| MUSIC101 | Introduction to Creating Electronic Sounds | Introduction to Creating Electronic Sounds enables students from a wide variety of backgrounds to cultivate conceptual and technical skills within the production of electronic sound and music composition. Lectures, readings, and group discussions wil... |
| MUSIC107 | Close Analysis: Film Sound | The close analysis of film, with an emphasis on sound, music, and audio-visuality. Films from various historical periods, national cinemas, directors, and genres. Prerequisite: FILMSTUD 4 or equivalent. Recommended: ARTHIST 1 or FILMSTUD 102. Course... |
| MUSIC112 | Film Scoring | Through analysis and technical exercises that involve click tracks, spotting, scoring under dialogue and picture, and the creative use of overlap cues, among others, students will learn how to develop and synchronize an engaging music score that supp... |
| MUSIC113 | Introduction to Instrumental Composition | Students compose weekly exercises to improve creative fluency and develop basic control of instruments. Audio examples of diverse compositional techniques are introduced, analyzed and emulated. Prerequisite: Music 19A or Instructor's permission. |
| MUSIC113P | Media and Communication Before the Printing Press | Epic traditions, the call to crusade, public curses, music of the troubadours and trouveres: this course examines oral tradition and music--the "viral media" of pre-modern Europe--while tracing the impact of new recording technologies: manuscript pro... |
| MUSIC115 | Individual Undergraduate Projects in Jazz | Students may pursue individual projects in jazz performance, theory, history, etc. Prerequisite: Music 20A or permission of instructor. |
| MUSIC118 | Musics and Appropriation Throughout the World | This course critically examines musical practices and appropriation through the amplification of intersectionality. We consider musics globally through recourse to ethnomusicological literature and critical race theories. Our approach begins from an... |
| MUSIC11N | Harmonic Convergence: Music's Intersections with Science, Mathematics, History, and Literature | Topics include music and the brain; tuning and temperament; musical form; connections between music and mathematics; and readings in history and literature with strong musical elements. Readings include "The Power of Music" (Mannes), "Musicophilia" (... |
| MUSIC11Q | Art in the Metropolis | 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). Enrollment in this course a requirement for taking part in the trip... |
| MUSIC120D | Jazz Improvisation | This class will focus on developing a deeper understanding of, and capacity for, jazz improvisation -- as it relates to individual expression as well as group interaction, communication, and cohesion. In-class soloing and ensemble playing; guided lis... |
| MUSIC120DZ | Jazz Improvisation | This class will focus on developing a deeper understanding of, and capacity for, jazz improvisation -- as it relates to individual expression as well as group interaction, communication, and cohesion. In-class soloing and ensemble playing; guided lis... |
| MUSIC120E | Advanced Jazz Improvisation | This class will focus on broadening the participants' fluency with established improvisational languages, encouraging them to trust and develop their own unique improvisational voices, and deepening their capacities for integrating those individual v... |
| MUSIC120EZ | Advanced Jazz Improvisation | This class will focus on broadening the participants' fluency with established improvisational languages, encouraging them to trust and develop their own unique improvisational voices, and deepening their capacities for integrating those individual v... |
| MUSIC122A | Counterpoint | Analysis and composition of contrapuntal styles from the Renaissance and Baroque periods. Use of keyboard, ear training, and sight singing underlies all written work. Prerequisites: MUSIC 23 and MUSIC 24C; passing piano-proficiency examination; or, c... |
| MUSIC122B | Analysis of Tonal Music | Complete movements, or entire shorter works of the 18th and 19th centuries, are analyzed in a variety of theoretical approaches. Prerequisites: MUSIC 23 and MUSIC 24C; passing piano-proficiency examination; or, consent of instructor. |
| MUSIC122C | Introduction to Post-Tonal Analysis | Survey and analysis of a broad array of 20th-century examples, including compositional options. Prerequisites: MUSIC 23 and MUSIC 24C; passing piano-proficiency examination; or, consent of instructor. |
| MUSIC122D | Analysis for Performance | Prerequisites: 23 or consent of instructor, successful completion of the ear-training and piano-proficiency examinations. |
| MUSIC122M | Main Stage Theater Project | The Main Stage Theater Project provides students the opportunity to receive units for participating in a TAPS Main Stage Show. In Autumn 2022-23 the main stage show is Parentheses of Blood. Edris Cooper-Anifowoshe will direct this production. |
| MUSIC123A | Undergraduate Seminar in Composition: Rhythmic Design | Students compose weekly exercises to develop creative fluency and personal style. The course focuses on listening to examples, analysis and emulation of diverse compositional techniques involving rhythm. |
| MUSIC123B | Undergraduate Seminar in Composition: Pitch Design | Students compose weekly exercises to develop creative fluency and personal style. The course focuses on listening to examples, analysis and emulation of diverse compositional techniques involving pitch. |
| MUSIC123C | Undergraduate Seminar in Composition: World Music | The course introduces composition techniques used in traditional music from Bali, Central African Republic, India, and Japan, that the students use as inspiration to explore and develop their own composition techniques. Prerequisite: Music 19A or Ins... |
| MUSIC123D | Undergraduate Seminar in Composition: Extended Performance Techniques | Extended performance techniques have become standard extension of composers' orchestration technique. The course introduces extended techniques for keyboard, string, woodwinds, brass and percussion instruments, and illustrate their potential with exc... |
| MUSIC123G | Liberatory Practice Lab: Engaging Sounds in Community | This course is an incubator for new musical practices grounded in the cultivation of community. Learning from live performances, workshops, and archival texts by Black and queer feminist, Indigenous, and disability-culture activists, participants wil... |
| MUSIC123I | Undergraduate Seminar in Composition: Music, Art, and Intermedia | How do music and art relate? How does one speak for, with, the other? In the past century, Western visual art turned towards abstraction and time-based works. Techniques and processes for interaction between image and sound expanded dramatically. Wha... |
| MUSIC124A | Songwriters Workshop | Laboratory for composers of any kind of vernacular music: singer-songwriters; folk singers; laptop dance music composers; rock and pop bands; rappers; writers of instrumentals or music with lyrics; solo artists and collaborators; etc. Compositional s... |
| MUSIC125 | Individual Undergraduate Projects in Composition | May be repeated for credit a total of 13 times. Prerequisites: Music123A and Music123B or Instructor's permission. Composition concentrators must earn required private lesson credits through enrollment in individual lesson sections taught by Stanford... |
| MUSIC126A | Thoroughbass Accompaniment | 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. |
| MUSIC127A | 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.... |
| MUSIC127B | Advanced Orchestration | Through analysis and writing exercises, students develop proficiency in advanced orchestration practices. The course covers techniques currently used in film scoring as well as form basis for new experimental orchestral composition. |
| MUSIC127C | Band Arranging | Develop skills and techniques related to arranging for marching and concert bands; emphasizes instrumentation, transposition, and voicing. |
| MUSIC128 | Stanford Laptop Orchestra: Composition, Coding, and Performance | 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 s... |
| MUSIC129K | Advanced Keyboard Musicianship | Score-reading at the keyboard, for pianists. Students will learn to read and reduce as necessary, score examples from a variety of ensembles, including music for strings, choir, winds, and orchestra. Practice reading associated clefs and transpositio... |
| MUSIC12A | Introductory Piano Class | (A=level 1; B=level 2; C=level 3) Please visit http://music.stanford.edu/Academics/LessonSignups.html for 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 num... |
| MUSIC12AZ | Introductory Piano Class | 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, the... |
| MUSIC12B | Introductory Piano Class | 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, the... |
| MUSIC12BZ | Introductory Piano Class | 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, the... |
| MUSIC12C | Introductory Piano Class | 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, th... |
| MUSIC12CZ | Introductory Piano Class | 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, the... |
| MUSIC130B | Elementary Instrumental Conducting | What do conductors do and how do they do it? In this course, students are introduced to the theory, technique, and practice of instrumental conducting. Students will develop the art of physical gesture by conducting an ensemble made up of class membe... |
| MUSIC130C | 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. |
| MUSIC131A | Musical Indeterminacy & Advanced Notation | Strategies for composing works that change from performance to performance and offer performers significant and sometimes spontaneous input into their musical form and content. Examination of canonic works and discussion of the defining boundaries of... |
| MUSIC132 | Music Education: Then, Now, and Then Again | Explores the presence and impact of music across a variety of educational settings, with a focus on the historical function of music education, the current role of music education, and potential future models of music education. |
| MUSIC136 | Intermediate Conducting: Music Since 1900 | The art of reading and conducting scores from the Impressionist, late Romantic, and Modern periods to the present, with emphasis on orchestral and choral works that involve changing meters, advanced harmonic vocabulary, and modern instrumental and vo... |
| MUSIC13P | Media and Communication Before the Printing Press | Epic traditions, the call to crusade, public curses, music of the troubadours and trouveres: this course examines oral tradition and music--the "viral media" of pre-modern Europe--while tracing the impact of new recording technologies: manuscript pro... |
| MUSIC143J | Studies in Music of the Classical Period: Haydn and Mozart: Music in the Age of Enlightenment | Music and Musicians in the Age of EnlightenmentPrerequisites: MUSIC 22, MUSIC 41. (WIM at 4-unit level only.) |
| MUSIC144N | Reading Recorded Performances: From Data to Interpretation | How might one study and interpret recorded performances as ¿texts¿? We will explore the intersections of performance and musicology through guided weekly writing assignments, considering ¿data¿ about recorded performances as heard and physically felt... |
| MUSIC146N | Transcultural Perspectives of South-East Asian Music and Arts | This course will explore the links between aspects of South-East Asian cultures and their influence on modern and contemporary Western art and literature, particularly in France; examples of this influence include Claude Debussy (Gamelan music), Jacq... |
| MUSIC14N | Women Making Music | Preference to freshmen. Women's musical activities across times and cultures; how ideas about gender influence the creation, performance, and perception of music. |
| MUSIC150U | The Arts and Social Justice | A survey of how art addressed and addresses issues of social justice across history and cultures |
| MUSIC151B | 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 multiple Stanford Athletics events, multiple community events, and travel to some away and... |
| MUSIC151BZ | 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 multiple Stanford Athletics events, multiple community events, and travel to some away and... |
| MUSIC153A | Network Performance Practice | JackTrip software, developed at Stanford, provides the means for ultra-low-latency, uncompressed sound transmission for live music-making. Remote ensemble rehearsals, coaching, music lessons, jamming and concert broadcasting make use of the technolog... |
| MUSIC153AZ | Network Music Performance | The Soundwire Ensemble invites student instrumental and vocal performers for online music-making. Musical projects will include improvisational and composed pieces from the group and be presented in a final online concert with online audience. The en... |
| MUSIC153C | Fly Folk in the Buttermilk: A Black Music and Culture Writing Workshop | This course in honor of the late, great music journalist and thinker, Greg Tate, is designed to introduce popular music writing as a genre to students from all academic backgrounds. From cultural criticism, liner notes, music journalism, and DJ schol... |
| MUSIC154A | Sound Art I | 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) |
| MUSIC154G | Electronic Music Composition | Electronic music composition introduces techniques for electronic music composition. These will be based on the history of electroacoustic music and both theory and analysis will be explored. A critical approach to the historical and contemporary dev... |
| MUSIC155 | Intermedia Workshop | 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 experimen... |
| MUSIC155A | Piano Literature | An exploration of the repertoire for piano and keyboards, providing experience with and context for this literature while engaging practical, technical and analytical features of the works. Each quarter will cover focused areas defined by time, plac... |
| MUSIC155AZ | Piano Literature | An exploration of the repertoire for piano and keyboards, providing experience with and context for this literature while engaging practical, technical and analytical features of the works.  Each quarter will cover focused areas defined by time, plac... |
| MUSIC156 | "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 v... |
| MUSIC156Z | "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 v... |
| MUSIC157 | Cardinal Calypso--Steelpan Ensemble | This course introduces students to steelpan as an instrument and as a culture. Over the course of the year students will gain fundamental knowledge of the pitched percussion instrument, background knowledge of the culture of Trinidad and Tobago that... |
| MUSIC157Z | Cardinal Calypso -- Steelpan Ensemble | This course introduces students to steelpan as an instrument and as a culture. Over the course of the year students will gain fundamental knowledge of the pitched percussion instrument, background knowledge of the culture of Trinidad and Tobago that... |
| MUSIC158 | Musical Acoustics | The physics and acoustics of music and musical instruments. The basics of sound propagation, reflection, and resonance and how this is perceived as musical sound. The specific acoustical phenomena of wind, string, and percussion instruments as well a... |
| MUSIC159 | 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 15 times. Zero unit enrollment option available with instructor permission. See website: (http:... |
| MUSIC159Z | 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 15 times for 0 unit. Zero unit enrollment option available with instructor permission. See webs... |
| MUSIC160 | Stanford Symphony Orchestra | Large symphony orchestra (ca. 100 members) that rehearses two evenings per week (M/Th) and performs repertoire primarily from the Classical Period to the present. Usually prepares 1-2 programs per quarter, and presents 2-3 performances each quarter i... |
| MUSIC160A | Stanford Philharmonia | Chamber orchestra (ca. 45 members) that rehearses one evening per week (Tu) and performs repertoire primarily from the Baroque Period to the present. Usually prepares 1-2 programs per quarter, and presents 1-2 performances each quarter in Bing Concer... |
| MUSIC160AZ | Stanford Philharmonia | Chamber orchestra (ca. 45 members) that rehearses one evening per week (Tu) and performs repertoire primarily from the Baroque Period to the present. Usually prepares 1-2 programs per quarter, and presents 1-2 performances each quarter in Bing Concer... |
| MUSIC160B | Stanford New Ensemble | 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. Admissi... |
| MUSIC160BZ | Stanford New Ensemble | 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. Admissi... |
| MUSIC160C | Stanford Baroque Soloists | Elite string group focusing on chamber music of the Baroque era, c. 1600-1750. Concerti, overtures, suites, solo & trio sonatas for your instrument, quartet music from the pre-history of the string quartet. Each member expected to solo as well as pla... |
| MUSIC160CZ | Stanford Baroque Soloists | Elite string group focusing on chamber music of the Baroque era, c. 1600-1750. Solo & trio sonatas for your instrument, quartet music from the pre-history of the string quartet. Coaching will emphasize leadership and ensemble techniques, intonation a... |
| MUSIC160S | Stanford Summer Symphony | See website for details: https://music.stanford.edu/academic-programs/summer-studies-stanford-music/summer-session-ensembles-chorus-and-symphony. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.ed... |
| MUSIC160SZ | Stanford Summer Symphony | See website for details: https://music.stanford.edu/academic-programs/summer-studies-stanford-music/summer-session-ensembles-chorus-and-symphony. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.ed... |
| MUSIC160Z | Stanford Symphony Orchestra | Large symphony orchestra (ca. 100 members) that rehearses two evenings per week (M/Th) and performs repertoire primarily from the Classical Period to the present. Usually prepares 1-2 programs per quarter, and presents 2-3 performances each quarter i... |
| MUSIC161A | Stanford Wind Symphony | 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. Zero unit enrollment option a... |
| MUSIC161AZ | Stanford Wind Symphony | 40- to 50-member ensemble performing transcriptions of symphonic music, brass band music, and repertoire composed specifically for symphonic band. One concert per quarter. Zero unit enrollment option available with instructor permission. See website... |
| MUSIC161B | Jazz Orchestra | Jazz Orchestra is an undergraduate large ensemble performance class. Admission is by audition and/or permission of instructor. The class meets three times per week and presents a minimum of one formal concert per quarter with a major jazz artist. The... |
| MUSIC161BZ | Jazz Orchestra | Jazz Orchestra is an undergraduate large ensemble performance class. Admission is by audition and/or permission of instructor. The class meets three times per week and presents a minimum of one formal concert per quarter with a major jazz artist. The... |
| MUSIC161D | Stanford Brass Ensemble | Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. Performance of works for full brass choir and for smaller ensembles of brass instruments. Once weekly rehearsals. May... |
| MUSIC161DZ | 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. Zero unit enrollment option available with instructor perm... |
| MUSIC161E | Stanford Afro-Latin Jazz Orchestra | Ensemble dedicated to the performance, interpretation and study of Afro-Latin music and its fusion with North American jazz. Repertoire includes the music of Brazil, Cuba, Dominican Republic, Puerto Rico, Peru and Argentina, as well as the United Sta... |
| MUSIC161EZ | Stanford Afro-Latin Jazz Orchestra | Ensemble dedicated to the performance, interpretation and study of Afro-Latin music and its fusion with North American jazz. Repertoire includes the music of Brazil, Cuba, Dominican Republic, Puerto Rico, Peru and Argentina, as well as the United Sta... |
| MUSIC161F | Ottoman Music ensemble | Stanford's Ottoman Music Ensemble introduces select music played in the present day that hearkens back to musical practices from diverse communities of Ottoman Constantinople or Istanbul. Much of this music has now fallen under the guise of Turkish a... |
| MUSIC161FZ | Ottoman Music Ensemble | Stanford's Ottoman Music Ensemble introduces select music played in the present day that hearkens back to musical practices from diverse communities of Ottoman Constantinople or Istanbul. Much of this music has now fallen under the guise of Turkish a... |
| MUSIC162 | Symphonic Chorus | 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. Zero unit enrollment option available with instructor permission. See website: (http://mus... |
| MUSIC162Z | Symphonic Chorus | 180- to 200-voice choral ensemble, performing major choral masterworks with orchestra. One concert per quarter. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By e... |
| MUSIC163 | 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. Zero unit enrollment option available with instructor permission. See website: (http... |
| MUSIC163Z | Memorial Church Choir | Official choir of Memorial Church, furnishing music for Sunday services and special occasions in the church calendar. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure.... |
| MUSIC165 | Chamber Chorale | 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. Zero unit enrollment option available with instruct... |
| MUSIC165Z | Chamber Chorale | Select 24-voice choral ensemble, specializing in virtuoso choral repertoire from all periods of Western art music. Annual touring commitment required. Zero unit enrollment option available with instructor permission. See website: (http://music.stanfo... |
| MUSIC167 | University Singers | 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. Zero unit enrollment option available with instructor permission. See website: (http://music.stanfor... |
| MUSIC167S | Summer Chorus | 150-voice non-auditioned ensemble performing major choral masterworks and choral repertoire from all periods of Western art music. Concert: August 6, 2022 in Bing Concert Hall. Details at: https://music.stanford.edu/choral-ensembles-2021%E2%80%932022... |
| MUSIC167SZ | Summer Chorus | 80- to 100-voice non-auditioned ensemble, performing major choral masterworks and choral repertoire from all periods of Western art music. For details see: https://music.stanford.edu/academic-programs/summer-studies-stanford-music/summer-session-ense... |
| MUSIC167Z | University Singers | Select, 50-voice choral ensemble, performing choral repertoire from all periods of Western art music. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. By enrolling in... |
| MUSIC169 | Stanford Taiko | 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... |
| MUSIC169Z | Stanford Taiko | 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... |
| MUSIC16N | Behind "Swingposium:" Activism in Performing Arts | Swingposium (https://taiko.org/swingposium) is an immersive theater production, being presented by San Jose Taiko at Stanford in November. It tells the hidden history of Japanese Americans boosting morale in WWII Incarceration Camps through swing da... |
| MUSIC170 | Collaborative Piano | Performance class in a workshop setting, exploring the art of collaboration with other musicians. Practical techniques will be addressed in highly varied repertoire. Admission is by audition only. Private-lesson proficiency level in piano is a prere... |
| MUSIC171 | Chamber Music | Admission based on audition. Placements according to availability. 3 hr/weekly time commitment minimum. (Two hours of in-person or remote ensemble rehearsal plus one-hour remote coaching from Music department faculty.) Classical string quartets an... |
| MUSIC171Z | Chamber Music | Admission based on audition. Placements according to availability. 3 hr/weekly time commitment minimum. (Two hours of in-person or remote ensemble rehearsal plus one-hour remote coaching from Music department faculty.) Classical string quartets an... |
| MUSIC172A | Piano | 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 auditi... |
| MUSIC172B | Organ | 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. All participants must enroll. Z... |
| MUSIC172C | Harpsichord | 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. All participants must enroll. Z... |
| MUSIC172D | Jazz Piano | Admission is by audition and/or invitation only; priority to majors and jazz-ensemble participants. All participants must enroll. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and... |
| MUSIC172E | Fortepiano | May be repeated for credit a total of 14 times. Admission is by audition only. There is a fee for this class. edit Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enro... |
| MUSIC172F | Carillon | 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. All participants must enroll. Z... |
| MUSIC172G | Gu-Zheng | Private lessons 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. All par... |
| MUSIC173 | Voice | Weekly private voice lessons and group master classes. Enrollment is limited to students chosen by auditions held at the beginning of Autumn Quarter or by permission of the instructor, with the expectation that the student will enroll for the entire... |
| MUSIC174A | Violin | 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. All participants must enroll. Z... |
| MUSIC174B | Viola | 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. All participants must enroll. Z... |
| MUSIC174C | Violoncello | 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. All participants must enroll. Z... |
| MUSIC174D | Contrabass | 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. All participants must enroll. Z... |
| MUSIC174E | Viola Da Gamba | 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. All participants must enroll. Zero unit enrollment option available with instru... |
| MUSIC174F | Classical Guitar | 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. All participants must enroll. Z... |
| MUSIC174G | Harp | 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. All participants must enroll. Z... |
| MUSIC174H | Baroque Violin | 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. All participants must enroll. Z... |
| MUSIC174I | Jazz Bass | 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. All participants must enroll. Z... |
| MUSIC174J | Jazz & Contemporary Guitar | An application of the performance techniques developed by the innovative, genius, and radical guitarists from 1930 to 2020. Improvising, comping, reading, repertoire, and technique will be studied in depth. Rhythm styles, the application of modern th... |
| MUSIC175A | Flute | 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. All participants must enroll. Z... |
| MUSIC175B | Oboe | May be repeated for credit a total of 15 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. All participants must enroll.... |
| MUSIC175C | Clarinet | 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. All participants must enroll. Z... |
| MUSIC175D | Bassoon | 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. All participants must enroll. Z... |
| MUSIC175E | Recorder/Early Winds | 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. All participants must enroll. Z... |
| MUSIC175F | Saxophone | 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. All participants must enroll. Z... |
| MUSIC175G | Baroque Flute | 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. All participants must enroll. Z... |
| MUSIC175H | Jazz Saxophone | May be repeated for credit a total of 15 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. All participants must enroll. Z... |
| MUSIC176A | French Horn | 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. All participants must enroll. Z... |
| MUSIC176B | Trumpet | 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. All participants must enroll. Z... |
| MUSIC176C | Trombone | 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. All participants must enroll. Z... |
| MUSIC176D | Tuba | 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. All participants must enroll. Z... |
| MUSIC176E | Jazz Trumpet | 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. All participants must enroll.... |
| MUSIC177 | Percussion | 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. All participants must enroll. Z... |
| MUSIC177A | Drum Set Lessons | These lessons will be geared toward the individual student's desires and needs. All levels are welcome, but students should contact instructor to set up initial meeting, prior to enrolling in the course. Students will explore drumset technique, coord... |
| MUSIC179Z | Applied Music Private Lessons | Students enroll in appropriate instructor section for private instrumental/vocal lessons using this zero unit enrollment option. Available only with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. Admission i... |
| MUSIC17AX | Key-Notes: A Piano Exploration | The objective of the course is to teach piano, improve music reading skills and music theory knowledge. The course is designed for a multi-level class room, so complete beginners and intermediate pianists can learn in this self-paced course. There wi... |
| MUSIC17P | Keyboard Explorations | This course is designed for students who want to further their skills in music, whether experienced on the piano or not. The class will be divided into groups according to experience level. Whatever the level of their previous experience, students wi... |
| MUSIC181 | Jazz Combos | Admission based on audition. These small jazz ensembles meet weekly and typically include coaching, one masterclass and one performance per quarter. May be repeated for credit. All participants must enroll. Zero unit enrollment option available with... |
| MUSIC181Z | Jazz Combos | Admission based on audition. These small jazz ensembles meet weekly and typically include coaching, one masterclass and one performance per quarter. May be repeated for credit. All participants must enroll. Zero unit enrollment option available with... |
| MUSIC182 | 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. |
| MUSIC183A | German Art Song Interpretation | 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 maximu... |
| MUSIC183AZ | German Art Song Interpretation | 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 maximu... |
| MUSIC183B | French Art Song Interpretation | 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).... |
| MUSIC183BZ | French Art Song Interpretation | 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).... |
| MUSIC183C | Interpretation of Musical Theater Repertoire | By audition only: Contact instructor prior to enrolling (mlcats@stanford.edu). Ability to read music expected, but students with experience singing in musical theater can be accepted. For singers and pianists as partners. Performance class in a works... |
| MUSIC183CZ | Interpretation of Musical Theater Repertoire | By audition only: Contact instructor prior to enrolling (mlcats@stanford.edu). Ability to read music expected, but students with experience singing in musical theater can be accepted. For singers and pianists as partners. Performance class in a works... |
| MUSIC183E | Singing for Musicals | Do you love singing in musicals? Do you know how to sing in musicals? This course provides training in vocal technique and acting for students interested in performing musical theater. Students will learn about the physical process of singing, incl... |
| MUSIC183F | Songs of Love and Longing | This course will take us on a journey from the Balkans to South Asia as we explore the nexus of poetry and song practiced by bards across a vast geographic and cultural space. Specifically, we will survey the Persianate genre of ghazal lyric, the sto... |
| MUSIC184A | Editing and Performing Early Music | This course is a practical workshop in early music vocal repertoire. The main focus of this course is to use original source material to explore editorial practice. Having prepared the score, students learn to perform the piece from an historically i... |
| MUSIC184AZ | Editing and Performing Early Music | This course is a practical workshop in early music vocal repertoire. The main focus of this course is to use original source material to explore editorial practice. Having prepared the score, students learn to perform the piece from an historically i... |
| MUSIC184B | Topics on the Musical Stage | This course is a practical workshop in vocal repertoire for the stage. 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 know... |
| MUSIC184BZ | Topics on the Musical Stage | This course is a practical workshop in vocal repertoire for the stage. 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 know... |
| MUSIC184C | Dramatic Vocal Arts: Songs and Scenes Onstage | Studies in stagecraft, acting and performance for singers, culminating in a public performance. Repertoire to be drawn from the art song, opera, American Songbook and musical theater genres. Enrollment by audition only. May be repeated for credit a t... |
| MUSIC184CZ | Dramatic Vocal Arts: Songs and Scenes Onstage | Studies in stagecraft, acting and performance for singers, culminating in a public performance. Repertoire to be drawn from the art song, opera, American Songbook and musical theater genres. Enrollment by audition only. May be repeated for credit a t... |
| MUSIC184E | Musical Theater Dance Styles | Students will be able to demonstrate period specificity, character of style through learning different musical theater dances from the early 20th C.to the present. ALL students will participate in an end of quarter showing of the choreography develop... |
| MUSIC184F | Introduction to Theater Sound Design | This course explores the history and aesthetics,of theatre sound design, and provides the basic technical knowledge to create your own work. Learn how to analyze a script for sound design elements, gain practical knowledge of microphones and loudspe... |
| MUSIC18A | Jazz History: Ragtime to Bebop, 1900-1940 | From the beginning of jazz to the war years. |
| MUSIC18AX | Audiovisual Performance | The unification of music and visual arts has been attempted throughout history, opera being one example. In the 20th Century, sounds and moving images have been syncretized in various art forms, such as film or video art, as well as in popular cultur... |
| MUSIC18B | 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. |
| MUSIC192A | Foundations of Sound-Recording Technology | This course serves as an introduction to the recording facilities and technology at CCRMA. Through lectures and assignments students learn and practice various studio recording techniques. They also become familiarized with home and field recording p... |
| MUSIC192B | Advanced Sound Recording Technology | This course aims to heighten the listening skills of students. In a series of group sessions and discussions students compare and contrast a variety of dynamic based processes and other audio effects/plug-ins which might be used in their mixes. Stude... |
| MUSIC192C | Session Recording | Independent engineering of recording sessions combined with instruction in the use and maintenance of other CCRMA audio/studio facilities and equipment that is required for the realization of studio informed artistic projects. Students will explore h... |
| MUSIC197 | Undergraduate Teaching Apprenticeship | Work in an apprentice-like relationship with faculty teaching a student-initiated course. Prerequisite: consent of instructor. (Staff) |
| MUSIC198 | Concentrations Project | For concentration program participants only. Must be taken in senior year. Multiple concentrators may enroll in one section of 198 per concentration. |
| MUSIC199 | 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. |
| MUSIC19A | 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 harmo... |
| MUSIC19B | Intermediate Music Theory | 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 con... |
| MUSIC1A | Music, Mind, and Human Behavior | An introductory exploration of how and why music is a pervasive and fundamental aspect of human existence across cultures. The class will introduce aspects of music perception and cognition as well as anthropological and cultural considerations. |
| MUSIC1SI | Introduction to Indian Classical Music | This is an introductory course in the classical music of India, with emphasis on learning to listen to and appreciate Indian classical music concerts. It will cover a broad overview of the two main genres of Indian classical music - Carnatic and Hind... |
| MUSIC200A | Proseminar in Musicology and Music Bibliography | Introduction to research in music, bibliographical materials, major issues in the field, philosophy, and methods in music history. Guest lecturers and individual research topics. |
| MUSIC200B | Proseminar in Ethnomusicology | A graduate-level introduction to the field of ethnomusicology. Issues and debates are traced through the history of the discipline, with emphasis on influences from anthropology, performance studies, linguistics, and cultural studies. Topics include... |
| MUSIC201 | CCRMA Colloquium | Weekly review of work being done in the field, research taking place at CCRMA, and tools to make the most of the CCRMA technical facilities. |
| MUSIC205 | Enchanted Images: Medieval Art and Its Sonic Dimension | Explores the relationship between chant and images in medieval art. Examples are sourced from both Byzantium and the Latin West including the Holy Sepulchre in Jerusalem, Hagia Sophia in Constantinople, Ste. Foy at Conques, and Santiago de Compostela... |
| MUSIC20A | 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: Music 19, consent of instructor, or satisfactory demonstration of... |
| MUSIC20B | Advanced Jazz Theory | Approaches to improvisation and composed jazz lines through listening, transcribing, analysis, and compositional exercises. Topics include: chord/scale theory, melodic minor harmony, altered chords, and substitute harmony. Prerequisite: 20A or consen... |
| MUSIC20C | Jazz Arranging and Composition | Jazz arranging and composition for small ensembles. Foundation for writing for big band. Prerequisite: 20A or consent of instructor. |
| MUSIC21 | 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. Students must concurrently enroll in an Ear-trai... |
| MUSIC22 | Intermediate Tonal Theory | Preference to majors. Introduction to chromatic harmony focusing on secondary functions, modulations, and harmonic sequences. Analysis of musical forms and harmonizations complemented by harmonic and melodic dictation, sight-singing, and other pract... |
| MUSIC220A | Fundamentals of Computer-Generated Sound | What are the basic tools that computer music researchers and artists use to create sound? This course will include a summary of digital synthesis techniques (additive, subtractive, wavetable, frequency modulation and physical-modeling), signal proces... |
| MUSIC220B | Compositional Algorithms, Psychoacoustics, and Computational Music | 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. To satisfy a Ways... |
| MUSIC220C | Research Seminar in Computer-Generated Music | Individual projects in composition, psychoacoustics, or signal processing. See http://ccrma.stanford.edu. May be repeated for credit. Prerequisite: 220B. |
| MUSIC220D | Research in Computer-Generated Music | Independent research projects in composition, psychoacoustics, or signal processing. See http://ccrma.stanford.edu/. May be repeated for credit. Prerequisite: 220C. |
| MUSIC222 | Sound in Space | 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 e... |
| MUSIC223Q | Queer Electronic Music Composition | Queer Electronic Music Composition is a creative course structured around the historical and theoretical contributions of composers from the LBGQT+ community with an emphasis on computer-based electronic music. Through a series of reading, listening,... |
| MUSIC23 | Advanced Tonal Theory | Preference to majors. Continuation of chromatic harmony such as mode mixture, Neapolitan, augmented sixth chords, enharmonic modulation, complex forms of the late Romantic and early Modern period, and the transition to post-tonal theory (church modes... |
| MUSIC230 | Advanced Orchestral Conducting | Advanced study of orchestral conducting through individual weekly meetings with the instructor. Develop skills in score reading and analysis, baton technique and the physical art of conducting, performance practice, and rehearsal technique. Expand kn... |
| MUSIC231 | Advanced Choral Conducting | Individual instruction continuing trajectory of Music 130C. Focus on gestural technique and analysis of works by genre and historical period. May be repeated for credit a total of 8 times. Prerequisite: 130C. |
| MUSIC236 | Future Media, Media Archaeologies | 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 devic... |
| MUSIC243J | Studies in Music of the Classical Period: Haydn and Mozart: Music in the Age of Enlightenment | Music and Musicians in the Age of EnlightenmentPrerequisites: MUSIC 22, MUSIC 41. (WIM at 4-unit level only.) |
| MUSIC244N | Reading Recorded Performances: From Data to Interpretation | How might one study and interpret recorded performances as ¿texts¿? We will explore the intersections of performance and musicology through guided weekly writing assignments, considering ¿data¿ about recorded performances as heard and physically felt... |
| MUSIC246N | Transcultural Perspectives of South-East Asian Music and Arts | This course will explore the links between aspects of South-East Asian cultures and their influence on modern and contemporary Western art and literature, particularly in France; examples of this influence include Claude Debussy (Gamelan music), Jacq... |
| MUSIC24A | Ear Training I | Class is closed by design. Please contact instructor Erika Arul (mailto:earul@stanford.edu) for permission to enroll. Preference to Music majors and minors. |
| MUSIC24B | Ear Training II | Class is closed by design. Please contact instructor Erika Arul (mailto:earul@stanford.edu) for permission to enroll. Preference to Music majors and minors. |
| MUSIC24C | Ear Training III | Class is closed by design. Please contact instructor Erika Arul (mailto:earul@stanford.edu) for permission to enroll. Preference to Music majors and minors. |
| MUSIC24Z | Ear Training | Class is closed by design. Please contact instructor Erika Arul (mailto:earul@stanford.edu) for permission to enroll. Preference to Music majors and minors. |
| MUSIC25 | Decoding Anime | Anime as an artistic form often boasts highly imaginative graphics, striking music, vibrant characters, and fantastical stories. The course aims at decoding the expressive power of anime by applying a method of multimedia analysis that focuses on the... |
| MUSIC250A | Physical Interaction Design for Music | This lab and project-based course explores how we can physically interact with real-time electronic sound. Students learn to use and design sensors, circuits, embedded computers, communication protocols and sound synthesis. Advanced topics include re... |
| MUSIC250C | Interaction - Intermedia - Immersion | This course explores creative and technical approaches to the design of digital musical instruments (DMIs) and other systems for interactive performance, composition and/or installations in audio, audiovisual, and other intermedia practice. Various p... |
| MUSIC250D | The Arts and Social Justice | A survey of how art addressed and addresses issues of social justice across history and cultures |
| MUSIC251 | Psychophysics and Music Cognition | Lecture, lab and experiment-based course in perception, psychoacoustics, cognition, and neuroscience of music. (WIM at 4 or 5 units only.) |
| MUSIC253 | Symbolic Musical Information | Properties of symbolic data for music applications including advanced notation systems, data durability, mark-up languages, optical music recognition, and data-translation tasks. Hands-on work involves these digital score formats: Guido Music Notati... |
| MUSIC254 | Computational Music Analysis | 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... |
| MUSIC255 | Intermedia Workshop | 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 experimen... |
| MUSIC255A | Piano Literature | An exploration of the repertoire for piano and keyboards, providing experience with and context for this literature while engaging practical, technical and analytical features of the works. Each quarter will cover focused areas defined by time, plac... |
| MUSIC256A | Music, Computing, Design: The Art of Design | This course explores the artful design of software tools, toys, games,instruments, and experiences. Topics include programming, audiovisualdesign, strategies for crafting interactive systems, game design, aswell as aesthetic and social considerations... |
| MUSIC257 | Neuroplasticity and Musical Gaming | 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... |
| MUSIC258D | Musical Acoustics | The physics and acoustics of music and musical instruments. The basics of sound propagation, reflection, and resonance and how this is perceived as musical sound. The specific acoustical phenomena of wind, string, and percussion instruments as well a... |
| MUSIC264 | Musical Engagement | A cross-disciplinary and cross-cultural research seminar focused on methods to study, evaluate and analyze how humans engage with music both as listeners and as performers. |
| MUSIC269 | Research in Performance Practices | Directed reading and research. May be repeated for credit a total of 5 times. |
| MUSIC26N | Japanese Arts: a Creative Exploration | The striking originality of Japanese contemporary culture seems to defy unifying pressures of globalization. What are the sources of this originality? Can it be traced to the unique and sophisticated art forms like rock gardens, haiku, tea ceremony,... |
| MUSIC272A | Advanced Piano | 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 auditio... |
| MUSIC272B | Advanced Organ | 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. All participants must enroll. Z... |
| MUSIC272C | Advanced Harpsichord | 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. All participants must enroll. Z... |
| MUSIC272D | Advanced Jazz Piano | Admission is by audition and/or invitation only; priority to majors and jazz-ensemble participants. All participants must enroll. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and... |
| MUSIC272E | Advanced Fortepiano | 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. All participants must enroll. Z... |
| MUSIC272F | Advanced Carillon | 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. All participants must enroll. Z... |
| MUSIC272G | Advanced Gu-Zheng | Private lesson 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. All part... |
| MUSIC273 | Advanced Voice | Weekly private voice lessons and group master classes. Enrollment is limited to students chosen by auditions held at the beginning of Autumn Quarter or by permission of the instructor, with the expectation that the student will enroll for the entire... |
| MUSIC274A | Advanced Violin | 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. All participants must enroll. Z... |
| MUSIC274B | Advanced Viola | 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. All participants must enroll. Z... |
| MUSIC274C | Advanced Violoncello | 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. All participants must enroll.... |
| MUSIC274D | Advanced Contrabass | 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. All participants must enroll. Z... |
| MUSIC274E | Advanced Viola da Gamba | 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. All participants must enroll. Ze... |
| MUSIC274F | Advanced Classical Guitar | 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. All participants must enroll.... |
| MUSIC274G | Advanced Harp | 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. All participants must enroll. Z... |
| MUSIC274H | Advanced Baroque Violin | 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. All participants must enroll.... |
| MUSIC274I | Advanced Jazz Bass | 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. All participants must enroll. Zero unit enrollment option available with instru... |
| MUSIC274J | Advanced Jazz & Contemporary Guitar | An application of the performance techniques developed by the innovative, genius, and radical guitarists from 1930 to 2020. Improvising, comping, reading, repertoire, and technique will be studied in depth. Rhythm styles, the application of modern th... |
| MUSIC275A | Advanced Flute | 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. All participants must enroll.... |
| MUSIC275B | Advanced Oboe | 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. All participants must enroll. Z... |
| MUSIC275C | Advanced Clarinet | 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. All participants must enroll. Z... |
| MUSIC275D | Advanced Bassoon | 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. All participants must enroll. Z... |
| MUSIC275E | Advanced Recorder/Early Winds | 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. http://music.stanford.edu/Acade... |
| MUSIC275F | Advanced Saxophone | 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. http://music.stanford.edu/Acade... |
| MUSIC275G | Advanced Baroque Flute | 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. All participants must enroll. Z... |
| MUSIC275H | Advanced Jazz Saxophone | 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. All participants must enroll. Z... |
| MUSIC276A | Advanced French Horn | 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. All participants must enroll. Z... |
| MUSIC276B | Advanced Trumpet | 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. All participants must enroll. Z... |
| MUSIC276C | Advanced Trombone | 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. All participants must enroll. Z... |
| MUSIC276D | Advanced Tuba | 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. All participants must enroll. Z... |
| MUSIC276E | Advanced Jazz Trumpet | 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. All participants must enroll. Z... |
| MUSIC277 | Advanced Percussion | 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. All participants must enroll.... |
| MUSIC277A | Advanced Drum Set | May be repeated for credit a total of 15 times. There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and audition information. All participants must enroll. Zero unit enrollment option avai... |
| MUSIC280 | TA Training Course | 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 2... |
| MUSIC283F | Songs of Love and Longing | This course will take us on a journey from the Balkans to South Asia as we explore the nexus of poetry and song practiced by bards across a vast geographic and cultural space. Specifically, we will survey the Persianate genre of ghazal lyric, the sto... |
| MUSIC285 | Intermedia Lab | The Intermedia Lab is a space to develop projects bridging sound with other media through technology. Projects may involve instrument design, physical computing, audiovisual interaction, immersive audio engaging with acoustic environments, and/or oth... |
| MUSIC298 | MA/MST Capstone Project | The MA/MST capstone is intended to gather and focus skills acquired throughout the program toward an exploratory project aimed at bridging between the student's residency and whatever will follow beyond the MA. Mentorship can include your advisor aug... |
| MUSIC299 | 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. |
| MUSIC2C | An Introduction to Opera | 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 di... |
| MUSIC300A | Medieval Notation | Western notation of the Middle Ages and Renaissance: principles, purposes, and transcription. |
| MUSIC300B | Renaissance Notation | Western notation of the Middle Ages and Renaissance: principles, purposes, and transcription. |
| MUSIC300D | Music Ethnography | This graduate seminar serves as an introduction to the methodologies and theoretical approaches for the ethnography of sound and musical practices. While we center on research problems, ethics, and methods in the field of ethnomusicology, ethnographi... |
| MUSIC300E | Analysis and Repertoire: Medieval and Renaissance | Analytical approaches to genres, styles, forms, and techniques of Western music from [chant and early polyphony through the sixteenth century]. Issues of aesthetics, history, and interpretation viewed through representative repertoire, readings, and... |
| MUSIC300F | Analysis and Repertoire: Baroque to Early Romantic | Analytical approaches to genres, styles, forms, and techniques of Western music from the seventeenth through the mid-nineteenth centuries. Issues of aesthetics, history, and interpretation viewed through representative repertoire, readings, and analy... |
| MUSIC300G | Analysis and Repertoire: Late-Romantic to Contemporary | Analytical approaches to genres, styles, materials and techniques of Western music from the mid-nineteenth century through the present. Questions of aesthetics, history and performance explored through musical analysis. Representative repertoire and... |
| MUSIC300H | Aesthetics and Criticism of Music, Ancients and Moderns: Plato to Nietzsche | For graduate students. Primary texts focusing on the nature, purposes, and uses of music and other arts. |
| MUSIC300I | Aesthetics and Criticism of Music, Contemporaries: Heidegger to Today | For graduate students. Primary texts focusing on the nature, purposes, and uses of music and other arts. |
| MUSIC300J | Methods for Studying Gender and Sexuality in Music | Introduction to graduate-level study of gender and sexuality in music; includes feminist and queer critiques of musical canons, historiography, biography, and genius; feminist, queer, and trans perspectives on musical performance, performers, subcult... |
| MUSIC302 | Research in Musicology | Directed reading and research. May be repeated for credit a total of 14 times. |
| MUSIC303 | The Interruption of the Machine: Introduction to Sound Studies through Literature | This course will introduce students to the field of Sound Studies (methodology, vocabulary, main claims) with a focus on the various sonic articulations of human-machine interactions in literature. The world of fiction as a sonic machine that articul... |
| MUSIC305D | Analysis from a Compositional Perspective | Introduction to analysis, examining diverse examples in part chosen from, otherwise supplementing and illuminating, the graduate composers' qualifying exam list; consideration of aesthetic premises and motivations, and of implications for contemporar... |
| MUSIC310 | Research Seminar in Musicology | For graduate students. Topics vary each quarter. May be repeated for credit a total of 8 times. |
| MUSIC319 | Research Seminar on Computational Models of Sound Perception | 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 neurophysio... |
| MUSIC320 | Introduction to Audio Signal Processing | A first-course in signal processing with applications in computer music and audio for students comfortable with high-school algebra, calculus, complex variables, and beginning linear algebra. The lectures cover fundamentals of audio signal processing... |
| MUSIC320C | Audio DSP Projects in Faust and C++ | Course focuses on developing an audio signal-processing plugin or stand-alone application in C++. Prior experience is assumed with programming in Matlab/Octave and C/C++, and signal processing theory on the level of Music 320. Class time is devote... |
| MUSIC320D | Tutorial on Audio Signal Processing for Musicians | A tutorial section aimed at students who would like a review of prerequisite material for the Center for Computer Research in Music and Acoustics (CCRMA) audio signal processing (ASP) series of classes. The tutorial can be taken prior to or concurre... |
| MUSIC321 | Readings in Music Theory | Directed reading and research. May be repeated for credit a total of 15 times. |
| MUSIC322 | Music/Audio Signal Processing Research Overviews | Introduction to music/audio signal-processing research. Research papers and presentations are discussed in weekly meetings. Students active in related research are invited to present overviews. Emphasis is on currently active topics and their fundame... |
| MUSIC323 | Doctoral Seminar in Composition | 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. |
| MUSIC324 | Graduate Composition Forum | 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 presenta... |
| MUSIC325 | Individual Graduate Projects in Composition | May be repeated for credit. |
| MUSIC32N | Sculpting with Sounds, Images, and Words | Throughout history and from East to West, cultures abound in multimedia forms. Whether in Coldplay's Music Video or Fantasia, Pepsi TV adds or Wagner's opera, Miyazaki anime or traditional Noh Theater of Japan, the three modes of expression (sounds,... |
| MUSIC330 | Musicology Dissertation Colloquium | 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 inte... |
| MUSIC332 | Philosophy, Literature, and the Arts Core Seminar | This course serves as the Core Seminar for the PhD Minor in Philosophy, Literature, and the Arts. It introduces students to a wide range of topics at the intersection of philosophy with literary and arts criticism. The seminar is intended for graduat... |
| MUSIC33N | Beethoven | This seminar is designed as an in-depth introduction to the music of Ludwig van Beethoven. In addition to exploring the composer's principal works in a variety of genres (symphonies, piano sonatas, string quartets, opera, etc.), we will consider broa... |
| MUSIC341 | Ph.D Dissertation | May be repeated for credit a total of 5 times. |
| MUSIC34N | Performing America: The Broadway Musical | Musical theater as a site for the construction of American identity in the twentieth century to the present. Issues of class, race, gender, and sexuality; intersections with jazz, rock, and pop; roles of lyricist, composer, director, choreographer, p... |
| MUSIC351A | Seminar in Music Perception and Cognition I | A seminar on topics in music perception and cognition. Students will study and discuss recent research as well as design and implement experiments. |
| MUSIC356 | Music and AI | How do we make music with artificial intelligence? What does it mean to do so (and is it even a good idea)? How might we design systems that balance machine automation and human interaction? More broadly, how do we want to live with our technologies?... |
| MUSIC35N | Black Music Revealed: Black composers, performers, and themes from the 18th century to the present | Online seminar on the achievements of Black composers and performers in ragtime, jazz, and classical music, from Chevalier de Saint-Georges, whose music influenced Mozart, and George Bridgetower, for whom Beethoven composed his "Kreutzer" Sonata, to... |
| MUSIC36H | Dangerous Ideas | Ideas matter. Concepts such as equality, tradition, and Hell have inspired social movements, shaped political systems, and dramatically influenced the lives of individuals. Others, like race and urban renewal, play an important role in contemporary d... |
| MUSIC390 | Practicum Internship | 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 re... |
| MUSIC398 | PhD Dissertation Proposal | Students have to identify a research advisor and enroll in this course with her/him to develop the dissertation proposal. By the end of this required course or its series (repeatable for three times), students are expected to have identified a) a spe... |
| MUSIC399 | D.M.A. Final Project | May be repeated for credit a total of 5 times. |
| MUSIC39B | Music and Healing | To what extent can sound or music heal? This interdisciplinary course asks questions about music and healing around the world, drawing on the fields of medical ethnomusicology, medical anthropology, sound studies, and music therapy. Our case studies... |
| MUSIC40 | Music History to 1600 | Pre- or corequisite: 21. |
| MUSIC405 | Enchanted Images: Medieval Art and Its Sonic Dimension | Explores the relationship between chant and images in medieval art. Examples are sourced from both Byzantium and the Latin West including the Holy Sepulchre in Jerusalem, Hagia Sophia in Constantinople, Ste. Foy at Conques, and Santiago de Compostela... |
| MUSIC41 | Music History 1600-1830 | Pre- or corequisite: 22. |
| MUSIC42 | Music History Since 1830 | Pre- or corequisite: 23. |
| MUSIC422 | Perceptual Audio Coding | 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... |
| MUSIC423 | Graduate Research in Music Technology | Research discussion, development, and presentation by graduate students, visiting scholars, and CCRMA faculty in the areas of music and/or audio technology. Permission of instructor required. See http://ccrma.stanford.edu/courses/423/ for latest info... |
| MUSIC451A | Basics in Auditory and Music Neuroscience | Understanding basic concepts and techniques in cognitive neuroscience using electroencephalography (EEG) specific to auditory perception and music cognition via seminar and laboratory exercise work. Acquiring and practicing skills in experimental des... |
| MUSIC451B | Neuroscience of Auditory Perception and Music Cognition II: Neural Oscillations | Building on 451A, this course will review basic knowledge and EEG techniques of neural oscillations related to auditory perception and music cognition via seminar and laboratory work. Through reviewing and replicating findings using classic and recen... |
| MUSIC451C | Auditory EEG Research III: Coordinated Actions and Hyperscanning | Advancing EEG research skills in cognitive neuroscience specific to music cognition by conducting a group research project. In particular, this course focuses on basics for 2-person EEG (hyperscanning) paradigms and explores how coordinated actions a... |
| MUSIC4SI | Taiko as performance, social justice, and a therapeutic modality | 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. |
| MUSIC60 | How We Sing: The Voice, How It Functions, and the Singer's Mind | A weekly lecture course for singers, pianists, directors, conductors, and anyone who is interested in the art and craft of the voice. The voice is an instrument whose sounds are determined by its structure and the choices the singer makes. Students w... |
| MUSIC65A | Beginning Voice Class | 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 cla... |
| MUSIC65AS | Voice Class 1: Beginning Voice, Level 1 (Group) | Group (6 students to a section) beginning voice. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University. |
| MUSIC65AZ | Beginning Voice Class | Group (7 students to a section) beginning voice (A = level 1; B = level 2). 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. Plea... |
| MUSIC65B | Intermediate Voice Class | 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 inf... |
| MUSIC65BS | Voice Class 2: Beginning Voice, Level 2 (Group) | Complete registration form available at: https://tinyurl.com/5n63y97k . May be repeated for credit 5 times. Zero unit enrollment option available with instructor permission. See website: (http://tinyurl.com/posmuhn) for policy and procedure. By enrol... |
| MUSIC65BZ | Intermediate Voice Class | Group (7 students to a section) beginning voice for the non-major (A = level 1; B = level 2). 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 clo... |
| MUSIC65SZ | Beginning Voice | Beginning Voice (zero-unit option). Complete registration form available for download at: http://tinyurl.com/q43c48g. May be repeated 5 times. Zero unit enrollment option available with instructor permission. See website: (http://tinyurl.com/posmuhn)... |
| MUSIC6F | Professional Development in Music | Open to majors and non-majors. This course is designed for students who are considering careers in performance or the music industry to explore their personal and artistic identity. Weekly guest speakers provide real world insight on topics related t... |
| MUSIC6G | Entrepreneurial Development for Classical Musicians | Open to majors and non-majors. This course is designed for students who are interested in professional opportunities in classical music, whether conservatory bound or just exploring possible careers in classical music performance or related interests... |
| MUSIC72A | Intermediate Piano Class | For intermediate students. May be repeated for credit a total of 14 times. Prerequisites: 12C or equivalent, audition. This class is closed by design. Please register on the waitlist and meet with Dr. Zerlang in room 111, or contact him at timzer@sta... |
| MUSIC72AZ | Intermediate Piano Class | For intermediate students. Prerequisites: 12C or equivalent, audition. 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. Zero unit enrollment option av... |
| MUSIC72C | Harpsichord Class | For beginning harpsichord students who have keyboard skills. May be repeated for credit a total of 14 times. Admission based on instructor consent. Contact instructor prior to enrolling to discuss availability. Class meets in Braun 201. Zero unit enr... |
| MUSIC72CZ | Harpsichord Class | For beginning harpsichord students who have keyboard skills. Admission based on instructor consent. Contact instructor prior to enrolling to discuss availability. Class meets in Braun 201. Zero unit enrollment option available with instructor permiss... |
| MUSIC72D | Jazz Piano Class | To enroll, please register on the waitlist and contact the instructor (murlow@stanford.edu) to receive a permission number for enrollment. Priority to majors and jazz-ensemble participants. Zero unit enrollment option available with instructor permis... |
| MUSIC72DZ | Jazz Piano Class | Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. To enroll, please register on the waitlist and contact the instructor (murlow@stanford.edu) to receive a permission number for enrollment. Priority to majors... |
| MUSIC72G | Gu-Zheng Class | 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,... |
| MUSIC72GZ | Gu-Zheng Class | 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,... |
| MUSIC72SZ | Intermediate Piano | Intermediate Piano (zero-unit option). Zero unit enrollment option available with instructor permission. See website: (http://tinyurl.com/posmuhn) for policy and procedure. By enrolling in this course you are giving consent for the video and audio re... |
| MUSIC73 | Advance Voice Class | 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... |
| MUSIC73Z | Advance Voice Class | For intermediate students. Admission by audition. 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 w... |
| MUSIC74AA | Introductory Violin Class Level 1: Beginner | Open to majors and non-majors. Focus is on beginning violin skills. Topics include brief history and physics of the instrument, and survey of repertoire. There is a fee for this class. Please visit http://music.stanford.edu for class fees and signup... |
| MUSIC74C | Classical Guitar Class | May be repeated for credit a total of 14 times. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. |
| MUSIC74CZ | Classical Guitar Class | Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. |
| MUSIC74D | Harp Class | May be repeated for credit a total of 14 times. Please visit http://music.stanford.edu/Academics/LessonSignups.html for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for... |
| MUSIC74DZ | Harp Class | There is a fee for this class. Please visit http://music.stanford.edu/Academics/LessonSignups.html for class fees and signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for... |
| MUSIC75B | Renaissance Wind Instruments Class | May be repeated for credit. Please visit http://music.stanford.edu for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. |
| MUSIC75BZ | Renaissance Wind Instruments Class | May be repeated for credit. Please visit http://music.stanford.edu for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. |
| MUSIC76 | Brass Instruments Class | May be repeated for credit a total of 14 times. Please visit http://music.stanford.edu for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. |
| MUSIC76A | Tuba Class | Basic brass techniques as they apply to the tuba including warmups, breathing, and developing a daily routine. For beginning through intermediate players. Please visit http://music.stanford.edu/Academics/LessonSignups.html for audition information.... |
| MUSIC76AZ | Tuba Class | Basic brass techniques as they apply to the tuba including warmups, breathing, and developing a daily routine. For beginning through intermediate players. Zero unit enrollment option available with instructor permission. See website: (http://music.s... |
| MUSIC76Z | Brass Instruments Class | May be repeated for credit a total of 14 times. Please visit http://music.stanford.edu for class fees and signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and pr... |
| MUSIC77 | Percussion Class | May be repeated for credit a total of 14 times. Please visit http://music.stanford.edu for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. |
| MUSIC77Z | Percussion Class | Please visit http://music.stanford.edu for signup information. Zero unit enrollment option available with instructor permission. See website: (http://music.stanford.edu) for policy and procedure. |
| MUSIC7B | Musical Cultures of the World | Ethnomusicologists study music in human life. Music is with us as we articulate and define social identities -- punk rocker, student, Japanese-American, member of a sorority, Catholic, radical, etc. --and as we acquire new identities through rites of... |
| MUSIC801 | TGR Project | No Description Set |
| MUSIC802 | TGR Dissertation | No Description Set |
| MUSIC80A | Jewish Music of the Diaspora | Through the perspective of Jewish music, the students will be exposed to diverse musical cultures from around the globe while simultaneously being exposed to the rich and multi-faceted cultures of Jewish music. Because the Jews were dispersed around... |
| MUSIC8A | 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 min... |