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371 - 380 of 469 results for: all courses

MUSIC 187: Spiritual Sound of Central Asia: Introduction to the Music of Central Asia

In this course, master-musician Imamyar Hasanov teaches students to perform and appreciate music from Central Asia. Students learn a spectrum of traditional Azerbaijani, Kazakh, Kyrgyz, Uyghur and Uzbek folk melodies, including improvisational art music of mugham. The class is also a seminar, with discussions led by Professor Denise Gill on music of Central Asia, guest lectures and demonstrations, and Skype interviews with a musician in Kyrgyzstan and instrument maker in Istanbul. No prerequisites or prior knowledge of Azeri, Uzbek and Kyrgyz music for this course. Both a music workshop and seminar, this course is open to students who have experience playing musical instruments and those who do not. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways-ED credit. For Ways-CE credit, it may be taken for any number of units.
Last offered: Winter 2019 | UG Reqs: WAY-CE, WAY-ED

MUSIC 192B: Advanced Sound Recording Technology

This course aims to heighten the listening skills of students. In a series of group sessions and discussions students compare and contrast a variety of dynamic based processes and other audio effects/plug-ins which might be used in their mixes. Students also explore recording concepts and technologies that will augment their studio practices such as making customized impulse response recordings, advanced equalization practices, and exploring additional advanced studio/non-studio techniques and software. Prerequisite: 192A or consent of instructor.
Terms: Win | Units: 3 | UG Reqs: GER:DB-EngrAppSci, WAY-CE

MUSIC 203: Audiovisual Performance

Students perform with music and video in synergy. This course explores various theories and practices of engaging audiovisual media in the context of stage performance. Examples come from the scenes of experimental music and multimedia performance. Other audiovisual categories to be approached: avant-garde film, visual music, video art, music video, etc. Readings, listening-viewings, discussions, and analyses of relevant works provide a conceptual framework. Labs and assignments give students hands-on experience in crafting and performing their own audiovisual works. The course culminates with a public show. A background in either music or visual arts is strongly recommended, but not required.
Terms: Aut | Units: 3-4 | UG Reqs: WAY-CE
Instructors: Basica, C. (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.
Last offered: Winter 2019 | UG Reqs: WAY-CE

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

NENS 222: Dance, Movement and Medicine: Immersion in Dance for PD (DANCE 100)

Combining actual dancing with medical research, this Cardinal Course investigates the dynamic complementary relationship between two practices, medicine and dance, through the lens of Parkinson's disease (PD), a progressive neurological disease that manifests a range of movement disorders. "Dance for PD" is an innovative approach to dancing --and to teaching dance --for those challenged by PD. Course format consists of: 1. Weekly Lecture/Seminar Presentation: Partial list of instructors include Ms. Frank, Dr. Bronte-Stewart and other Stanford medical experts & research scientists, David Leventhal (Director, "Dance for PD") and Bay Area "Dance for PD" certified master teachers, film-maker Dave Iverson, Damara Ganley, and acclaimed choreographers Joe Goode, Alex Ketley, Judith Smith (AXIS Dance). 2. Weekly Dance Class: Stanford students will fully participate as dancers, and creative partners, in the Stanford Neuroscience Health Center's ongoing "Dance for Parkinson's" community dance cl more »
Combining actual dancing with medical research, this Cardinal Course investigates the dynamic complementary relationship between two practices, medicine and dance, through the lens of Parkinson's disease (PD), a progressive neurological disease that manifests a range of movement disorders. "Dance for PD" is an innovative approach to dancing --and to teaching dance --for those challenged by PD. Course format consists of: 1. Weekly Lecture/Seminar Presentation: Partial list of instructors include Ms. Frank, Dr. Bronte-Stewart and other Stanford medical experts & research scientists, David Leventhal (Director, "Dance for PD") and Bay Area "Dance for PD" certified master teachers, film-maker Dave Iverson, Damara Ganley, and acclaimed choreographers Joe Goode, Alex Ketley, Judith Smith (AXIS Dance). 2. Weekly Dance Class: Stanford students will fully participate as dancers, and creative partners, in the Stanford Neuroscience Health Center's ongoing "Dance for Parkinson's" community dance class for people with PD. This Community Engaged Learning component provides opportunity to engage meaningfully with people in the PD community. Dancing together weekly, students will experience firsthand the embodied signature values of "Dance for PD" classes: full inclusion, embodied presence, aesthetic and expressive opportunity for creative engagement, and community-building in action. A weekly debriefing session within Friday's class time will allow students to integrate seminar material with their movement experiences.nnnNO PRE-REQUISITES: No prior dance experience required. Beginners are welcome.
Last offered: Winter 2018 | Repeatable for credit

ORALCOMM 123: Crafting Concept Albums: Big Tales, Small Grooves, and the Art of Musical Narrative

Cultures all around the world tell the stories of their history, beliefs, and identities through song. The Greeks set their epic tales of love, life, and death to music, Renaissance composers followed suit, and popular music artists do the same today. In this hybrid workshop-seminar, students will explore musical narratives by analyzing seminal concept albums and then producing their own single-story album through written lyrics. Students will examine how artists use craft elements such as setting, characters, and plot, cover art, and musical form and instrumentation, then apply that learning in their own productions. Creating music, beats, soundscapes, and artwork will be encouraged, but the final project need only be a cycle of recorded, spoken song lyrics. We¿ll focus in particular on narratives of race, class, gender, and sexuality and their social implications as we examine works from artists across musical genres¿from classic and punk rock artists such as Pink Floyd, David Bowie, more »
Cultures all around the world tell the stories of their history, beliefs, and identities through song. The Greeks set their epic tales of love, life, and death to music, Renaissance composers followed suit, and popular music artists do the same today. In this hybrid workshop-seminar, students will explore musical narratives by analyzing seminal concept albums and then producing their own single-story album through written lyrics. Students will examine how artists use craft elements such as setting, characters, and plot, cover art, and musical form and instrumentation, then apply that learning in their own productions. Creating music, beats, soundscapes, and artwork will be encouraged, but the final project need only be a cycle of recorded, spoken song lyrics. We¿ll focus in particular on narratives of race, class, gender, and sexuality and their social implications as we examine works from artists across musical genres¿from classic and punk rock artists such as Pink Floyd, David Bowie, and Green Day; to hip-hop, pop, and EDM performers such as Beyoncé, Lupe Fiasco, Janelle Monáe, Daft Punk, and Kendrick Lamar. Students will work in groups to choose genre, develop a sense of place and time, select narrative structures, and craft lyrics. No prior experience in music or creative writing is required.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Naiman, T. (PI)

ORALCOMM 127: Introduction to Podcast Storytelling

This introductory course is designed to teach you the fundamentals of creating stories for new media, especially podcasting. You will learn how to develop and produce pieces across a variety of genres, from memoir to reported pieces, and you will learn the entire process, step-by-step, from pitching and interviewing to scripting and audio (and sometimes photo and video) editing. The course combines a traditional seminar format with a practicum where we workshop work in progress for fiction and nonfiction podcasts produced by the Storytelling Project. Though we focus on audio stories, the craft skills you learn here are transferable to making stories for any medium, from print and performance to web multimedia and film. May be repeated for credit.
Terms: Spr | Units: 2 | UG Reqs: WAY-CE | Repeatable for credit

ORALCOMM 129: Sound Stories

This seminar is designed for students interested in creating audio stories for radio, podcast, and other forms of sonic narrative. Students will examine the craft elements of the audio form, popularized by programs such as This American Life, Radiolab, and Serial including skills for interviewing, scoring, and audio editing, and will then produce their own documentary, memoir, or investigative story. This is a hybrid class, equal parts classic seminar and creative workshop. Students will work in small groups, learning how to develop material, choose an effective structure, blend dramatization and reflection, ground insights in concrete scenes, create a strong narrative arc, and manage elements such as characterization, description, and dialogue in order to create engaging stories with social impact. Recommended for students interested not only in podcasting but also creative nonfiction, documentary, film, and sound art. No prior experience with story craft or media required.
Terms: Win | Units: 4 | UG Reqs: WAY-CE
Instructors: Naiman, T. (PI)

ORALCOMM 130: ORALCOMM: Your American Life

This small seminar is designed for students interested in creating audio stories for radio or podcast. You will examine the craft elements of the medium, popularized by programs like This American Life, Radiolab and Serial, and then produce your own documentary, memoir, or investigative story. We will explore the basic principles of strong storytelling, and you will learn how to develop your material, choose an effective structure, blend dramatization and reflection, ground insights in concrete scenes, create a strong narrative arc, and manage elements such as characterization, description, and dialogue. We will also examine craft elements unique to the audio form, and you will learn skills for interviewing, scoring, and audio editing. Students will have the opportunity to work with special guests from some of the best narrative podcasts in America. No prior experience with story craft or media required. Cardinal Course/CEL/HAAS
Terms: Win | Units: 4 | UG Reqs: WAY-CE
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