winter 2018
| UG Reqs: WAY-A-II, WAY-CE
MUSIC 21: Elements of Music I
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: Elements of Music II
Preference to majors. Introduction to chromatic harmony focusing on secondary functions, modulations, harmonic sequences, mode mixture, and the Neapolitan, and augmented sixth chords. 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).
Terms: Win, Spr
| Units: 3
| UG Reqs: WAY-A-II, WAY-CE, GER:DB-Hum
MUSIC 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. (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: Aut
| Units: 3
| UG Reqs: WAY-A-II
Instructors:
Rose, F. (PI)
;
Herndon, J. (TA)
MUSIC 27N: The British Invasion
Examination of three generations of British popular music in the `60s and `70s: the Beatles (and the Rolling Stones, the Kinks, the Who); progressive rock (art rock) as embodied in Pink Floyd, Yes, King Crimson, Genesis, and Emerson, Lake, and Palmer; the emergence of punk in its revolutionary (the Clash) and nihilistic (the Sex Pistols) forms. Among other issues, the manner in which marginal American culture (particularly African-American blues) is neglected by Americans and venerated by foreigners and the subsequent mainstream consumption of a transformed and repackaged American minority culture is discussed.
Last offered: Spring 2018
| UG Reqs: GER:DB-Hum, WAY-A-II
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