61 - 70 of 207 results for: MUSIC

This course will cover changes in the business, economics, and practices of the popular music industry. It will provide a brief historical overview of the industry and its business models. The majority of the course will focus on the industry as it works today and on forces that are causing it to change rapidly. The course will feature guest artists and executives with current experience in the field, as well as project-based assignments designed to give students hands-on experience.Topics will include: Economics and business models of commercial music business,Technology and music production, Technology and music distribution, Technology and marketing, Leadership in the music industry: case studies, Managing creative projects, Copyright and legal issues. To secure your spot in the course, enroll in Axess and attend the first class session.

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.

Today's vast amount of streaming and video conferencing on the Internet lacks one aspect of musical fun and that's what this course is about: high-quality, near-synchronous musical collaboration. Under the right conditions, the Internet can be used for ultra-low-latency, uncompressed sound transmission. The course teaches open-source (free) techniques for setting up city-to-city studio-to-studio audio links. Distributed rehearsing, production and split ensemble concerts are the goal. Setting up such links and debugging them requires knowledge of network protocols, network audio issues and some ear training.

This course inaugurates an Internet Ensemble Tech Force which is needed urgently worldwide and locally to support music ensembles going online. Calling it urgent is not an exaggeration. We can provide a valuable service and that's the purpose of the course. Course participants will quickly come up to speed on low-latency audio collaboration technology and will then pair with ensembles interested in using it. Ensemble rehearsals, coaching and concert broadcasting are planned for the quarter. 153B participants will work from home and be able to use CCRMA facilities remotely. The course can be audited or coordinated with another course. Let's help make group playing possible during this public health challenge.

Distributed workshop for creative invention and artistic collaboration within radical pandemic constraints. Students imagine, design, and explore emergent creative strategies for art-making under quarantine conditions. Small art projects--in ANY artistic medium--will be made every two weeks, some collaborative. By reframing sub-optimal working conditions as super-optimal, participants create a modest canon of pieces that serve as a manual for sustaining creative vibrancy during stressful periods. Weekly synchronous conversation about artistic strategies and an overview of historical artistic constraints (both necessitated and voluntarily adopted); breakout group collaborations; consultations with professor; sharing of work; mutual critique, support, and mentorship.

An exploration of the repertoire for piano and keyboards, providing experience with and context for this literature while engaging practical, technical and analytical features of the works. Each quarter will cover focused areas defined by time, place, composer, stylistic tradition, formal type, etc. Students will perform works in class, as well as listen to and compare performances through videos and recordings. Assignments include reading, listening, and a final project. Prerequisite: Private lesson proficiency level in piano, or consent of instructor.

An exploration of the repertoire for piano and keyboards, providing experience with and context for this literature while engaging practical, technical and analytical features of the works.  Each quarter will cover focused areas defined by time, place, composer, stylistic tradition, formal type, etc.  Students will perform works in class, as well as listen to and compare performances through videos and recordings.  Assignments include reading, listening, and a final project.  Prerequisite: Private lesson proficiency level in piano, or consent of instructor.

Small choir specializing in Medieval, Renaissance, and early Baroque vocal music. One major concert per quarter. May be repeated for credit for a total of 15 times. Zero unit enrollment option available with instructor permission. See website: ( http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.

Small choir specializing in Medieval, Renaissance, and early Baroque vocal music. One major concert per quarter. May be repeated for credit for a total of 15 times for 0 unit. Zero unit enrollment option available with instructor permission. See website: ( http://music.stanford.edu) for policy and procedure. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.