181 - 190 of 197 results for: MUSIC

Western notation of the Middle Ages and Renaissance: principles, purposes, and transcription.

This graduate seminar serves as an introduction to the methodologies and theoretical approaches for the ethnography of sound and musical practices. While we center on research problems, ethics, and methods in the field of ethnomusicology, ethnographic field research on sound and sounding has long been an interdisciplinary venture. We will additionally draw on performance studies, critical ethnography, anthropology, and critical race and gender studies to broaden our exposure to diverse methods and approaches. Throughout the seminar, we will pay close attention to the multiple ethical implications of crafting ethnographies about musicians, music-making, sound, performance, and listening practices.

Directed reading and research. May be repeated for credit a total of 14 times.

All aspects of auditory perception, often with emphasis on computational models. Topics: music perception, signal processing, auditory models, pitch perception, speech, binaural hearing, auditory scene analysis, basic psychoacoustics, and neurophysiology. See http://ccrma.stanford.edu/courses/. May be repeated for credit a total of 14 times.

Directed reading and research. May be repeated for credit a total of 15 times.

Community forum for all graduate student composers. Discussion of completed and in-progress work by students, faculty, and visiting composers. Repertoire listening sessions. Planning of upcoming Department events. Special area exam topic presentations, final doctoral project presentations, and review of portfolios. Many sessions are open to the public.May be repeated for credit

May be repeated for credit.