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Perception and Performance of Implied Polyphonic Textures: Factors of Pitch Organization

Musical Modernism and the Search for Second-Person Lyric

Please join us for a guest lecture with composer Paula Matthusen. The presentation will discuss a series of works related to field recording in sites of historical infrastructure within New York City, Rome, and elsewhere.

Baritone Tyler Duncan and the St. Lawrence String Quartet perform Osvaldo Golijov’s Drag Down the Sky, premiered in Charleston, SC, in June 2016. The Keynote Presentation will also include a discussion with the composer.

How do we listen to cities? How does the musical history of a city reveal histories of marginalization, displacement, cultural change, and community place-making? I’ve been exploring the racial and cultural politics of musical urbanism for many years, with a focus on Los Angeles and the greater Mexico-California borderlands, and in this talk, I will share the research methods and curatorial practices at the heart of two current projects that extend these themes in new directions.

Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA) invites you to come to our annual Open House. Join us as we present lectures, hands-on demonstrations, posters, and musical performances of recent CCRMA research including digital signal processing, neuroscience of music and of narrative engagement, spatial sound, programming languages for music and sound synthesis, and a musical instrument petting zoo.

D.M.A. in Composition candidate Eoin Callery defends his dissertation, Developing An Electroacoustic Portfolio.

Ph.D. in Music (Musicology) candidate Lisa Burnett defends her dissertation, A History of the Gesamtkunstwerk from Richard Wagner to Kim Jong Il.

Ph.D. in Music (Musicology) candidate Nathaniel Sloan defends his dissertation, Jazz in the Harlem Moment: Performing Race and Place at the Cotton Club.

Ph.D. in Music (Computer-Based Music Theory and Acoustics) candidate Blair Kaneshiro defends her dissertation, Toward an Objective Neurophysiological Measure of Musical Engagement.


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