Undergraduate courses in Music

Students with training in theory should take the placement exam given at the beginning of each quarter for admission to more advanced courses. Students must not assume that they may begin study with MUSIC 21.

MUSIC 4SI. Interactive Introduction to North American Taiko

Taught by Stanford Taiko members. Techniques and history. No experience necessary. May be repeated for credit.

1 unit, Win (Sano, S)

MUSIC 5G. Introduction to Guzheng

Introduction to Chinese music through learning how to play guzheng, a 21-stringed traditional Chinese instrument. The cultural, social, and historical significance of guzheng. 15 guzheng techniques, how to read Chinese music and guzheng notation, and two simple classic guzheng pieces. May be repeated for credit a total of 14 times. (AU)

1 unit, Aut (You, H), Win (You, H), Spr (You, H)

MUSIC 6A. Musical Treasures of Asia

Introduction to the music of Asian cultures emphasizing China, India, Indonesia, Japan, and Korea. Ethnic, social, cultural, and global perspectives. Instruments and ensembles in performance contexts such as sacred rituals and secular dance and theater. Traditional genres and their impact on contemporary composers. No musical background required. GER:DB-Hum, EC-GlobalCom

3 units, Win (Kapuscinski, J)

MUSIC 7A. World Music and Globalized Culture

The circulation of musicians, audiences, instruments and other musical technologies, songs, recordings, and musical genres. What happens when music moves from rural to urban contexts, across national boundaries, into new mediascapes and technological regimes? Emphasis is on recent developments. Topics include: Arabic, Chinese, and Hindustani classical music; hip hop's global reach; carnival in the Americas; Bollywood film; music, Islam, and the state; attempts at creating pan-Asian pop; the spread of the guitar and the brass band; ringtones and mobile music; YouTube.

3 units, Aut (Kronengold, C)

MUSIC 8A. Rock, Sex, and Rebellion

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. GER:DB-Hum, EC-AmerCul

3 units, Spr (Applebaum, M), alternate years, not given next year

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

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. GER:DB-Hum

3 units, not given this year

MUSIC 11Q. The Allure of Chamber Music

Preference to sophomores. Why is it that an intimate setting for a small group of independent instruments has engendered some of the most expressive works in the history of music? Class attends chamber music concerts, seeking to comprehend the setting in projecting that meaning. Preparation for each concert includes reading, listening, and discussion of the music to be performed; performer interviews when possible. Written reports on the concerts attended. GER:DB-Hum

3 units, not given this year

MUSIC 12A. Introductory Piano Class

(A=level 1; B=level 2; C=level 3)

1 unit, Aut (Zerlang, T), Win (Zerlang, T), Spr (Zerlang, T), Sum (Zerlang, T)

MUSIC 12B. Introductory Piano Class

(A=level 1; B=level 2; C=level 3)

1 unit, Aut (Zerlang, T), Win (Zerlang, T), Spr (Zerlang, T), Sum (Zerlang, T)

MUSIC 12C. Introductory Piano Class

(A=level 1; B=level 2; C=level 3.) May be repeated for credit a total of 14 times.

1 unit, Aut (Zerlang, T), Win (Zerlang, T), Spr (Zerlang, T), Sum (Zerlang, T)

MUSIC 13N. Art versus Pop

Preference to freshmen. High versus low and prestigious versus vernacular constructs in contemporary Western musical culture. The functions these boundaries serve; how authority and legitimacy are conferred within each; the marginality (or not) of the art world; whether these divisions are appropriate descriptions of the current cultural landscape. Survey of pop art transgressions journeying through baroque, heavy metal, the romantic symphony, art rock, surrealism, psychedelia, opera, glam rock, Varèse, Zappa, Stockhausen, The Beatles, King Crimson, minimalism, jazz, Stravinsky, and Babbitt. Paper presentation. GER:DB-Hum

4 units, not given this year

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

(S,Sem) Stanford Introductory Seminar. 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. GER:DB-Hum, EC-GlobalCom

3 units, Spr (Cai, J)

MUSIC 14N. Women Making Music

(F,Sem) Stanford Introductory Seminar. Preference to freshmen. Women's musical activities across times and cultures; how ideas about gender influence the creation, performance, and perception of music. GER:DB-Hum, EC-Gender

3 units, Aut (Hadlock, H)

MUSIC 15N. The Role of Technology in the Arts

Preference to freshmen. The aesthetic, sociological, and historical aspects of technology as it relates to the arts. Focus is on cinema, the history of recording, and electronic and computer music. Field trips to galleries, shows, museums. Students develop and complete a project on an aspect of art technology. Examples of past projects include historical, technical, and sociological aspects of hip-hop, rave, interactive art installations, computer games, and performance art. GER:DB-Hum

3 units, not given this year

MUSIC 15Q. Topics in American Music

American music as a central element in the quest for a national artistic expression that reflects the social order that forms it: pluralistic, multicultural, largely immigrant, democratic, and combining elements of its cultivated and vernacular traditions. Ballads, blues, band music, musical comedy, minstrel, missions music, American Indian music, country music, rags, rock, rhythm-and-blues, jazz, spirituals, swing, shape-notes. GER:DB-Hum, EC-AmerCul

3 units, not given this year

MUSIC 16N. Music, Myth, and Modernity: Wagner's Ring Cycle and Tolkien's Lord of the Rings

(F,Sem) (Same as GERLIT 16N.) Stanford Introductory Seminar. Preference to freshmen. Roots of Wagner's operatic cycle and Tolkien's epic trilogy in a common core of Norse, Germanic, and Anglo-Saxon mythology. The role of musical motive and characterization in Wagner's music dramas and the film version of Tolkien's trilogy. Music as a key element in the psychological, political, and cultural revision of ancient myth in modern opera and film. GER:DB-Hum, EC-GlobalCom

3 units, Spr (Grey, T)

MUSIC 17N. The Operas of Mozart

(F,Sem) Stanford Introductory Seminar. 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. GER:DB-Hum

3 units, Win (Berger, K)

MUSIC 17Q. Perspectives in North American Taiko

(S,Sem) Stanford Introductory Seminar. 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. GER:DB-Hum, EC-AmerCul

4 units, Spr (Sano, S; Uyechi, L)

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

From the beginning of jazz to the war years. GER:DB-Hum, EC-AmerCul

3 units, Win (Berry, F)

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

Modern jazz styles from Bebop to the current scene. Emphasis is on the significant artists of each style. GER:DB-Hum, EC-AmerCul

3 units, Spr (Berry, F)

MUSIC 19. Introduction to Music Theory

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. GER:DB-Hum

3 units, Aut (Berger, T), Spr (Berger, T)

MUSIC 20A. Jazz Theory

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. GER:DB-Hum

3 units, Aut (Nadel, J)

MUSIC 20B. Advanced Jazz Theory

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. GER:DB-Hum

3 units, Win (Nadel, J), alternate years, not given next year

MUSIC 20C. Jazz Arranging and Composition

Jazz arranging and composition for small ensembles. Foundation for writing for big band. Prerequisite: 20A or consent of instructor.

3 units, alternate years, not given this year

MUSIC 21. Elements of Music I

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. Concurrent enrollment in MUSIC 12 (Piano) or demonstration of keyboard skills sufficient to pass the Piano Proficiency Exam within the first two weeks of the term is required. Enrollment limited to 40. Prerequisite: pass a basic musical skills proficiency examination on first day of class; students who do not pass may take MUSIC 19. GER:DB-Hum

4 units, Aut (Aquilanti, G), Win (Berger, T)

MUSIC 22. Elements of Music II

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: 21 or consent of instructor; demonstration of keyboard skills sufficient to pass the Piano Proficiency Exam within the first two weeks of the term is required, or concurrent enrollment in MUSIC 12. GER:DB-Hum

4 units, Win (Aquilanti, G), Spr (Berger, T)

MUSIC 23. Elements of Music III

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: 22 or consent of instructor; demonstration of keyboard skills sufficient to pass the Piano Proficiency Exam within the first two weeks of the term is required, or concurrent enrollment in MUSIC 12. GER:DB-Hum

4 units, Aut (Berger, T), Spr (Ulman, E)

MUSIC 37N. Ki ho'alu: The New Renaissance of a Hawaiian Musical Tradition

(F,Sem) Stanford Introductory Seminar. Preference to freshman. Developed in the Hawaiian Islands during the 1830s, ki ho'alu, or Hawaiian slack key guitar, is an art form experiencing newfound popularity coinciding with the growth of political activism in Hawaiian culture. The musical, cultural, historical, and political perspectives of Hawaiian music and ki ho'alu, through hands-on experience, readings, discussion, and workshops. Hawaiian music and history and relationships among performance, cultural expression, community, and identity. GER:DB-Hum, EC-AmerCul

3 units, Aut (Sano, S)

MUSIC 38N. Singing Early Music

(F,Sem) Stanford Introductory Seminar. Preference to freshmen. 15th- and 16th-century musical repertories and their contexts; performance practice. GER:DB-Hum

3 units, Spr (Rodin, J)

MUSIC 40. Music History to 1600

Pre- or corequisite: 23. GER:DB-Hum

4 units, Aut (Rodin, J)

MUSIC 41. Music History 1600-1830

Pre- or corequisite: 23. GER:DB-Hum

4 units, Win (Hadlock, H)

MUSIC 42. Music History Since 1830

Pre- or corequisite: 23. GER:DB-Hum

4 units, Spr (Grey, T)

MUSIC 65A. Voice Class I

Group (7 students to a section) beginning voice for the non-major (A = level 1; B = level 2). May be repeated for credit.

1 unit, Aut (Linduska, M), Win (Giovannetti, C), Spr (Giovannetti, C), Sum (Linduska, M)

MUSIC 65B. Voice Class II

Group (7 students to a section) beginning voice for the non-major (A = level 1; B = level 2). May be repeated for credit.

1 unit, Aut (Linduska, M), Win (Giovannetti, C), Spr (Giovannetti, C), Sum (Linduska, M)

MUSIC 72A. Intermediate Piano Class

For intermediate students. May be repeated for credit a total of 14 times. Prerequisites: 12C or equivalent, audition.

1 unit, Aut (Zerlang, T), Win (Zerlang, T), Spr (Zerlang, T), Sum (Zerlang, T)

MUSIC 72B. Organ Class

For beginning organ students who have keyboard skills. May be repeated for credit a total of 14 times.

1 unit, Aut (Morgan, R), Win (Morgan, R), Spr (Morgan, R)

MUSIC 72C. Harpsichord Class

For beginning harpsichord students who have keyboard skills. May be repeated for credit a total of 14 times.

1 unit, Aut (Thornburgh, E), Win (Thornburgh, E), Spr (Thornburgh, E)

MUSIC 72D. Jazz Piano Class

By invitation only; priority to majors and jazz-ensemble participants. May be repeated for credit a total of 14 times.

1 unit, Aut (Low, M), Win (Low, M), Spr (Low, M)

MUSIC 73. Intermediate Voice Class

For intermediate students. Admission by audition. May be repeated for credit a total of 14 times.

1 unit, Aut (Linduska, M), Win (Giovannetti, C), Spr (Giovannetti, C)

MUSIC 74C. Classical Guitar Class

May be repeated for credit a total of 14 times.

1 unit, Aut (Ferguson, C), Win (Ferguson, C), Spr (Ferguson, C)

MUSIC 74D. Harp Class

May be repeated for credit a total of 14 times.

1 unit, Aut (Chauvel, M), Win (Chauvel, M), Spr (Chauvel, M)

MUSIC 75B. Renaissance Wind Instruments Class

May be repeated for credit.

1 unit, Aut (Myers, H), Win (Myers, H), Spr (Myers, H)

MUSIC 76. Brass Instruments Class

May be repeated for credit a total of 14 times.

1 unit, Aut (Kenley, M), Win (Kenley, M), Spr (Kenley, M)

MUSIC 77. Percussion Class

May be repeated for credit a total of 14 times.

1 unit, Aut (Veregge, M), Win (Veregge, M), Spr (Veregge, M)

MUSIC 120. Auditory Remapping of Bioinformatics

Representation of data related to bioinformatics and medical imaging. Physiological and perceptual perspectives. Representations of complexity in sound and types of auditory display applied to representation of data sets. Term project involving developing tools for sonification and/or applying these tools to a representation problem. Recommended: basic knowledge and interest in music, computer programming, or one of the biological sciences. GER:DB-EngrAppSci

1-3 units, not given this year

MUSIC 121. 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: 23 or consent of instructor; and pass the ear-training and piano-proficiency examinations. GER:DB-Hum

4 units, Win (Ulman, E)

MUSIC 122A. Eighteenth-Century Counterpoint

Analysis and composition of two- and three-part inventions and three- and four-voice fugues. Use of keyboard, ear training, and sight singing. Prerequisites: 23 or consent of instructor; and pass the ear-training and piano-proficiency examinations. GER:DB-Hum

4 units, Spr (Rodin, J)

MUSIC 122B. Harmonic Materials of 19th Century

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. GER:DB-Hum

4 units, Win (Ulman, E)

MUSIC 122C. Introduction to 20th-Century Composition

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. GER:DB-Hum

4 units, Aut (Ulman, E)

MUSIC 123. Undergraduate Seminar in Composition

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

3 units, Aut (Kapuscinski, J)

MUSIC 125. Individual Undergraduate Projects in Composition

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

1-3 units, Aut (Staff), Win (Staff), Spr (Staff)

MUSIC 126. Introduction to Thoroughbass

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.

1-3 units, Win (Berger, T)

MUSIC 127. Instrumentation and Orchestration

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. GER:DB-Hum

3 units, Aut (Aquilanti, G)

MUSIC 128. Composition, Coding, and Performance with SLOrk

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.

1-5 units, Spr (Wang, G)

MUSIC 128X. Composing, Coding, and Performance for Laptop Orchestra (Extended)

Composing, coding, and performing with the medium of the laptop orchestra. Prerequisite: MUSIC 128 and consent of instructor.

1 unit, Aut (Wang, G), Win (Wang, G)

MUSIC 130A. Introduction to Conducting

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.

3 units, Aut (Morgan, R), alternate years, not given next year

MUSIC 130B. Elementary Orchestral Conducting

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

3 units, Spr (Cai, J), alternate years, not given next year

MUSIC 130C. Elementary Choral Conducting

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.

3 units, Win (Wait, G), alternate years, not given next year

MUSIC 140. Studies in Medieval Music

(Same as MUSIC 240.) May be repeated for credit. Pre- or corequisite: 23 GER:DB-Hum

3-4 units, alternate years, not given this year

MUSIC 141. Studies in Renaissance Music

(Same as MUSIC 241.) May be repeated for credit. Pre- or corequisite: 23. GER:DB-Hum

3-4 units, not given this year

MUSIC 142. Studies in Baroque Music

(Same as MUSIC 242.) May be repeated for credit. Pre- or corequisite: 23. GER:DB-Hum

3-4 units, not given this year

MUSIC 143. Studies in Classic Music

(Same as MUSIC 243.) May be repeated for credit. Pre- or corequisite: 23. GER:DB-Hum

3-4 units, Spr (Hadlock, H)

MUSIC 144. Studies in Romantic Music

(Same as MUSIC 244.) May be repeated for credit. Pre or corequisite: 23. GER:DB-Hum

3-4 units, not given this year

MUSIC 145. Studies in Modern Music

(Same as MUSIC 245.) May be repeated for credit. Pre- or corequisite: 23. GER:DB-Hum

3-4 units, not given this year

MUSIC 149. Reactions to the Record: Early Recordings, Lost Styles, and Music's Future

(Same as MUSIC 249.) Seminar. The transformation of musical style, audience expectations, the composer-performer relationship, and the musical score from the late 1800s to the present. Sources include: recordings from Stanford's Archive of Recorded Sound; recordings of (Brahms, Debussy, Rachmaninoff, Saint-Saëns, Prokofiev, Bartók; concert programs; interviews; and reviews. Readings include Hamilton's After the Golden Age and Philip's Performing Music in the Age of Recording. Emphasis is on voice, strings, piano, chamber music, and orchestra. Guest residencies in conjunction with January 2009 symposium; see http://music.stanford.edu/Events/StanfordMusicSymposium/. May be repeated for credit. Pre- or corequisite: 23 or consent of instructor. GER:DB-Hum

3-4 units, Aut (Barth, G; Arul, K)

MUSIC 150. Musical Acoustics

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/. Prerequisites: music performance/composition experience, basic algebra, calculus, and physics. GER:DB-EngrAppSci

3 units, Win (Rossing, T)

MUSIC 151. Psychophysics and Cognitive Psychology for Musicians

Concepts and experiments relevant to the use of sound, especially synthesized, in music. Listening to sound examples. Emphasis is on salience and the importance of various auditory phenomena in music. See http://ccrma.stanford.edu/. Prerequisite: basic knowledge of music. GER:DB-Hum, WIM

4 units, Win (Berger, J; Menon, V)

MUSIC 152. Anthropology of Sound, Identity, and Place

(Same as ANTHRO 127A.) The ethnography of sound; challenges and opportunities in representing and interpreting the music, noise, and silence of human cultures. Readings include work that avoids, engages with, distorts, and celebrates sound. Goal is for the students to develop critical theories and techniques. Guest lecturer is MacArthur Fellow Steven Feld. Fieldwork includes making recordings; final project.

5 units, Win (Diehl, K)

MUSIC 154. Composition and Performance of Instrumental Music with Electronics

Aesthetic and analytical issues of mixed instrumental and electronic works. Focus is on one or a few works leading to a public performance at the end of the quarter. Prerequisite: experience in analysis of contemporary music and in electronic music. May be repeated for credit once.

1-5 units, Spr (Ruviaro, B)

MUSIC 156. "sic": Improvisation Collective

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.

1 unit, Aut (Applebaum, M)

MUSIC 157. Introduction to Mariachi Ensemble

Introduction to the practice of mariachi music, tradition, and history. Focus is on learning traditional sones, rancheras, huapangos, and boleros. Requirements: ability to play and access to instruments (violin, trumpet, guitar, vihuela, and guitarron). May be repeated for credit.

1 unit, Aut (Staff), Win (Staff), Spr (Staff)

MUSIC 158. Soundwire Ensemble

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.

2-3 units, Win (DiPietro, R)

MUSIC 159. Early Music Singers

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.

1 unit, Aut (Mahrt, W), Win (Mahrt, W), Spr (Mahrt, W)

MUSIC 160. Stanford Symphony Orchestra

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

1 unit, Aut (Cai, J), Win (Cai, J), Spr (Cai, J)

MUSIC 160A. Stanford Philharmonia Orchestra

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

1 unit, Aut (Cai, J), Win (Cai, J), Spr (Cai, J)

MUSIC 161A. Stanford Wind Ensemble

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.

1 unit, Aut (Aquilanti, G), Win (Aquilanti, G), Spr (Aquilanti, G)

MUSIC 161B. Jazz Orchestra

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.

1 unit, Aut (Berry, F), Win (Berry, F), Spr (Berry, F)

MUSIC 161C. Red Vest Band

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 4 times.

1 unit, Win (Aquilanti, G)

MUSIC 161D. Stanford Brass Ensemble

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.

1 unit, Aut (Kenley, M), Win (Kenley, M), Spr (Kenley, M)

MUSIC 162. Symphonic Chorus

100- to 150-voice ensemble, performing major choral masterworks with orchestra. One concert per quarter. May be repeated for credit a total of 14 times.

1 unit, Aut (Sano, S), Win (Sano, S), Spr (Sano, S)

MUSIC 163. Memorial Church Choir

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.

2 units, Aut (Wait, G), Win (Wait, G), Spr (Wait, G)

MUSIC 165. Chamber Chorale

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

1 unit, Aut (Sano, S), Win (Sano, S), Spr (Sano, S)

MUSIC 167. University Singers

Mixed-repertory chorus, performing choral repertoire from all periods of Western art music and other world cultures. May be repeated for credit a total of 14 times.

1 unit, Aut (Morgan, R), Win (Morgan, R), Spr (Morgan, R)

MUSIC 167S. Summer Chorus

80-100 voice ensemble, performing major choral masterworks.

1 unit, Sum (Hunn, A)

MUSIC 169. Stanford Taiko

Select North American taiko ensemble, performing traditional and contemporary 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.

1 unit, Aut (Sano, S; Uyechi, L), Win (Sano, S; Uyechi, L), Spr (Sano, S; Uyechi, L)

MUSIC 169A. Seminar in Performance Practices

(Same as MUSIC 269A.) Performance techniques, theoretical principles, aesthetics, and musical resources of various historical periods. GER:DB-Hum

1-4 units, alternate years, not given this year

MUSIC 170. Collaborative Piano

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.

1 unit, Aut (Dahl, L)

MUSIC 171. Chamber Music

Audition required. Weekly coachings (1 hr) from Music Dept. Faculty. Classical string quartets and piano/ string groups are supervised by the St. Lawrence String Quartet, and require attendance at a weekly Wednesday 4:15pm masterclass. May be repeated for credit.

1 unit, Aut (Staff), Win (Staff), Spr (Staff)

MUSIC 172A. Piano

Private lessons and group master class weekly. May be repeated for credit a total of 14 times.

1-3 units, Aut (Staff), Win (Staff), Spr (Staff)

MUSIC 172B. Organ

May be repeated for credit a total of 14 times.

1-3 units, Aut (Morgan, R), Win (Morgan, R), Spr (Morgan, R)

MUSIC 172C. Harpsichord

May be repeated for credit a total of 14 times.

1-3 units, Aut (Thornburgh, E), Win (Thornburgh, E), Spr (Thornburgh, E)

MUSIC 172D. Jazz Piano

By invitation only; priority to majors and jazz-ensemble participants. May be repeated for credit a total of 14 times.

1-3 units, Aut (Low, M), Win (Low, M), Spr (Low, M)

MUSIC 172E. Fortepiano

May be repeated for credit a total of 14 times.

1-3 units, Aut (Barth, G), Win (Barth, G), Spr (Barth, G)

MUSIC 172F. Carillon

May be repeated for credit a total of 14 times.

1-3 units, Aut (Zerlang, T), Win (Zerlang, T), Spr (Zerlang, T)

MUSIC 173. Voice

May be repeated for credit a total of 14 times.

1-3 units, Aut (Staff), Win (Staff), Spr (Staff)

MUSIC 174A. Violin

May be repeated for credit a total of 14 times.

1-3 units, Aut (Staff), Win (Staff), Spr (Staff)

MUSIC 174B. Viola

May be repeated for credit a total of 14 times.

1-3 units, Aut (Staff), Win (Staff), Spr (Staff)

MUSIC 174C. Violoncello

May be repeated for credit a total of 14 times.

1-3 units, Aut (Staff), Win (Staff), Spr (Staff)

MUSIC 174D. Contrabass

May be repeated for credit a total of 14 times.

1-3 units, Aut (Moyer, B), Win (Moyer, B), Spr (Moyer, B)

MUSIC 174E. Viola Da Gamba

May be repeated for credit a total of 14 times.

1-3 units, Aut (Dornenburg, J), Win (Dornenburg, J), Spr (Dornenburg, J)

MUSIC 174F. Classical Guitar

May be repeated for credit a total of 14 times.

1-3 units, Aut (Ferguson, C), Win (Ferguson, C), Spr (Ferguson, C)

MUSIC 174G. Harp

May be repeated for credit a total of 14 times.

1-3 units, Aut (Chauvel, M), Win (Chauvel, M), Spr (Chauvel, M)

MUSIC 174H. Baroque Violin

May be repeated for credit a total of 14 times.

1-3 units, Aut (Martin, A), Win (Martin, A), Spr (Martin, A)

MUSIC 174I. Early Plucked Strings

(Same as MUSIC 274I.)

1-3 units, Aut (Staff), Win (Staff), Spr (Staff)

MUSIC 175A. Flute

May be repeated for credit a total of 14 times.

1-3 units, Aut (Staff), Win (Staff), Spr (Staff)

MUSIC 175B. Oboe

May be repeated for credit a total of 14 times.

1-3 units, Aut (Hubbard, R), Win (Matheson, J), Spr (Matheson, J)

MUSIC 175C. Clarinet

May be repeated for credit a total of 14 times.

1-3 units, Aut (Staff), Win (Staff), Spr (Staff)

MUSIC 175D. Bassoon

May be repeated for credit a total of 14 times.

1-3 units, Aut (Olivier, R), Win (Olivier, R), Spr (Olivier, R)

MUSIC 175E. Recorder/Renaissance Wind Instruments

May be repeated for credit a total of 14 times.

1-3 units, Aut (Myers, H), Win (Myers, H), Spr (Myers, H)

MUSIC 175F. Saxophone

May be repeated for credit a total of 14 times.

1-3 units, Aut (Staff), Win (Staff), Spr (Staff)

MUSIC 175G. Baroque Flute

May be repeated for credit a total of 14 times.

1-3 units, Aut (Staff), Win (Staff), Spr (Staff)

MUSIC 176A. French Horn

May be repeated for credit a total of 14 times.

1-3 units, Aut (Ragent, L), Win (Ragent, L), Spr (Ragent, L)

MUSIC 176B. Trumpet

May be repeated for credit a total of 14 times.

1-3 units, Aut (Staff), Win (Staff), Spr (Staff)

MUSIC 176C. Trombone

May be repeated for credit a total of 14 times.

1-3 units, Aut (Kenley, M), Win (Kenley, M), Spr (Kenley, M)

MUSIC 176D. Tuba

May be repeated for credit a total of 14 times.

1-3 units, Aut (Clements, A), Win (Clements, A), Spr (Clements, A)

MUSIC 177. Percussion

May be repeated for credit a total of 14 times.

1-3 units, Aut (Veregge, M), Win (Veregge, M), Spr (Veregge, M)

MUSIC 181. Advanced Voice Performance

Performance class in a workshop setting. Skills including style, diction, interpretation, and expression in art song, oratorio, and opera literature. Repertoire varies and spans more than one quarter. May be repeated for credit a total of 14 times. Prerequisite: private-lesson proficiency in voice or consent of instructor.

1 unit, Aut (Wait, G), Win (Schneider, A), Spr (Schneider, A)

MUSIC 182. Diction for Singers

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.

1 unit, Win (Dahl, L)

MUSIC 183A. German Art Song Interpretation

Including composers from Beethoven and Schubert to Wolf and Strauss. for advanced singers and pianists as partners. Performance class in a workshop setting. Prerequisite: consent of instructor. Recommended: 170 for pianists or 182 for singers. May be repeated for credit a total of 2 times.

1 unit, alternate years, not given this year

MUSIC 183B. French Art Song Interpretation

Composers include Fauré, Debussy, Ravel, and Poulenc. For advanced singers and pianists as partners. Performance class in a workshop setting. May be repeated for credit a total of 2 times. Prerequisite: consent of instructor. Recommended: 170 for pianists or 182 for singers.

1 unit, Spr (Dahl, L), alternate years, not given next year

MUSIC 192A. Foundations of Sound-Recording Technology

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: 151; algebra, physics basics, and consent of instructor. GER:DB-EngrAppSci

3 units, Aut (Kadis, J)

MUSIC 192B. Advanced Sound Recording Technology

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. GER:DB-EngrAppSci, DB-Hum

3 units, Win (Kadis, J)

MUSIC 192C. Session Recording

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

1-2 units, Aut (Kadis, J), Win (Kadis, J), Spr (Kadis, J)

MUSIC 197. Undergraduate Teaching Apprenticeship

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

1-2 units, Aut (Staff), Win (Sano, S), Spr (Sano, S)

MUSIC 198. Concentrations Project

For concentration program participants only. Must be taken in senior year.

4 units, Aut (Staff), Win (Staff), Spr (Staff)

MUSIC 199. Independent Study

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.

1-5 units, Aut (Staff), Win (Staff), Spr (Staff), Sum (Staff)

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Stanford Bulletin, Archive 2008-09

Stanford Bulletin, Archive 2008-09

Alphabetical Index

Bulletin Archive

Undergraduate courses in Music