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211 - 220 of 292 results for: MUSIC ; Currently searching offered courses. You can also include unoffered courses

MUSIC 230: Advanced Orchestral Conducting

May be repeated for credit a total of 8 times. Prerequisite: 130B.
Terms: Aut, Win, Spr | Units: 2-4 | Repeatable for credit
Instructors: Phillips, P. (PI)

MUSIC 231: Advanced Choral Conducting

Individual instruction continuing trajectory of Music 130C. Focus on gestural technique and analysis of works by genre and historical period. May be repeated for credit a total of 8 times. Prerequisite: 130C.
Terms: Aut, Win, Spr | Units: 2-4 | Repeatable for credit
Instructors: Sano, S. (PI)

MUSIC 236: Future Media, Media Archaeologies (ARTSTUDI 236)

Hand-on. Media technologies from origins to the recent past. Students create artworks based on Victorian era discoveries and inventions, early developments in electronic media, and orphaned technologies. Research, rediscover, invent, and create devices of wonder and impossible objects. Readings in history and theory. How and what media technologies mediate.
Terms: Win | Units: 3-4

MUSIC 242K: Studies in Music of the Baroque: Handel the Cosmopolitan (MUSIC 142K)

Music history seminar on the operatic, sacred, and instrumental works of G.F. Handel as examples of the diversity, cosmopolitanism, expression, formal and technical features, and social uses of music in the first half of eighteenth century. Traces Handel¿s career from his native Germany to an elite Roman circle of musical connoisseurs, and to the Italian opera company he founded in London and his transformation of Italian opera into a new genre of English oratorio. By analyzing Handel¿s works in context, we examine the aesthetic, harmonic, and dramatic principles of the major European Baroque art-music genres. Prerequisites: MUSIC 22, MUSIC 41. (WIM at 4-unit level only.)
Terms: Spr | Units: 4-5
Instructors: Hadlock, H. (PI)

MUSIC 245K: Studies in Western Art Music Since 1900: Concepts of New Music (MUSIC 145K)

A survey of the history of Western classical music in the twentieth century, concentrating on shifts in the concept of New Music in the first half of the century. The aim is twofold: to study in depth a representative selection of works and to develop a historiographical framework for that study. Relevant concepts to be examined include Expressionism, Neo-Classicism, New Objectivity, Serialism, Aleatoricism, and Minimalism -- all of them key terms used by music historians and critics to describe and delineate the multifaceted phenomenon of "New Music." Composers to be studied include Schoenberg, Stravinsky, Berg, Weill, Shostakovich, Reich and Glass, and others. Prerequisites: MUSIC 23, MUSIC 42. (WIM course for Music majors.)
Terms: Aut | Units: 4
Instructors: Hinton, S. (PI)

MUSIC 246J: Studies in Ethnomusicology: Listening to the Local: Music Ethnography of the Bay Area (ANTHRO 146J, CSRE 146J, MUSIC 146J)

An introduction to music ethnography through student research on musical life in the Bay Area. Focus is on the intersections of music, social life, and cultural practice by engaging with people as they perform music and culture in situ. Techniques taught include participant-observation, interviewing and oral history, writing field-notes, recording, transcription, analysis, and ethnographic writing. Pre-/co-requisite (for music majors): MUSIC 22. (WIM at 4 units only.)
Terms: Spr | Units: 3-5

MUSIC 246M: New Keywords in African Sound (AFRICAAM 146D, AFRICAST 146M, CSRE 146D, MUSIC 146M)

This course identifies and considers new keywords for the study of contemporary African music and sound. Each week we will foster discussion around a keyword and a constellation of case studies. The sonic practices we will encounter range from South African house music to Ghanaian honk horns; from Congolese rumba bands to Tunisian trance singers; from listening to the radio in a Tanzanian homestead to making hip hop music videos on the Kenyan coast. By exploring the unexpected interconnections between contemporary African musical communities, we will discuss new keywords arising in current scholarship, including technologies like the amplifier and the hard drive, spaces like the studio and the city, and analytics like pleasure and hotness. We will also engage with established concepts for the study of postcolonial African cultures, including nationalism, cosmopolitanism, globalization, diaspora, and Pan-Africanism. This is a seminar-based course open to graduate students, upper level undergraduate students, and other students with consent of the instructor. Proficiency in music is not required. WIM at 4 units only.
Terms: Win | Units: 3-4
Instructors: Copeland, L. (PI)

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

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.)
Terms: Aut | Units: 3-4

MUSIC 249J: Music, Interpretation, Meaning (MUSIC 149J)

This course is an inquiry into music, interpretation, and meaning. These are obviously inexhaustibly rich and complex topics; to bring our inquiry into focus, we will conduct it principally through engagement with a selection of works from the late Classical through the Modern eras that we judge invite and endure exacting attention. To deepen our encounters and our thinking, we will also study texts ranging from aphorisms to poems to philosophical and musicological essays. Students will participate through both discussion and short write responses to the topics, and will write an analytical paper, summarizing their findings as well in class. Pre-/corequisite (for music majors): MUSIC 22. (Meets Music's WIM requirement.)
Terms: Spr | Units: 4

MUSIC 250A: Physical Interaction Design for Music

This lab and project-based course explores how we can physically interact with real-time electronic sound. Students learn to use and design sensors, circuits, embedded computers, communication protocols and sound synthesis. Advanced topics include real-time media, haptics, sound synthesis using physical model analogs, and human-computer interaction theory and practice. Course culminates in musical performance with or exhibition of completed design projects. A $50 lab fee will be added to your bill upon enrollment in this course. See http://ccrma.stanford.edu/.
Terms: Win | Units: 3-4 | Repeatable for credit
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