L I T E R AT U R E M U S I C S T U D I E S trajectory a step further, producing a novel that takes up the theme of belatedness and second chances. Readers and critics have long wondered what Austen would have done next if she had lived longer—the fragment of a novel, known as Sanditon, that Austen left incom- plete when her health failed blends a new vitality and an extra bite of satire. In this course, we will consider these two novels and the fragment of a third with attention to Austen’s “mature” style. Austen delighted in holding a micro- scope up to English country life, comparing her writing to painting with a fine brush on a “little bit (two inches wide) of ivory.” But as much as her novels seem to concentrate closely on just “three or four families in a country village,” they also encapsulate and gesture to a much wider empire and world—while responding to and innovating on the literary tradition in English. While reading these novels, we will strive to balance holding up our own microscopes to how they “work” as literary objects while also understanding them in their larger literary and cultural context. r e becc a r ic h a r dson Advanced Lecturer, Program in Writing and Rhetoric, Stanford Rebecca Richardson received a PhD in Victorian litera- ture from Stanford. She has published articles on a range of 19th-century authors—from Jane Austen to Charles Dickens—and her most recent work is a book titled Material Ambitions: Self-Help and Victorian Literature. LIT 69 Mondays, 7:00 – 8:50 pm (PT) 6 weeks, July 10 – August 14 1 unit, $385 Refund Deadline: July 12 Course Format: Live Online M U S I C S T U D I E S A Practical Introduction to Music Theory and Harmony M usic theory is often considered to be irrelevant to our experience of music. This course will demonstrate that the opposite is true—understanding the laws governing the art of sound enhances our ability to appreciate, enjoy, and even remember music. Reversing the traditional academic practice of moving from concepts to real music, we will start with concrete musical examples and seek to extract their theoretical premises. The opening of Richard Strauss’s “Thus Spoke Zarathustra” will serve as a roadmap introducing such concepts as the overtones series, music intervals, major and minor modes, and chord progression. We will then use a repertory of well-known themes, songs, and large- scale compositions, from “Greensleeves” to Beethoven’s Symphony No. 9, and from “Flight of the Bumblebee” to “Star Wars,” to expand our understanding of the theoretical foundations of Western music. Finally, we will learn how to use chords to harmonize a melody, and we’ll explore basic ways of composing music. No music-reading ability is required. i l i a s c h r i ssoc hoi di s Research Associate, Department of Music, Stanford Ilias Chrissochoidis is a music historian, composer, and pianist. The recipient of numerous research awards, he has written extensively on Handel and opera. He is also the editor of Spyros P. Skouras’s memoirs and has released the music albums Inspiratorio, Ringtones, Hellenotropia, and Eviva! He received a PhD in musi- cology from Stanford. MUS 121 W 7 weeks, July 17 – September 1 1 unit, $490 Limit: 39 Refund Deadline: July 20 Course Format: Flex Online 31 R EGIS T R AT IO N F O R AL L C O UR S ES B EGINS ON MONDAY, MAY 22, AT 8:30 A M (P T ) R EGIS T ER O NL INE AT C O NT INUINGSTU DIES.STA NFORD.EDU