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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 Ng¿c, Chinary Ung and Tôn-Thât Tiêt. Viewings of sculptures, marionette theater, ballet, opera and cinema will also play an integral role. To be eligible for WAYS credit, this course must be taken for 3 units and a letter grade; WIM credit in Music at 4 units and a letter grade.
Terms: Spr | Units: 2-4 | UG Reqs: WAY-A-II
Instructors: Kretz, H. (PI)

MUSIC 147J: Studies in Music, Media, and Popular Culture: The Soul Tradition in African American Music (AFRICAAM 19, AMSTUD 147J, CSRE 147J, MUSIC 247J)

The African American tradition of soul music from its origins in blues, gospel, and jazz to its influence on today's r&b, hip hop, and dance music. Style such as rhythm and blues, Motown, Southern soul, funk, Philadelphia soul, disco, Chicago house, Detroit techno, trip hop, and neo-soul. Soul's cultural influence and global reach; its interaction with politics, gender, place, technology, and the economy. Pre-/corequisite (for music majors): MUSIC 22. (WIM at 4 units only.)
Terms: Aut | Units: 3-4 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED

MUSIC 147K: Studies in Music, Media, and Popular Culture: Music and Urban Film (CSRE 147D, MUSIC 247K)

How music and sound work in urban cinema. What happens when music's capacity to transform everyday reality combines with the realism of urban films? Provides an introduction to traditional theories of film music and film sound; considers how new technologies and practices have changed the roles of music in film. Readings discuss film music, realistic cinema, urban musical practices and urban culture. Viewing includes action/adventure, Hindi film, documentary, film noir, hip hop film, the musical, and borderline cases by Jean-Luc Godard, Spike Lee, Wong Kar-Wai and Tsai Ming-Liang. Pre- or corequisite (for music majors): MUSIC 22. (WIM at 4 unit level only.)
Last offered: Autumn 2018 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-ED

MUSIC 155: Intermedia Workshop (ARTSTUDI 239, MUSIC 255)

Students develop and produce intermedia works. Musical and visual approaches to the conceptualisation and shaping of time-based art. Exploration of sound and image relationship. Study of a wide spectrum of audiovisual practices including experimental animation, video art, dance, performance, non-narrative forms, interactive art and installation art. Focus on works that use music/sound and image as equal partners. Limited enrollment. Prerequisites: consent of instructors, and one of FILMPROD 114, ARTSTUDI 131, 138, 167, 177, 179, or MUSIC 123, or equivalent. May be repeated for credit
Terms: Win | Units: 3-4 | UG Reqs: WAY-A-II, WAY-CE | Repeatable for credit

MUSIC 186B: American Song in the 20th Century and after (AMSTUD 186B, MUSIC 286B)

Critical and creative exploration of song in the Americas. About twenty-five key examples will guide discussion of the interactions between words, music, performance and culture. Weekly listening, reading and assignments will be organized around central themes: love, sex and romance; war and politics; labor and money; place; identity; society and everyday life. Genres include art song; blues, gospel, jazz and country; pop, soul, rock and hip-hop; bossa nova, nueva canción and salsa; electronic and experimental. Takehome and in-class assignments will include critical and creative writing, and music composition, production and performance; final projects may emphasize any of the above.
Terms: Win | Units: 3-4 | UG Reqs: WAY-A-II, WAY-CE

MUSIC 186E: Sounds of Islam (RELIGST 156X)

This course explores diverse intersections of sound and Islam in religious and secular contexts throughout the world. From studying Islamic philosophies about the art of listening to interrogating Muslim hip hop, we examine how sonic practices simultaneously reflect and shape different Muslim identities globally. Issues of nationalism, war and trauma, class, race and ethnicity, gender and sexualities, colonialism, social in/justice, and migration will remain central to our exploration of spirituality, secularism, piety, and religiosity for the individuals and communities making or listening to sounds of Islam.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II, WAY-ED

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

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.
Last offered: Spring 2019 | UG Reqs: WAY-A-II, WAY-CE

NATIVEAM 39: Long Live Our 4Bil. Year Old Mother: Black Feminist Praxis, Indigenous Resistance, Queer Possibility (AFRICAAM 39, CSRE 39, FEMGEN 39)

How can art facilitate a culture that values women, mothers, transfolks, caregivers, girls? How can black, indigenous, and people of color frameworks help us reckon with oppressive systems that threaten safety and survival for marginalized people and the lands that sustain us? How can these questions reveal the brilliant and inventive forms of survival that precede and transcend harmful systems toward a world of possibility? Each week, this course will call on artists, scholars, and organizers of color who clarify the urgency and interconnection of issues from patriarchal violence to environmental degradation; criminalization to legacies of settler colonialism. These same thinkers will also speak to the imaginative, everyday knowledge and creative healing practices that our forebears have used for millennia to give vision and rise to true transformation.
Terms: Spr | Units: 1-4 | UG Reqs: WAY-A-II, WAY-ED

NATIVEAM 122: Historiography & Native American Oral Traditions and Narratives

This course is an introduction to Native American Literature in the United States in a (post) colonial, or decolonized context (in the last seventy years). The readings focus on the complex social and political influences that have shaped Native American literature in the last half of the twentieth century to the present. It is an introduction to nNative American fiction, poetry, drama, nonfiction and autobiography. It draws on the historical (literary sovereignty) and theoretical frameworks (American Indian Literary Nationalism) used by Native American writers in the United States; how trends in Native American writing build on and integrate traditional modes of Native American nstorytelling (oral tradition & the verbal arts). It takes a specific in - depth look at Native American oral tradition. Where the overarching aim of the course is to address the nquestion: How do you define Native American literature? Students will be required to provide their own definition from what they learn about Native American oral tradition and the challenges (historic and otherwise) inherent in a (post) colonial or decolonized world for Native Americans.
Terms: Aut | Units: 4 | UG Reqs: WAY-A-II
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