printer friendly pageMUSIC 140L: Renaissance Soundscapes
What was the sonic experience of living in late-medieval and early-modern Europe? This course will explore the sights and sounds of daily life for cultural elites as well as the average urban resident. Although it is often vocal polyphony that first comes to mind when thinking about Renaissance music, acoustic environments were complex, noisy, and diverse. This course aims to reflect that heterogeneity: topics include bells, processions, music and architecture, instrumental music, plainchant, visual depictions of music-making, and uses of music to project power, as well as sacred and secular vocal polyphony. Students will zoom in on cities, courts, and churches, especially the musical centers of Bruges, Florence, Ferrara, the Imperial Court of Holy Roman Emperor Charles V, and Bavaria. The course will examine music by some of the most important composers of the era, including Guillaume Du Fay, Josquin des Prez, Philippe Verdelot, Nicolas Gombert, and Orlando di Lasso. WIM at 4 units only.
Terms: Win
| Units: 3-4
Instructors:
Ory, B. (PI)
MUSIC 143F: Nineteenth-Century Pianism: History, Works, & Performance Practices (MUSIC 243F)
This seminar narrows the divide between performance and musicology. With nineteenth-century pianism as an extended case study, this course will explore representative and less common composers, works, and performers. Subtopics will include historical performance practices, notation, critical editions, period pianos, hermeneutics, recording analysis, and the cultural politics of performing and listening. Students will hone writing, research, and performance skills through a variety of assignments, seminar discussions, and in-class exercises, culminating with a lecture-recital. Possible field trips will include Stanford's Archive of Recorded Sound and selected live performances. Prerequisites: Intermediate to advanced performance ability; intermediate or higher music theory. WIM at 4 units only.
Terms: Aut
| Units: 3-4
| UG Reqs: WAY-A-II, WAY-CE
Instructors:
Graham, P. (PI)
MUSIC 144N: Reading Recorded Performances: From Data to Interpretation (MUSIC 244N)
How might one study and interpret recorded performances as 'texts'? We will explore the intersections of performance and musicology through guided weekly writing assignments, considering 'data' about recorded performances as heard and physically felt (tempo, articulation, dynamics, gestures, implied technique...) along with culture, history, compositional analysis, performers' biographies, lived experiences, and creative personalities. Students will select and interpret recorded performances/works within the Western classical tradition to shape a final lecture-recital performance. Class examples come chiefly from piano repertory; however, other instrumentalists and vocalists may tailor final projects accordingly. Prerequisites: Intermediate to advanced performance ability,
Music 22 (suggested). WIM at 4 units only.
Last offered: Winter 2023
MUSIC 146N: Transcultural Perspectives of South-East Asian Music and Arts (COMPLIT 148, COMPLIT 267, FRENCH 260A, MUSIC 246N)
This course will explore the links between aspects of South-East Asian cultures and their influence on modern and contemporary Western art and literature, particularly in France; examples of this influence include Claude Debussy (Gamelan music), Jacques Charpentier (Karnatak music), Auguste Rodin (Khmer art) and Antonin Artaud (Balinese theater). In the course of these interdisciplinary analyses - focalized on music and dance but not limited to it - we will confront key notions in relation to transculturality: orientalism, appropriation, auto-ethnography, nostalgia, exoticism and cosmopolitanism. We will also consider transculturality interior to contemporary creation, through the work of contemporary composers such as Tran Kim Ngoc, Chinary Ung and Tôn-Thât Tiêt. Viewings of sculptures, marionette theater, ballet, opera and cinema will also play an integral role. To satisfy a Ways requirement, this course must be taken for at least 3 units. WIM credit in Music at 4 units and a letter grade.
Terms: Win
| Units: 2-4
| UG Reqs: WAY-A-II
Instructors:
Kretz, H. (PI)
MUSIC 146S: Sound Tracks: Music, Memory, Migration (CSRE 146S)
Music records racial and ethnic histories. How can critically listening to the musics of diasporic and migratory peoples attune us to the processes of identity formation, racialization, and self-understanding? In this course will gain deeper insights into how communities have used music to respond to the challenges of migration and minoritization under ever-changing nationalist frames. As we listen to musics from the Romani, Jewish, African, and Latinx diasporas, we explore how race, ethnicity, identity, heritage, nationalism, minoritization, hybridity, and diversity are refracted through sound. WIM at 4 units only.
Terms: Spr
| Units: 3-4
| UG Reqs: WAY-A-II, WAY-EDP
Instructors:
Costache, I. (PI)
MUSIC 150U: The Arts and Social Justice (MUSIC 250D)
A survey of how art addressed and addresses issues of social justice across history and cultures
Last offered: Autumn 2022
| UG Reqs: WAY-A-II
| Repeatable
2 times
(up to 6 units total)
MUSIC 151B: Red Vest Band
A small ensemble of the Leland Stanford Junior University Marching Band open to members of the LSJUMB by audition and consent of instructor. Members perform at multiple Stanford Athletics events, multiple community events, and travel to some away and post-season games. Weekly rehearsals focus on introduction of new student arrangements and the LSJUMB's repertoire of rock, funk, and traditional styles. May be repeated for credit a total of 12 times.
Terms: Aut, Win, Spr
| Units: 1
| UG Reqs: WAY-CE
| Repeatable
12 times
(up to 12 units total)
Instructors:
Gavin, R. (PI)
;
Vega, R. (PI)
MUSIC 151BZ: Red-Vest Band
A small ensemble of the Leland Stanford Junior University Marching Band open to members of the LSJUMB by audition and consent of instructor. Members perform at multiple Stanford Athletics events, multiple community events, and travel to some away and post-season games. Weekly rehearsals focus on introduction of new student arrangements and the LSJUMB's repertoire of rock, funk, and traditional styles. May be repeated for credit a total of 12 times.
Terms: Aut, Win, Spr
| Units: 0
| Repeatable
12 times
(up to 0 units total)
Instructors:
Gavin, R. (PI)
;
Vega, R. (PI)
MUSIC 153A: Network Performance Practice (ARTSINST 141)
JackTrip software, developed at Stanford, provides the means for ultra-low-latency, uncompressed sound transmission for live music-making. Remote ensemble rehearsals, coaching, music lessons, jamming and concert broadcasting make use of the technology. The open-source project continues to develop, especially in its ability to support large ensembles of home-to-home connections. The course will cover recent features, history and theory of JackTrip and engage in a series of practical, participatory performance sessions. Students will learn the software and related network and audio principles with a focus on intuition building and ear training. Course participants will work from home and be able to use CCRMA facilities remotely. The course can be audited or coordinated with another course.
Last offered: Autumn 2022
| Repeatable
4 times
(up to 16 units total)
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