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MUSIC 80: Russian Modernists: Stravinsky & Shostakovich

An examination and comparison of the lives and music of Igor Stravinsky and Dmitri Shostakovich, two of the most important Modernist composers of the 20th century. Although both composers were Russians closely affiliated with St. Petersburg, their lives diverged dramatically, with Stravinsky pursuing an international career in the West while Shostakovich spent his entire life in the USSR after the Russian Revolution. Major compositions, including symphonies, operas, chamber music, and keyboard works, will be covered, as well as key writings by and about both composers. The ability to read music, while beneficial, is not required. This course must be taken for a letter grade to be eligible for Ways credit.
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Phillips, P. (PI)

MUSIC 102: Picturing Performance, Re-Envisioning the Arts (MUSIC 202)

Critical and creative exploration of the performing body as captured on film. Viewing/listening includes musicals, dance and opera on film, music video, experimental film and video, and moments of heightened musicality in feature film. Focus on examples of moving media that possess a kinship with music through gesture, rhythm or affect and through visual parameters like décor, lighting, texture, camera movement and editing. Requirements include choosing and documenting a live performance, producing a short audiovisual work involving post-production, and weekly reading and viewing/listening assignments. No previous videomaking experience required. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.
Terms: Spr | Units: 2-4 | UG Reqs: WAY-A-II, WAY-CE | Repeatable for credit | Grading: Letter or Credit/No Credit

MUSIC 118: Musics and Appropriation Throughout the World (AFRICAAM 218, CSRE 118D)

This course critically examines musical practices and appropriation through the amplification of intersectionality. We consider musics globally through recourse to ethnomusicological literature and critical race theories. Our approach begins from an understanding that the social and political contexts where musics are created, disseminated, and consumed inform disparate interpretations and meanings of music, as well as its sounds. Our goal is to shape our ears to hear the effects of slavery, colonialism, capitalism, nationalism, class, gender difference, militarism, and activism. We interrogate the process of appropriating musics throughout the world by making the power structures that shape privileges and exclusions audible.
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

MUSIC 122A: Counterpoint

Analysis and composition of contrapuntal styles from the Renaissance and Baroque periods. Use of keyboard, ear training, and sight singing underlies all written work. Prerequisites: MUSIC 23 and MUSIC 24C; passing piano-proficiency examination; or, consent of instructor.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

MUSIC 122B: Analysis of Tonal Music

Complete movements, or entire shorter works of the 18th and 19th centuries, are analyzed in a variety of theoretical approaches. Prerequisites: MUSIC 23 and MUSIC 24C; passing piano-proficiency examination; or, consent of instructor.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

MUSIC 133: Food, Text, Music: A Multidisciplinary Lab on the Art of Feasting (FRENCH 166, FRENCH 266, FRENCH 366, MUSIC 333)

Students cook a collection of unfamiliar recipes each week while learning about the cultural milieus in which they originated. The course focuses on the fourteenth and fifteenth centuries, a time of great banquets that brought together chefs, visual artists, poets, musicians, and dancers. Students read late-medieval cookbooks under the guidance of professional chefs, learn songs and poetry with the help of visiting performers, and delve into a burgeoning scholarly literature on food history and sensory experience. We will also study trade routes and food networks, the environmental impact of large-scale banquets, the science of food, and the politics of plenty. This course may count towards the Medieval component of the French major, and corresponds to DLCL 121, a course requirement for the Medieval Studies Minor. Students interested in applying for course must email both professors (mgalvez@stanford.edu, jrodin@stanford.edu) by 30 November with a statement of up to 350 words that includes: (a) reasons for wanting to take the class; (b) relevant background in cooking/medieval studies/etc.; (c) stated commitment to attend all ten course meetings; and (d) any dietary restrictions/preferences.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter (ABCD/NP)

MUSIC 135: Harmonic Convergence: Music's Intersections with Science, Mathematics, History, and Literature

Topics include music and the brain; tuning and temperament; musical form; connections between music and mathematics; and readings in history and literature with strong musical elements. Readings include "The Power of Music" (Mannes), "Musicophilia" (Sacks), "From Music to Mathematics" (Roberts), "The Kreutzer Sonata" (Tolstoy), "A Clockwork Orange" and "Honey for the Bears" (Burgess). Compositions by Bach, Mozart, Beethoven, Debussy, Schoenberg, Stravinsky, Shostakovich, and others will be studied. Goals: increased understanding of music's relationship to other fields; improved writing skills. While ability to read music is not required, students with musical ability will be encouraged to perform relevant works in class.
Terms: not given this year, last offered Winter 2018 | Units: 3 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit

MUSIC 141J: Studies in Music of the Renaissance (MUSIC 241J)

Prerequisites: MUSIC 21, MUSIC 40. (WIM at 4-unit level only.)
Terms: not given this year | Units: 2-4 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable for credit | Grading: Letter or Credit/No Credit

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

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 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Hadlock, H. (PI)

MUSIC 143J: Studies in Music of the Classical Period: Franz Joseph Haydn (MUSIC 243J)

Music and Musicians in the Age of EnlightenmentnPrerequisites: MUSIC 22, MUSIC 41. (WIM at 4-unit level only.)
Terms: given next year, last offered Autumn 2014 | Units: 3-4 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable for credit | Grading: Letter (ABCD/NP)
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