Music

MUSIC 1A. Music, Mind, and Human Behavior. 3 Units.

An introductory exploration of the question of why music is a pervasive and fundamental aspect of human existence. The class will introduce aspects of music perception and cognition as well as anthropological and cultural considerations.

MUSIC 1SI. Introduction to Indian Classical Music. 1 Unitss.

MUSIC 2C. An Introduction to Opera. 3 Units.

The lasting appeal of opera as a lavishly hybrid genre from the 1600s to the present. How and why does opera set its stories to music? What is operatic singing? Who is the audience? How do words, music, voices, movement, and staging collaborate in different operatic eras and cultures? Principal works by Monteverdi, Handel, Mozart, Verdi, Wagner, Strauss, Britten, and Adams. Class studies and attends two works performed by the San Francisco Opera.

MUSIC 4SI. Interactive Introduction to North American Taiko. 1 Unitss.

Taught by Stanford Taiko members. Techniques and history. No experience necessary. May be repeated for credit. This course was initiated by Mitchell Fukumoto and Stanford Taiko.

MUSIC 5G. Introduction to Gu-Zheng. 1 Unitss.

Introduction to Chinese music through learning how to play Gu-Zheng, a 21-stringed traditional Chinese instrument. The cultural, social, and historical significance of Gu-Zheng. 15 Gu-Zheng techniques, how to read Chinese music and Gu-Zheng notation, and two simple classic Gu-Zheng pieces. May be repeated for credit a total of 14 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee and signup information.(AU).

MUSIC 6SI. Professional Development for Music Students. 1 Unitss.

Many people struggle to connect their authentic, heart-felt dreams with a tangible action plan, regardless of how much clarity they have on their career goals. This is especially true for college-level musicians as they decide on graduate programs and career choices, evaluating whether music will be the focus of their professional lives, a valued hobby on the side, or something in between. This course is designed to empower students to ask themselves the questions "how do I define success and fulfillment?" "what role will music play in my professional and personal life?", and "how can I shape the educational experience and career that will serve my long-term goals?" This course was initiated by student Jennifer Chernick.

MUSIC 8A. Rock, Sex, and Rebellion. 3 Units.

Development of critical listening skills and musical parameters through genres in the history of rock music. Focus is on competing aesthetic tendencies and subcultural forces that shaped the music. Rock's significance in American culture, and the minority communities that have enriched rock's legacy as an expressively diverse form. Lectures, readings, listening, and video screenings.

MUSIC 10AX. Science of Sound. 2 Units.

Science of Sound will explore sound and sound-related technology from the perspectives of mathematics, physics, and acoustics. Scientists and engineers will have a chance to apply their technical knowledge to the field of music while musicians will learn how sound behaves physically and how it can be recorded, processed, and reproduced. Using the newly opened Bing Concert Hall as a focal point, we will study the science of sound recording, room acoustics, and multi-channel mixing and playback. Students will use what they learn to create short multi-channel compositions using special techniques to place sounds spatially. These pieces will be performed during the annual outdoor Summer CCRMA Transitions concert and again during the Fall 2013 CCRMA concert at Bing Concert Hall. We will use the recently published textbook by Jay Kadis entitled Science of Sound Recording as our primary text and incorporate plenty of hands-on experience with sound equipment and electronics.

MUSIC 11AX. An Operatic Play: Mozart's 7 Deadly Sins. 2 Units.

This course is centered on the operatic repertoire of W.A. Mozart (1756-1791). Students of singing and acting will learn scenes from some of the world's most loved operas. Simultaneously they will develop their own play to be performed at the end of the course. This play will be linked to the Mozart operatic scenes studied, and the finished product will be a continuous narrative. Similarly, the instrumentalists will prepare an "overture" by Mozart appropriate to the enrolled ensemble (i.e. duo/trio/quartet etc.). They will then put their arrangement skills to the test as they adapt the music of the opera scenes to their particular ensemble.

MUSIC 11N. A View from the Podium: The Art of Conducting. 3 Units.

How a conductor interprets music, realizes a personal vision through the rehearsal process, and communicates with orchestra and audience. Conducting as based on human communication skills. How to apply these lessons to other fields of endeavor.

MUSIC 11Q. Art in the Metropolis. 2 Units.

This seminar is offered in conjunction with the annual "Arts Immersion" trip to New York that takes place over the spring break and is organized by the Stanford Arts Institute (SAI). Participation in the trip is a requirement for taking part in the seminar (and vice versa). The trip is designed to provide a group of students with the opportunity to immerse themselves in the cultural life of New York City guided by faculty and the SAI programming director. Students will experience a broad range and variety of art forms (visual arts, theater, opera, dance, etc.) and will meet with prominent arts administrators and practitioners, some of whom are Stanford alumni. For further details and updates about the trip, see http://artsinstitute.stanford.edu.

MUSIC 12A. Introductory Piano Class. 1 Unitss.

"(A=level 1; B=level 2; C=level 3)There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee and signup information.Class is closed by design. Please register on the waitlist and show up on the first day of class to receive a permission number for enrollment. Preference to department majors".

MUSIC 12B. Introductory Piano Class. 1 Unitss.

This class is closed by design. To enroll, please sign up on the Axess waitlist and show up on the first day to receive a permission number for re-enrollment. Your place on the waitlist will be considered a reservation. If the waitlist is closed, there are no more spaces in the class. (A=level 1; B=level 2; C=level 3) Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee and signup information.

MUSIC 12C. Introductory Piano Class. 1 Unitss.

This class is closed by design. To enroll, please sign up on the Axess waitlist and show up on the first day to receive a permission number for re-enrollment. Your place on the waitlist will be considered a reservation. If the waitlist is closed, there are no more spaces in the class. (A=level 1; B=level 2; C=level 3.) May be repeated for credit a total of 14 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee and signup information.

MUSIC 12SC. Musical Collisions and Radical Creativity. 2 Units.

The margins of musical culture; nonconformist, maverick, and eccentric creative impulses that expand the definition of art. Laboratory atmosphere and daily rehearsals in which students create collaborative works with a final public concert involving collaborations with local musicians and presentations of student-composed works created during the course.

MUSIC 13Q. Classical Music and Politics: Western Music in Modern China. 3 Units.

Preference to sophomores. Social history, cultural studies, China studies, international relations, and music. From the Italian Jesuit, Matteo Ricci who presented a clavichord to the Chinese emperor to the emergence of a modern generation of Chinese musicians.

MUSIC 13SC. Performing America: The Broadway Musical. 2 Units.

This seminar explores how the themes, characters, stories, and, above all, the songs of the Broadway musical have played a key role in forming ideas of American identity from the early 20th century to the present. Musical theater is a perennial site for negotiating social themes of race, class, gender roles, and sexual identity. The American musical has been in constant dialogue with vernacular song and dance idioms, from ragtime and early jazz to rock, pop, disco, hip-hop, and electronic dance music. Jazz musicians have regularly looked to musical theater for their ¿standards,¿ as have talent shows from the vaudeville era to American Idol. Disney musicals, the television series Glee and Smash, and the High School Musical franchise all illustrate how ¿musicals¿ serve as a medium for negotiating personal identity from childhood through early adulthood, staging the conflicts and attachments that define our everyday lives while connecting these with the culture we live in through the collective medium of song. We will look at a variety of influential historical musicals (Oklahoma, Guys and Dolls, Gypsy, The Music Man, West Side Story) and a few recent shows such as Wicked, Hairspray, Bloody Bloody Andrew Jackson, American Idiot, and The Book of Mormon, asking what the relation is between individual numbers and the overall themes and structures of the shows. How do lyrics and music combine in a successful song, and how does a song contribute to shape of the show? How do the dynamics of live theater relate to the presentation of musicals in the mediums of film and television? In addition to working on selected songs and scenes with the help of Stanford voice and drama faculty, students will attend, discuss, and review Bay area productions (San Jose, San Francisco), including the Broadway by the Bay (Redwood City) production of Cabaret opening on September 13, 2013. Grading will be based on class discussion, production analysis and reviews, and a choice between a final creative project and a short research paper.

MUSIC 17N. The Operas of Mozart. 3 Units.

Preference to freshmen. Four of Mozart's mature operas, the earliest works in the operatic repertoire never to go out of fashion. What accounts for this extraordinary staying power? Focus on the history of their composition, performance, and reception, and their changing significance from Mozart's time to the present.

MUSIC 17Q. Perspectives in North American Taiko. 4 Units.

Preference to sophomores. Taiko, or Japanese drum, is a newcomer to the American music scene. Emergence of the first N. American taiko groups coincided with increased Japanese American activism, and to some it is symbolic of Japanese American identity. N. American taiko is associated with Japanese American Buddhism. Musical, cultural, historical, and political perspectives of taiko. Hands-on drumming. Japanese music and Japanese American history, and relations among performance, cultural expression, community, and identity.

MUSIC 18A. Jazz History: Ragtime to Bebop, 1900-1940. 3 Units.

From the beginning of jazz to the war years.

MUSIC 18B. Jazz History: Bebop to Present, 1940-Present. 3 Units.

Modern jazz styles from Bebop to the current scene. Emphasis is on the significant artists of each style.

MUSIC 19A. Introduction to Music Theory. 3 Units.

For non-music majors and Music majors or minors unable to pass the proficiency test for entry to MUSIC 21. The fundamentals of music theory and notation, basic sight reading, sight singing, ear training, keyboard harmony; melodic, rhythmic, and harmonic dictation. Skill oriented, using piano and voice as basic tools to develop listening and reading skills.

MUSIC 19B. Intermediate Music Theory. 3 Units.

This course is an introduction to music theory geared toward students who have basic literacy skills (i.e. fundamental notation, identifying major and minor scales, keys, etc). Using musical materials from repertoire selected from campus and area concerts, and incorporating the opportunity to attend these concerts, the course will introduce elements of harmony, melody, form, orchestration and arrangement. The course is an appropriate successor to MUSIC 19A. Students who successfully complete MUSIC 19B can go on directly to MUSIC 21.

MUSIC 20A. Jazz Theory. 3 Units.

Introduces the language and sounds of jazz through listening, analysis, and compositional exercises. Students apply the fundamentals of music theory to the study of jazz. Prerequisite: 19 or consent of instructor.

MUSIC 20B. Advanced Jazz Theory. 3 Units.

Approaches to improvisation through listening and transcribing, and developing familiarity with important contributors to this music. Topics: scale theory, altered dominants, and substitute harmony. Prerequisite: 20A or consent of instructor.

MUSIC 21. Elements of Music I. 4 Units.

Preference to majors. Introduction to tonal theory. Practice and analysis. Diatonic harmony focusing on melodic and harmonic organization, functional relationships, voice-leading, and tonal structures. Ear-training and keyboard-harmony skills; analytical methods and listening strategies.Enrollment limited to 40. Prerequisites: (1) Piano Proficiency Exam (must be passed within the first two weeks of the term) or MUSIC 12A (may be taken concurrently); (2) Passing grade on a basic musical skills proficiency examination on the first day of class or MUSIC 19.

MUSIC 22. Elements of Music II. 4 Units.

Preference to majors. Introduction to chromatic harmony focusing on secondary functions, modulations, harmonic sequences, mode mixture, and the Neapolitan, and augmented sixth chords. Analysis of musical forms and harmonizations complemented by harmonic and melodic dictation, sight singing, and other practical skills. Prerequisites: (1) MUSIC 21; (2) Piano Proficiency Exam or MUSIC 12B (may be taken concurrently).

MUSIC 23. Elements of Music III. 4 Units.

Preference to majors. Continuation of chromatic harmony, complex forms, and introduction to early 20th-century techniques. Satisfactory passage of ear-training proficiency exam, part of the course's final, is a requirement for course completion and for continuation in the major sequence. Prerequisites: (1) MUSIC 22; (2) Piano Proficiency Exam or MUSIC 12C (may be taken concurrently).

MUSIC 30N. A Stranger in a Strange Land: Jewish Musics in Translation. 3 Units.

What does it mean to be a stranger in a strange land? For centuries Jewish people have struggled to shape their identities in unfamiliar surroundings, using music to remember the past and generate new, hybrid identities. In this class we adopt the metaphor of translation to think about how minority Jewish communities bridge distinct languages, musical idioms, and cultural practices. Our theme will take us on a journey across time and space¿from Italy to India, New York, Syria, Russia, and Israel. We consider the case of Salamone Rossi, a 17th-century Italian Jewish composer who moved uneasily between dual careers in the synagogue and a secular/Christian court. We also explore a group of Indian Jews (Bene Israel) who combine idioms learned from Jewish and Christian missionaries with local Hindu musical traditions. In all our examples musicians translate languages, musical styles, and cultures to unite memories of a Jewish past with the realities of minority status in the present. The class format includes listening, discussion, some singing, student presentations, and guest lectures.
Same as: JEWISHST 30N.

MUSIC 33N. The Beethoven Project. 3 Units.

This seminar is designed to coincide with the opening of the Bing Concert Hall in January 2013. During this first season a variety of events will be taking place on campus under the rubric "The Beethoven Project," including performances of all nine symphonies and all five piano concertos. In addition to offering an introduction to the music of Beethoven, especially that being performed in Bing, the course will consider broader questions of biography and reception history. How have images of the composer and the fortunes of his music changed over time? How did his compositions come to define the paradigm of Western classical music? What impact has he had on popular culture? The class will include concert visits and film screenings, and is open to all levels of musical expertise (the ability to read music is not a requirement).

MUSIC 34N. Performing America: The Broadway Musical. 3 Units.

Musical theater as a site for the construction of American identity in the twentieth century. Negotiations of class, race, gender, and sexuality; intersections with jazz, rock, and pop. Individual shows (Showboat, Oklahoma, The Music Man, West Side Story, Chicago, Wicked, Bloody Bloody Andrew Jackson), the role of American popular song (show tunes) in jazz performance, the musical in contemporary film and television. Arrangement, performance, reviews of local productions.

MUSIC 36N. Humor in Music. 3 Units.

Through theoretical readings the course will touch on psychological and neurological bases of humor, explore contingent, tactical, modal, and ontological difficulties in the apprehension of humor, and address ethical issues surrounding humor in music. In addition to in-class listening and screening sessions, analytic discussions will be led by students who will find and present examples of humor in music. Students will also be invited to compose original humorous song lyrics and to create collaborative works of musical humor.

MUSIC 38N. Singing Early Music. 3 Units.

Preference to freshmen. 15th- and 16th-century musical repertories and their contexts; performance practice.

MUSIC 40. Music History to 1600. 4 Units.

Pre- or corequisite: 21.

MUSIC 41. Music History 1600-1830. 4 Units.

Pre- or corequisite: 22.

MUSIC 42. Music History Since 1830. 4 Units.

Pre- or corequisite: 23.

MUSIC 65A. Voice Class I. 1 Unitss.

Group (7 students to a section) beginning voice (A = level 1; B = level 2). May be repeated for credit. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. This class is closedby design. Please register on the waitlist and show up on the first day of class to receive a permission number for enrollment.

MUSIC 65B. Voice Class II. 1 Unitss.

Group (7 students to a section) beginning voice for the non-major (A = level 1; B = level 2). May be repeated for credit. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. This class is closed by design. Please register on the waitlist and show up on the first day of class to receive a permission number for enrollment.

MUSIC 72A. Intermediate Piano Class. 1 Unitss.

For intermediate students. May be repeated for credit a total of 14 times. Prerequisites: 12C or equivalent, audition. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fee and signup information. This class is closed by design. Please register on the waitlist and show up on the first day of class to receive a permission number for enrollment.

MUSIC 72C. Harpsichord Class. 1 Unitss.

For beginning harpsichord students who have keyboard skills. May be repeated for credit a total of 14 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. Admission based on instructor consent. Contact instructor prior to enrolling to discuss availability. Class meets in Braun 201.

MUSIC 72D. Jazz Piano Class. 1 Unitss.

By invitation only; priority to majors and jazz-ensemble participants. May be repeated for credit a total of 14 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information.

MUSIC 73. Intermediate Voice Class. 1 Unitss.

For intermediate students. Admission by audition. May be repeated for credit a total of 14 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. This class is closed by design. Please register on the Axess waitlist and show up on the first day of class to receive a permission number for enrollment.

MUSIC 74C. Classical Guitar Class. 1 Unitss.

May be repeated for credit a total of 14 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information.

MUSIC 74D. Harp Class. 1 Unitss.

May be repeated for credit a total of 14 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information.

MUSIC 75B. Renaissance Wind Instruments Class. 1 Unitss.

May be repeated for credit. There is a fee for this class. Please visit http://music.stanford.edu for class fees and signup information.

MUSIC 76. Brass Instruments Class. 1 Unitss.

May be repeated for credit a total of 14 times. There is a fee for this class. Please visit http://music.stanford.edu for class fees and signup information.

MUSIC 77. Percussion Class. 1 Unitss.

May be repeated for credit a total of 14 times. There is a fee for this class. Please visit http://music.stanford.edu for class fees and signup information.

MUSIC 121. Analysis of Tonal Music. 4 Units.

Complete movements, or entire shorter works of the 18th and 19th centuries, are analyzed in a variety of theoretical approaches. Prerequisites: 23 or consent of instructor; and pass the ear-training and piano-proficiency examinations.

MUSIC 122A. Renaissance and Baroque Counterpoint. 4 Units.

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: 23 and successful completion of the ear-training and piano-proficiency examinations.

MUSIC 122B. Harmonic Materials of 19th Century. 4 Units.

Analysis of 19th-century music, with compositional exercises based on 19th-century models. Prerequisites: 23 or consent of instructor; and pass the ear-training and piano-proficiency examinations.

MUSIC 122C. Introduction to 20th-Century Composition. 4 Units.

Contemporary works, with emphasis on music since 1945. Projects in free composition based on 20th-century models. Prerequisites: 23 or consent of instructor; and pass the ear-training and piano-proficiency examinations.

MUSIC 123. Undergraduate Seminar in Composition. 3 Units.

Current trends in composition. May be repeated for credit a total of 7 times. Prerequisites: Music major; 23 or consent of instructor.

MUSIC 124. Computer Assisted Musical Composition using the LISP-based Visual Programming Language PWGL. 1-3 Units.

PWGL is a free visual music programming language that is designed for computer-assisted composition, music analysis, software synthesis, and music notation. The course will concentrate on modeling algorithms for the creation of compositional systems and musical analysis. No prior programming experience needed.

MUSIC 125. Individual Undergraduate Projects in Composition. 1-3 Units.

May be repeated for credit a total of 14 times. Prerequisites: music major, and one quarter of 123.

MUSIC 126. Introduction to Thoroughbass. 1-3 Units.

The development of continuo techniques and skills for figured-bass realization. Performance and analysis of selected repertoire, using thoroughbass principles and exercises based on historical theoretical treatises. Prerequisite: 21.

MUSIC 127. Instrumentation and Orchestration. 3 Units.

Individual instruments, instrumental groups within the orchestra, and combinations of groups. Arrangements from piano to orchestral music. Score analysis with respect to orchestration. Practical exercises using chamber ensembles and school orchestra. Prerequisite: 23.

MUSIC 128. Stanford Laptop Orchestra: Composition, Coding, and Performance. 1-5 Units.

Classroom instantiation of the Stanford Laptop Orchestra (SLOrk) which includes public performances. An ensemble of more than 20 humans, laptops, controllers, and special speaker arrays designed to provide each computer-mediated instrument with its sonic identity and presence. Topics and activities include issues of composing for laptop orchestras, instrument design, sound synthesis, programming, and live performance. May be repeated four times for credit.
Same as: CS 170.

MUSIC 130A. Introduction to Conducting. 3 Units.

Baton techniques and rehearsal procedures. The development of coordination of the members of the body involved in conducting; fluency in beat patterns and meters; dynamics, tempi, cueing, and use of the left hand in conducting. Prerequisites: 121 and diagnostic musicianship exam given first day of class; preference to students who have completed 122B.

MUSIC 130B. Elementary Orchestral Conducting. 3 Units.

Prerequisites: 127 or previous orchestral performance experience, 130A.

MUSIC 130C. Elementary Choral Conducting. 3 Units.

Techniques specific to the conducting of choral ensembles: warm-ups, breathing, balance, blend, choral tone, isolation principles, recitative conducting, preparation, and conducting of choral/orchestral works. Prerequisite: 130A.

MUSIC 140. Studies in Medieval Music. 3-4 Units.

Prerequisites: MUSIC 21, MUSIC 40. (WIM at 4-unit level only.)
Same as: MUSIC 240.

MUSIC 141. Studies in Renaissance Music. 2-4 Units.

Prerequisites: MUSIC 21, MUSIC 40. (WIM at 4-unit level only.)
Same as: MUSIC 241.

MUSIC 142. Studies in Baroque Music. 3-4 Units.

Prerequisites: MUSIC 22, MUSIC 41. (WIM at 4-unit level only.)
Same as: MUSIC 242.

MUSIC 143. Studies in Classic Music. 3-4 Units.

Prerequisites: MUSIC 22, MUSIC 41. (WIM at 4-unit level only.)
Same as: MUSIC 243.

MUSIC 144. Studies in Romantic Music. 3-4 Units.

Prerequisites: MUSIC 23, MUSIC 42 (WIM at 4-unit level only.)
Same as: MUSIC 244.

MUSIC 145. Studies in Modern Music. 4 Units.

Prerequisites: MUSIC 23, MUSIC 42. (WIM at 4-unit level only.)
Same as: MUSIC 245.

MUSIC 146. Music and Urban Film. 3-4 Units.

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.)
Same as: MUSIC 246.

MUSIC 147. The Soul Tradition in African American Music. 3-4 Units.

The African American tradition of soul music from its origins in blues, gospel, and jazz to its influence on today's r&b, hip hop, and dance music. Style such as rhythm and blues, Motown, Southern soul, funk, Philadelphia soul, disco, Chicago house, Detroit techno, trip hop, and neo-soul. Soul's cultural influence and global reach; its interaction with politics, gender, place, technology, and the economy. Pre-/corequisite (for music majors): MUSIC 22. (WIM at 4 units only.)
Same as: AMSTUD 147, MUSIC 247.

MUSIC 147A. Music Ethnography of the Bay Area. 3-5 Units.

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 fieldnotes, recording, transcription, analysis, and ethnographic writing. Pre-/corequisite (for music majors): MUSIC 22. (WIM at 4- or 5-unit level only.)
Same as: MUSIC 247A.

MUSIC 148. Musical Shakespeare: Theater, Song, Opera, and Film. 3-5 Units.

The role of music in productions, adaptations, and interpretations of Shakespeare's plays as theater, opera, and film from the Elizabethan era through the present. Emphasis is on the role of songs, stage music, and music in operatic and film adaptations. Incidental music, orchestral tone poems, and art-song settings of lyrics from the plays. Plays include Romeo and Juliet, Othello, Macbeth, Hamlet, The Tempest, Midsummer Night's Dream, and Twelfth Night. Pre-/corequisite (for music majors): MUSIC 22. (WIM at 4- or 5-unit level only.)
Same as: MUSIC 248.

MUSIC 149. Reactions to the Record: Interpreting Beethoven. 3-4 Units.

Seminar. Beethoven performance styles in the era of recordings in light of their roots in cultural trends, including shifting hierarchies between composer and performer, work and notation, text and act. Early recordings as documents of musical values and conceptions different from those around us today. Methodologies of performance analysis explored and used to contextualize sources, which include historic recordings from Stanford's Archive of Recorded Sound, performance documents, and field research with performers, composers, critics, and listeners. Repertoire includes works for orchestra, piano, strings, chamber ensemble and voice. Previous research from seminar participants has been featured in Reactions to the Record symposia. May be repeated for credit. Pre- or corequisite (for music majors): MUSIC 22. (WIM at 4-unit level only.)
Same as: MUSIC 249.

MUSIC 150. Musical Acoustics. 3 Units.

The physics of vibrating systems, waves, and wave motion. Time- and frequency-domain analysis of sound. Room acoustics, reverberation, and spatialization. The acoustics of musical instruments: voice, strings, and winds. Emphasis is on the practical aspects of acoustics in making music. Hands-on and computer-based lab. See http://ccrma.stanford.edu/courses/150/.

MUSIC 154. History of Electronic Music. 1-5 Units.

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.

MUSIC 154A. Sound Art I. 4 Units.

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)
Same as: ARTSTUDI 131.

MUSIC 155. Intermedia Workshop. 3-4 Units.

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
Same as: ARTSTUDI 239, MUSIC 255.

MUSIC 156. "sic": Improvisation Collective. 1 Unitss.

Small ensemble devoted to learning trans-idiomatic improvisation techniques and composing indeterminate pieces in a workshop setting. One major concert. Prerequisite: access to an instrument. Improvisational experience and conventional instrumental virtuosity not required. May be repeated for credit for a total of 3 times.

MUSIC 158. Soundwire Ensemble. 2-3 Units.

Stanford's Internet2-based Soundwire Ensemble rehearses with the East Coast Tintinnabulate Ensemble directed by Pauline Oliveros, Rensselaer Polytechnic Institute. Concerts, composition, and improvisation projects using resources available when connecting with remote musicians. State-of-the-art audio and video technology developed by ensemble participants. May be repeated for credit.

MUSIC 159. Early Music Singers. 1 Unitss.

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 14 times.

MUSIC 160. Stanford Symphony Orchestra. 1 Unitss.

70- to 100-member ensemble performing major orchestral works; minimum one concert per quarter. May be repeated for credit a total of 14 times.

MUSIC 160A. Stanford Philharmonia Orchestra. 1 Unitss.

Prerequisite: audition, one year of 160, or consent of instructor. May be repeated for credit.

MUSIC 160B. Stanford New Ensemble. 1 Unitss.

Performing compositions of the 20th century, recent works of this century, and new works by Stanford faculty and student composers. Musicians collaborate with composers and artists visiting and performing at Stanford. One concert per quarter. May be repeated for credit.

MUSIC 160S. Summer Orchestra. 1 Unitss.

50- to 100-member ensemble performing major orchestral works. May be repeated for credit.

MUSIC 161A. Stanford Wind Ensemble. 1 Unitss.

40- to 50-member ensemble performing transcriptions of symphonic music, brass band music, and repertoire composed specifically for symphonic band. One concert per quarter. May be repeated for credit a total of 14 times.

MUSIC 161B. Jazz Orchestra. 1 Unitss.

Big band format. Repertoire drawn primarily from the contemporary jazz-ensemble literature. One formal concert per quarter. May be repeated for credit a total of 14 times.

MUSIC 161C. Red Vest Band. 1 Unitss.

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 all men's and women's home basketball games and travel to some away and post-season games. Twice-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 7 times.

MUSIC 161D. Stanford Brass Ensemble. 1 Unitss.

Performance of works for full brass choir and for smaller ensembles of brass instruments. Once weekly rehearsals. May be repeated for credit. Prerequisite: audition and consent of instructor.

MUSIC 162. Symphonic Chorus. 1 Unitss.

180- to 200-voice choral ensemble, performing major choral masterworks with orchestra. One concert per quarter. May be repeated for credit a total of 14 times.

MUSIC 163. Memorial Church Choir. 1 Unitss.

Official choir of Memorial Church, furnishing music for Sunday services and special occasions in the church calendar. May be repeated for credit a total of 14 times.

MUSIC 165. Chamber Chorale. 1 Unitss.

Select 24-voice choral ensemble, specializing in virtuoso choral repertoire from all periods of Western art music. Annual touring commitment required. May be repeated for credit a total of 14 times.

MUSIC 167. University Singers. 1 Unitss.

Select, 50-voice choral ensemble, performing choral repertoire from all periods of Western art music. May be repeated for credit a total of 14 times.

MUSIC 167S. Summer Chorus. 1 Unitss.

80- to 100-voice non-auditioned ensemble, performing major choral masterworks and choral repertoire from all periods of Western art music.

MUSIC 169. Stanford Taiko. 1 Unitss.

Select 15- to 18-member North American taiko ensemble, performing all-original repertoire for Japanese drums. Multiple performances in Winter and Spring quarters, also touring; instrument construction and maintenance. Admission by audition in Autumn Quarter only. May be repeated for credit a total of 14 times.

MUSIC 170. Collaborative Piano. 1 Unitss.

Performance class in a workshop setting. Techniques of collaboration with vocalists and instrumentalists in repertoire ranging from songs and arias to sonatas and concertos. Prerequisite: private-lesson proficiency level in piano, or consent of instructor.

MUSIC 171. Chamber Music. 1 Unitss.

Audition required. Weekly one-hour coachings from Music department faculty. Classical string quartets and piano/string groups are supervised by the St. Lawrence String Quartet. Two masterclasses and one performance per quarter are required. May be repeated for credit.

MUSIC 172A. Piano. 1-3 Units.

Private lessons and group master class weekly. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 172B. Organ. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 172C. Harpsichord. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 172D. Jazz Piano. 1-3 Units.

By invitation only; priority to majors and jazz-ensemble participants. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 172E. Fortepiano. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 172F. Carillon. 1-3 Units.

May be repeated for credit a total of 14 times.

MUSIC 173. Voice. 1-3 Units.

Private lessons and group master classes weekly. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 174A. Violin. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 174B. Viola. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 174C. Violoncello. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 174D. Contrabass. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 174E. Viola Da Gamba. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 174F. Classical Guitar. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 174G. Harp. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 174H. Baroque Violin. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 174I. Jazz Bass. 1-3 Units.

Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 174J. Jazz Guitar. 1-3 Units.

Individual lessons in jazz guitar.

MUSIC 175A. Flute. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 175B. Oboe. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 175C. Clarinet. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 175D. Bassoon. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 175E. Recorder/Renaissance Wind Instruments. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 175F. Saxophone. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 175G. Baroque Flute. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 176A. French Horn. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 176B. Trumpet. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 176C. Trombone. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 176D. Tuba. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 177. Percussion. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 182. Diction for Singers. 1 Unitss.

The international phonetic alphabet and its application to German, French, and Italian vocal literature. Open also to pianists interested in vocal coaching and choral conducting.

MUSIC 183A. German Art Song Interpretation. 1 Unitss.

By audition only. For advanced singers and pianists as partners. Performance class in a workshop setting. Composers include Beethoven, Schubert, Wolf and Strauss. May be repeated for credit a total of 2 times. Enrollment limit: 20 (ten singers maximum). Prerequisite: consent of instructor. Recommended prerequisite: 170 (pianists) or 182 (singers).

MUSIC 183B. French Art Song Interpretation. 1 Unitss.

By audition only. For advanced singers and pianists as partners. Performance class in a workshop setting. Composers include Fauré, Debussy, Ravel and Poulenc. May be repeated for credit a total of 2 times. Enrollment limit: 20 (ten singers maximum). Prerequisite: consent of instructor. Recommended prerequisite: 170 (pianists) or 182 (singers).

MUSIC 184. Vocal Repertory Workshop. 1-3 Units.

This course is a practical workshop in vocal repertoire. Each quarter¿s offering emphasizes a specific genre or period, therefore the course can be repeated with permission of the instructor. In addition to broadening the student¿s knowledge of vocal repertoire, the following skills are developed: text preparation, foreign language translation and diction; historically informed performance practice; editorial practice through comparison or preparation; rehearsal for performance and/or recording. Prerequisite: vocal or instrumental instruction, as the class is open to singers or collaborative artists.

MUSIC 185. Music Across Media: Music Video to Postclassical Cinema. 4 Units.

What makes music videos, YouTube clips and musical numbers in today's films engaging? What makes them tick? This course emphasizes aesthetics and close reading. We will try to figure out how music videos and its related forms work. To do so, we consider uses of the body, how visual iconography operates, what lyrics and dialogue can do, how and what music can say, and how it can work with other media. We will be concerned with questions of representation ¿ how class, ethnicity, gender, race and nationality function. The course also examines viewership and industry practices.
Same as: FILMSTUD 141, FILMSTUD 341, MUSIC 385.

MUSIC 186. Religion and Music in South Asia. 4-5 Units.

How music and other arts in South Asia are intertwined with religion. Classical, devotional, folk, and popular examples introduce Gods as musicians, sound as God, music as yoga, singing as devotion, music as ¿ecstasy¿-inducing, music as site for doctrinal argument, music and religion as vehicles for nationalism. Co-taught by professors of Music and Religious Studies, focusing Hinduism and Islam in India, Pakistan, and the diaspora. Music practice along with academic study; guest artists and films; no background required.
Same as: MUSIC 286, RELIGST 159, RELIGST 259.

MUSIC 187. Music and Culture from the Land of Fire: Introduction to Azerbaijani Mugham. 1-5 Units.

Nestled in the Caucasus, Azerbaijan is a crossroads between East and West; its rich musical heritage contains threads of Turkish, Central Asian, Persian, Caucasian, Russian, and Arabic traditions. In this course, master-musician Imamyar Hasanov teaches students to perform and appreciate Azeri music. Content includes classical mugham, Eastern theory, improvisation and microtonality. We¿ll discuss Azeri music culture, supplemented by guest lecturers and Skype¿ interviews with musicians in Azerbaijan. Open to students with any experience playing a musical instrument (including voice). No previous experience with Azeri music necessary. Supported by the SF World Music Festival. Free dinners included. Questions? Email k.barghelame@gmail.com.

MUSIC 192A. Foundations of Sound-Recording Technology. 3 Units.

For upper division undergraduates and graduate students; preference given to Music majors with MST specialization. Topics: elementary electronics; the physics of sound transduction and microphone operation, selection, and placement; mixing consoles; connectors and device interconnection; grounding and shielding; principles of analog magnetic recording; operation maintenance of recording equipment; and principles of recording engineering. Enrollment limited. Prerequisites: MUSIC 150, algebra, physics basics, and consent of instructor.

MUSIC 192B. Advanced Sound Recording Technology. 3 Units.

Topics: noise reduction techniques; dynamics and time-delay audio effects; the principles of digital audio; disk- and tape-based digital recorders; digital audio workstations and editing; advanced multitrack techniques; SMPTE and MIDI time code and device synchronization; MIDI sequencing and synchronization. See http://ccrma.stanford.edu/courses/. Prerequisite: 192A.

MUSIC 192C. Session Recording. 1-2 Units.

Independent engineering of recording sessions. May be repeated for credit a total of 14 times. Prerequisites: 192A,B.

MUSIC 197. Undergraduate Teaching Apprenticeship. 1-2 Units.

Work in an apprentice-like relationship with faculty teaching a student-initiated course. Prerequisite: consent of instructor. (Staff).

MUSIC 198. Concentrations Project. 4 Units.

For concentration program participants only. Must be taken in senior year. Multiple concentrators may enroll in one section of 198 per concentration.

MUSIC 199. Independent Study. 1-5 Units.

For advanced undergraduates and graduate students who wish to do work outside the regular curriculum. Before registering, student must present specific project and enlist a faculty sponsor. May be repeated for credit a total of 14 times.

MUSIC 200. Graduate Proseminar. 3-4 Units.

Required of first-year graduate students in music. Introduction to research in music, bibliographical materials, major issues in the field, philosophy, and methods in music history. Guest lecturers and individual research topics.

MUSIC 201. CCRMA Colloquium. 1 Unitss.

Weekly review of work being done in the field, research taking palce at CCRMA, and tools to make the most of the CCRMA technical facilities.

MUSIC 220A. Fundamentals of Computer-Generated Sound. 2-4 Units.

Techniques for digital sound synthesis, effects, and reverberation. Topics: summary of digital synthesis techniques (additive, subtractive, nonlinear, wavetable, spectral-modeling, and physical-modeling); digital effects algorithms (phasing, flanging, chorus, pitch-shifting, and vocoding); and techniques for digital reverberation. Majors (undergraduate or graduate) must take for 4 units. See http://ccrma.stanford.edu/.

MUSIC 220B. Compositional Algorithms, Psychoacoustics, and Computational Music. 2-4 Units.

The use of high-level programming language as a compositional aid in creating musical structures. Advanced study of sound synthesis techniques. Simulation of a reverberant space and control of the position of sound within the space. See http://ccrma.stanford.edu/. Prerequisite: 220A.

MUSIC 220C. Research Seminar in Computer-Generated Music. 2-4 Units.

Individual projects in composition, psychoacoustics, or signal processing. See http://ccrma.stanford.edu. May be repeated for credit. Prerequisite: 220B.

MUSIC 220D. Research in Computer-Generated Music. 1-10 Units.

Independent research projects in composition, psychoacoustics, or signal processing. See http://ccrma.stanford.edu/. May be repeated for credit. Prerequisite: 220C.

MUSIC 221. Topics in the History of Theory. 3-5 Units.

The intersection of music theory and compositional practice in different eras of Western music history. Primary sources in music theory and issues such as notation, rhythm, mode, dissonance treatment, counterpoint, tonality, form, rhetoric, affect and imitation, expression, linear analysis, 12-tone and set theory, in light of relevant repertoire and modern scholarship. May be repeated for credit a total of 5 times.

MUSIC 222. Sound in Space. 1-4 Units.

Historical background, techniques and theory on the use of space in music composition and diffusion. Listening and analysis of relevant pieces. Experimental work in spatialization techniques leading to short studies to be diffused in concert at the end of the quarter.

MUSIC 223. Composition for Electronic Musicians. 1-4 Units.

Composition for any combination of acoustic and electroacoustic instrumentation, computer-generated sound, invented instruments, sound-sculptures, and multi-disciplinary elements including theater and visual media. Project-based laboratory to advance original student works, supported by lectures on the fundamentals of composition. Concert performance of final works. Taught at CCRMA with a focus on engendering deliberate conversation on the enrichment of a cultural context for new media. Open to undergraduates and graduates.

MUSIC 223M. Sound, Structure, and Machines. 3 Units.

By instructor approval. Emphasis is on using computers to build systems that apply algorithmic or stochastic processes to assist in detailed control over timbre and the creation or manipulation of musical structures and spatial properties in real-time. Topics include: Algorithmic and stochastic methods, sound design, FM synthesis, drum programming, spatialization, aesthetics, tool building, musical structures, reverberation, sequencing. Group and project based with lectures. Final live performance. Concepts presented primarily with Max/MSP/Max4Live software. To apply: https://ccrma.stanford.edu/courses/223M. Enrollment limited to 20.

MUSIC 223T. Computer Music Improvisation and Algorithmic Performance. 2-4 Units.

This seminar will investigate how to approach configuring a set of composition tools for real time composition. Composition programming, ensemble rehearsal, and performance. Determining algorithmic composition beginning by imagining a process or a structure, applying a mapping process to transform that structure (which resides in the conceptual domain), into sound (which may reveal the original conception). Investigation of gestural mapping that occurs when a sonic result is achieved by an act of interpretation, whether it be reading a score and/or improvising.

MUSIC 230. Advanced Orchestral Conducting. 2-4 Units.

May be repeated for credit a total of 8 times. Prerequisite: 130B.

MUSIC 231. Advanced Choral Conducting. 2-4 Units.

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.

MUSIC 236. Future Media, Media Archaeologies. 3-4 Units.

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.
Same as: ARTSTUDI 236.

MUSIC 240. Studies in Medieval Music. 3-4 Units.

Prerequisites: MUSIC 21, MUSIC 40. (WIM at 4-unit level only.)
Same as: MUSIC 140.

MUSIC 241. Studies in Renaissance Music. 2-4 Units.

Prerequisites: MUSIC 21, MUSIC 40. (WIM at 4-unit level only.)
Same as: MUSIC 141.

MUSIC 242. Studies in Baroque Music. 3-4 Units.

Prerequisites: MUSIC 22, MUSIC 41. (WIM at 4-unit level only.)
Same as: MUSIC 142.

MUSIC 243. Studies in Classic Music. 3-4 Units.

Prerequisites: MUSIC 22, MUSIC 41. (WIM at 4-unit level only.)
Same as: MUSIC 143.

MUSIC 244. Studies in Romantic Music. 3-4 Units.

Prerequisites: MUSIC 23, MUSIC 42 (WIM at 4-unit level only.)
Same as: MUSIC 144.

MUSIC 245. Studies in Modern Music. 4 Units.

Prerequisites: MUSIC 23, MUSIC 42. (WIM at 4-unit level only.)
Same as: MUSIC 145.

MUSIC 246. Music and Urban Film. 3-4 Units.

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.)
Same as: MUSIC 146.

MUSIC 247. The Soul Tradition in African American Music. 3-4 Units.

The African American tradition of soul music from its origins in blues, gospel, and jazz to its influence on today's r&b, hip hop, and dance music. Style such as rhythm and blues, Motown, Southern soul, funk, Philadelphia soul, disco, Chicago house, Detroit techno, trip hop, and neo-soul. Soul's cultural influence and global reach; its interaction with politics, gender, place, technology, and the economy. Pre-/corequisite (for music majors): MUSIC 22. (WIM at 4 units only.)
Same as: AMSTUD 147, MUSIC 147.

MUSIC 247A. Music Ethnography of the Bay Area. 3-5 Units.

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 fieldnotes, recording, transcription, analysis, and ethnographic writing. Pre-/corequisite (for music majors): MUSIC 22. (WIM at 4- or 5-unit level only.)
Same as: MUSIC 147A.

MUSIC 248. Musical Shakespeare: Theater, Song, Opera, and Film. 3-5 Units.

The role of music in productions, adaptations, and interpretations of Shakespeare's plays as theater, opera, and film from the Elizabethan era through the present. Emphasis is on the role of songs, stage music, and music in operatic and film adaptations. Incidental music, orchestral tone poems, and art-song settings of lyrics from the plays. Plays include Romeo and Juliet, Othello, Macbeth, Hamlet, The Tempest, Midsummer Night's Dream, and Twelfth Night. Pre-/corequisite (for music majors): MUSIC 22. (WIM at 4- or 5-unit level only.)
Same as: MUSIC 148.

MUSIC 249. Reactions to the Record: Interpreting Beethoven. 3-4 Units.

Seminar. Beethoven performance styles in the era of recordings in light of their roots in cultural trends, including shifting hierarchies between composer and performer, work and notation, text and act. Early recordings as documents of musical values and conceptions different from those around us today. Methodologies of performance analysis explored and used to contextualize sources, which include historic recordings from Stanford's Archive of Recorded Sound, performance documents, and field research with performers, composers, critics, and listeners. Repertoire includes works for orchestra, piano, strings, chamber ensemble and voice. Previous research from seminar participants has been featured in Reactions to the Record symposia. May be repeated for credit. Pre- or corequisite (for music majors): MUSIC 22. (WIM at 4-unit level only.)
Same as: MUSIC 149.

MUSIC 250A. Physical Interaction Design for Music. 3-4 Units.

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. See http://ccrma.stanford.edu/.

MUSIC 250B. Interactive Sound Art. 1-4 Units.

A project based course where students will create Interactive Sound Art Installations focusing on the acoustical properties of reverberation. See http://ccrma.stanford.edu/courses/250b/.

MUSIC 251. Psychophysics and Music Cognition. 1-5 Units.

Lecture, lab and experiment-based course in perception, psychoacoustics, cognition, and neuroscience of music. (WIM at 4 or 5 units only.).

MUSIC 252. Introduction to Music Notation Software. 1-2 Units.

Learn to use music notation programs Finale®, Sibelius® and open-source alternatives.

MUSIC 253. Symbolic Musical Information. 2-4 Units.

Focus on symbolic data for music applications including advanced notation systems, optical music recognition, musical data conversion, and internal structure of MIDI files.
Same as: CS 275A.

MUSIC 254. Music Query, Analysis, and Style Simulation. 2-4 Units.

Leveraging off three synchronized sets of symbolic data resources for notation and analysis, the lab portion introduces students to the open-source Humdrum Toolkit for music representation and analysis. Issues of data content and quality as well as methods of information retrieval, visualization, and summarization are considered in class. Grading based primarily on student projects. Prerequisite: 253 or consent of instructor.
Same as: CS 275B.

MUSIC 255. Intermedia Workshop. 3-4 Units.

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
Same as: ARTSTUDI 239, MUSIC 155.

MUSIC 256A. Music, Computing, and Design I: Software Paradigms for Computer Music. 1-4 Units.

Software design and implementation for computer audio. Strategies, best practices, and tradeoffs in building audio software systems of various sizes (S, M, L, XL), with a focus on interactive (real-time) systems. Lectures examine high-level designs as well as dissect code in a hands-on manner. Course work includes small programming assignments and a final software project. This course is the prerequisite for MUSIC 256B. Prerequisite: experience in C/C++ and/or Java.
Same as: CS 476A.

MUSIC 256B. Music, Computing, Design II: Mobile Music. 1-4 Units.

Aesthetic, design, and implementation of mobile music, centered around the modern super smartphones such as the iPhone). Similarities and intrinsic differences between mobile and traditional computing and design for music. Topics include mobile software design, social and cloud computing, mobile interface design, and programming phones, in the service of music. Prerequisite: MUSIC 256A.
Same as: CS 476B.

MUSIC 257. Neuroplasticity and Musical Gaming. 3-5 Units.

What changes in a musician's brain after hours and years of daily practice? How do skills that make a great violinist transfer to other abilities? Can directed neuroplasticity be used to target skill learning? This course will include fundamentals of psychoacoustics and auditory neuroscience. Focus will be development of video games that use perceptually motivated tasks to drive neural change. Emphasis will be on music, linguistic, and acoustic based skills. Programming experience is highly recommended, but not required.

MUSIC 260. Music of South Asia. 3-4 Units.

Focuses on the history, theory, and practice of South Asian music with particular emphasis on the classical traditions of North and South India. Also addresses regional folk, popular, and devotional musical styles of India, Pakistan, and Afghanistan. Topics include: raga, tala, vocal and instrumental genres, improvisation, aesthetics, music transmission, musical nationalism, social organization of musicians, music and ritual, music and gender, and technology. Lecture with discussion, some singing (no experience necessary), guest performances, reading, listening, and analysis.

MUSIC 269. Research in Performance Practices. 1-5 Units.

Directed reading and research. May be repeated for credit a total of 5 times.

MUSIC 272A. Advanced Piano. 1-3 Units.

Private lessons and group masterclass weekly. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 272B. Advanced Organ. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 272C. Advanced Harpsichord. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 272D. Advanced Jazz Piano. 1-3 Units.

By invitation only; priority to majors and jazz-ensemble participants. May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 272E. Advanced Fortepiano. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 272F. Advanced Carillon. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 273. Advanced Voice. 1-3 Units.

Private lessons and group master class weekly. May be repeated for credit. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 274A. Advanced Violin. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 274B. Advanced Viola. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 274C. Advanced Violoncello. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 274D. Advanced Contrabass. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 274E. Advanced Viola da Gamba. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.htmlfor class fees and audition information.

MUSIC 274F. Advanced Classical Guitar. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 274G. Advanced Harp. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 274H. Advanced Baroque Violin. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 274I. Advanced Jazz Bass. 1-3 Units.

Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 274J. Advanced Jazz Guitar. 1-3 Units.

Individual lessons in jazz guitar. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 275A. Advanced Flute. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 275B. Advanced Oboe. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 275C. Advanced Clarinet. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 275D. Advanced Bassoon. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 275E. Advanced Recorder/Renaissance Wind Instruments. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 275F. Advanced Saxophone. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 275G. Advanced Baroque Flute. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 276A. Advanced French Horn. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 276B. Advanced Trumpet. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 276C. Advanced Trombone. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 276D. Advanced Tuba. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 277. Advanced Percussion. 1-3 Units.

May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information.

MUSIC 280. TA Training Course. 1 Unitss.

Required for doctoral students serving as teaching assistants. Orientation to resources at Stanford, guest presentations on the principles of common teaching activities, supervised teaching experience. Students who entered in the Autumn should take 280 in the Spring prior to the Autumn they begin teaching.

MUSIC 286. Religion and Music in South Asia. 4-5 Units.

How music and other arts in South Asia are intertwined with religion. Classical, devotional, folk, and popular examples introduce Gods as musicians, sound as God, music as yoga, singing as devotion, music as ¿ecstasy¿-inducing, music as site for doctrinal argument, music and religion as vehicles for nationalism. Co-taught by professors of Music and Religious Studies, focusing Hinduism and Islam in India, Pakistan, and the diaspora. Music practice along with academic study; guest artists and films; no background required.
Same as: MUSIC 186, RELIGST 159, RELIGST 259.

MUSIC 300A. Medieval Notation. 4 Units.

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

MUSIC 300B. Renaissance Notation. 4 Units.

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

MUSIC 301A. Analysis of Music: Modal. 4 Units.

MUSIC 301B. Analysis of Music: Tonal. 4 Units.

MUSIC 301C. Analysis of Music: Post-Tonal. 4 Units.

Current analytical trends, issues, and methods.

MUSIC 302. Research in Musicology. 1-5 Units.

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

MUSIC 310. Research Seminar in Musicology. 3-5 Units.

For graduate students. Topics vary each quarter. May be repeated for credit a total of 8 times.

MUSIC 312A. Aesthetics and Criticism of Music, Ancients and Moderns: Plato to Nietzsche. 4 Units.

For graduate students. Primary texts focusing on the nature, purposes, and uses of music and other arts.

MUSIC 312B. Aesthetics and Criticism of Music, Contemporaries: Heidegger to Today. 4 Units.

For graduate students. Primary texts focusing on the nature, purposes, and uses of music and other arts.

MUSIC 318. Advanced Acoustics. 1-5 Units.

Current topics. May be repeated for credit.

MUSIC 319. Research Seminar on Computational Models of Sound Perception. 1-3 Units.

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.

MUSIC 320. Introduction to Digital Audio Signal Processing. 3-4 Units.

Digital signal processing for music and audio research. Topics: complex numbers, sinusoids, spectrum representation, sampling and aliasing, digital filters, frequency response, z transforms, transfer-function analysis, and associated Matlab software. See http://ccrma.stanford.edu/courses/320/.

MUSIC 321. Readings in Music Theory. 1-5 Units.

Directed reading and research. May be repeated for credit a total of 5 times.

MUSIC 323. Doctoral Seminar in Composition. 3-4 Units.

Illustrated discussions of compositional issues and techniques. Presentation of relevant topics, including students' own compositional practice. May be repeated for credit a total of 14 times.

MUSIC 324. Graduate Composition Forum. 1 Unitss.

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.

MUSIC 325. Individual Graduate Projects in Composition. 1-5 Units.

May be repeated for credit.

MUSIC 330. Musicology Dissertation Colloquium. 1-4 Units.

Weekly meetings for all musicology students 4th year and beyond to discuss research and writing strategies, share and critique work in progress, and discuss issues in professional development (preparing abstracts, conference papers, C.V. and job interviews, book reviews, submitting articles for publication). Open to 3rd-year students.

MUSIC 341. Ph.D Dissertation. 1-10 Units.

May be repeated for credit a total of 5 times.

MUSIC 351. Seminar in Music Perception and Cognition. 1-3 Units.

A seminar on topics in music perception and cognition. Students will study and discuss recent research as well as design and implement experiments.

MUSIC 385. Music Across Media: Music Video to Postclassical Cinema. 4 Units.

What makes music videos, YouTube clips and musical numbers in today's films engaging? What makes them tick? This course emphasizes aesthetics and close reading. We will try to figure out how music videos and its related forms work. To do so, we consider uses of the body, how visual iconography operates, what lyrics and dialogue can do, how and what music can say, and how it can work with other media. We will be concerned with questions of representation ¿ how class, ethnicity, gender, race and nationality function. The course also examines viewership and industry practices.
Same as: FILMSTUD 141, FILMSTUD 341, MUSIC 185.

MUSIC 390. Practicum Internship. 1 Unitss.

On-the-job training under the guidance of experienced, on-site supervisors. Meets the requirements for curricular practical training for students on F-1 visas. Students submit a concise report detailing work activities, problems worked on, and key results. May be repeated for credit. Prerequisite: qualified offer of employment and consent of adviser.

MUSIC 399. D.M.A. Final Project. 1-10 Units.

May be repeated for credit a total of 5 times.

MUSIC 420A. Signal Processing Models in Musical Acoustics. 3-4 Units.

Computational methods in musical sound synthesis and digital audio effects based on acoustic physical models. Topics: acoustic simulation with delay lines, digital filters, and nonlinear elements; comb filters; allpass filters; artificial reverberation; delay-line interpolation and sampling-rate conversion; phasing, flanging, and chorus effects; efficient computational models of strings, woodwinds, brasses, and other musical instruments. See http://ccrma.stanford.edu/courses/420/. Prerequisites: 320 or equivalent; PHYSICS 21 or equivalent course applying Newton's laws of motion; and CS 106B or equivalent programming in C and C++.

MUSIC 420B. Software for Sound Synthesis and Audio Effects. 1-10 Units.

Preferred software embodiments for digital sound synthesis and audio effects. Topics: The Faust language for audio signal processing, effects programming, plugin generation for various platforms, software components for stringed and wind musical instruments, delay effects, variable filters, and nonlinear effects such as compression and distortion. The principal activity is a software project due at the end of the quarter. Prerequisite: MUSIC 420A or equivalent experience with audio signal processing in C++. Recommended Corequisite: MUSIC 424.

MUSIC 421A. Audio Applications of the Fast Fourier Transform. 3-4 Units.

Spectrum analysis and signal processing using Fast Fourier Transforms (FFTs) with emphasis on audio applications. Topics: Fourier theorems; FFT windows; spectrum analysis; spectrograms; sinusoidal modeling; spectral modeling synthesis; FFT convolution; FIR filter design and system identification; overlap-add and filter-bank-summation methods for short-time Fourier analysis, modification, and resynthesis. See http://ccrma.stanford.edu/courses/421/. Prerequisite: MUSIC 320 or equivalent background in spectrum analysis and linear systems.
Same as: FFT.

MUSIC 421B. Projects in Spectral Audio Signal Processing. 1-10 Units.

Frequency-domain methods for analysis and/or synthesis of sound. The principal activity is a software project. Continuing 421A, additional frequency-domain techniques for analysis, modification, and/or synthesis of audio signals will be discussed.

MUSIC 422. Perceptual Audio Coding. 3 Units.

History and basic principles: development of psychoacoustics-based data-compression techniques; perceptual-audio-coder applications (radio, television, film, multimedia/internet audio, DVD, EMD). In-class demonstrations: state-of-the-art audio coder implementations (such as AC-3, MPEG) at varying data rates; programming simple coders. Topics: audio signals representation; quantization; time to frequency mapping; introduction to psychoacoustics; bit allocation and basic building blocks of an audio codec; perceptual audio codecs evaluation; overview of MPEG-1, 2, 4 audio coding and other coding standards (such asAC-3). Prerequisites: knowledge of digital audio principles, familiarity with C programming. Recommended: 320, EE 261. See http://ccrma.stanford.edu/.

MUSIC 423. Graduate Research in Music Technology. 1-4 Units.

Research discussion, development, and presentation by graduate students, visiting scholars, and CCRMA faculty in the areas of music and/or audio technology. See http://ccrma.stanford.edu/courses/423/ for latest information. May be repeated for credit a total of 11 times.

MUSIC 424. Signal Processing Techniques for Digital Audio Effects. 3-4 Units.

Techniques for dynamic range compression, reverberation, equalization and filtering, panning and spatialization, digital emulation of analog processors, and implementation of time-varying effects. Single-band and multiband compressors, limiters, noise gates, de-essers, convolutional reverberators, parametric and linear-phase equalizers, wah-wah and envelope-following filters, and the Leslie. Students develop effects algorithms of their own design in labs. Prerequisites: digital signal processing, sampling theorem, digital filtering, and the Fourier transform at the level of 320 or EE 261; Matlab and modest C programming experience. Recommended: 420 or EE 264; audio effects in mixing and mastering at the level of 192.