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141 - 150 of 370 results for: MUSIC

MUSIC 150R: Robert Schumann and the Idea of Musical Romanticism

The creative personality and musical compositions of Robert Schumann (1810-1856) as exemplars of the idea of Romanticism in European culture of the early nineteenth century. Survey of major genres (solo piano, Lieder, symphonies, chamber music, choral music) in dialogue with Romantic literary and visual cultures. Students prepare at least one or two works by Schumann or contemporary figures (Mendelssohn, Chopin, Brahms, Clara Schumann) for presentation in lecture-recital format. Prerequisites: Music 22 or equivalent (intermediate music theory), intermediate or higher performance ability in piano, strings, or voice
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Grey, T. (PI)

MUSIC 151G: Who Lives, Who Dies, Who Tells the Story: Identity and Representation in American Musical Theater

Throughout the twentieth century and into the present day, musicals have sought to tell stories about a broad range of American experiences and engage with complex social issues. Foremost among these themes are the topics of race and cultural appropriation, immigration and citizenship, and LGBT lives and queer identity. Even as they seek to represent diverse perspectives and facilitate progressive social change, musicals just as often can reinforce and replicate troubling conceptions surrounding gender, race, sexual identity. This course will examine works of musical theater from the 1920s to the present day in order to understand how each of these individual works, and the musical as a genre and institution, navigates this forward-and-backward tension surrounding these three topics. Our focus will be on commercially successful stage and screen musicals that cover the span of almost a hundred years, from The Jazz Singer (1927) to Hamilton (2015). In the course of lectures and discussions we will build a working vocabulary for analyzing the musical's salient components including music and lyrics, staging, libretto, choreography, and cinematography and engage with key scholarship from musicology, performance studies, film studies, and American studies. The final week of class will examine current and planned musical theater productions on campus using the tools and perspectives from the previous three parts.

MUSIC 152A: Careers in Media Technology

Careers in Media Technology explores how leading audio, music, and video technology companies, such as Pandora, Adobe, Sonos, Dolby, Gracenote, iZotope, and Avid bring products from idea to market. We examine best practices, roles, day-to-day responsibilities, desired skillsets, and department/team function. This seminar is intended for all students considering full-time positions or internships in media technology industry. No prior engineering background required.nTopics include: product management, project management (agile), software development in large organizations, UX/UI design, marketing, hardware development, R&D, sales, operations (HR, IP/patents), and the hiring process.nOnline lectures available. Class time includes discussion and meetings with industry professionals.
Last offered: Autumn 2016

MUSIC 153: Online Jamming and Concert Technology

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.
Terms: Spr | Units: 2-4 | Repeatable 4 times (up to 16 units total)
Instructors: Chafe, C. (PI)

MUSIC 154: History of Electronic Music

What is electronic music? Acousmatic, computer music, algorithmic composition, tape music, glitch, electronic, musique concrète, noise, laptop music, DJ'ing, organized sound...what do these labels mean? This course will provide a brief historical survey of electroacoustic music and discuss some of the most salient questions associated with it, from both a compositional and musicological point of view. Topics to be covered include: definitions of musical sounds; Schaefferian theory and musique concrète; serialism and elektronische Musik; tape music and computer music in the USA; analysis of electroacoustic music; sampling and intellectual property; algorithmic and computer-assisted composition; live-electronics and improvisation. The course does not require previous experience in the field. Classes will be based on discussion of selected listening and reading materials, as well as hands-on digital experimentation with sounds.
| UG Reqs: WAY-A-II | Repeatable 2 times (up to 6 units total)

MUSIC 154A: Sound Art I (ARTSTUDI 131)

Acoustic, digital and analog approaches to sound art. Familiarization with techniques of listening, recording, digital processing and production. Required listening and readings in the history and contemporary practice of sound art. (lower level)
Last offered: Autumn 2016 | UG Reqs: GER:DB-Hum, WAY-CE

MUSIC 154B: Aesthetics of Experimental Electronic Music, 1980 to Today

In this course, students will listen to, analyze, and interpret experimental electronic music since 1980. We will explore how technologies influence music making, audiences¿ experiences, distribution outlets and performance contexts for electronic music. How do artists generate meaning and expressivity when using experimental tools and styles? Emphasis on developing vocabulary and frameworks for informed discourse surrounding electronic music, drawing from both academic and journalistic traditions. Topics include electronic dance music, dubstep, hip hop, internet music culture, drone, noise, microsound, electroacoustic, and sound art. Highly recommended for music majors taking the MST specialization. For upper-level undergraduates and graduate students.
Last offered: Winter 2015

MUSIC 154D: Symposium on Manufacturing Techniques for Music and Art

A guided symposium on the many techniques for making music and art objects. The course will be tailored to student interest and needs as it covers computer controlled machining, traditional techniques, and innovative methods of creating physical objects for music and art.
Last offered: Winter 2015 | Repeatable 6 times (up to 18 units total)

MUSIC 154F: Electroacoustic Music Analysis

This course will explore the most important methodologies for analysis of electroacoustic music that have been proposed in the literature. Class meetings include lectures, student discussions of relevant literature and listening sessions. Assignments include weekly readings, homework, and a final project. Basic musical proficiency is required. Experience with programming, music analysis, or music perception/cognition is desirable.
Terms: Spr | Units: 3-4
Instructors: Cadiz, R. (PI)

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 2 times (up to 8 units total)
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