Dr. Ashley Fure is an American composer interested in chaotic matter and music's ability to convey movement. She works in both acoustic and electroacoustic media and collaborates frequently with artists from other disciplines. A 2013-14 Fulbright Fellow in France, Fure is currently creating a 65 minute electroacoustic ballet with choreographer Yuval Pick commissioned by IRCAM for the 2014 Manifeste Festival in Paris. She earned a Phd in Music Composition from Harvard University, where she studied with Chaya Czernowin, and further degrees from IRCAM (Cursus 1 and 2), Oberlin Conservatory (B.Mus), and the Interlochen Arts Academy. Notable honors include a 2013 Impuls International Composition Prize, a 2012 Darmstadt Stipendienpreis, a 2012 Staubach Honorarium, a 2011 Jezek Prize, and a 2010 10-month residency at Akademie Schloss Solitude.
Section 001 Call Number: 69864 Points: 3
Day/Time: TR 1:10pm-2:25pm
Location: To be announced
Instructor: Jeffrey Milarsky (bio)
Analysis of instrumentation, with directional emphasis on usage, ranges, playing techniques, tone colors, characteristics, interactions and tendencies, all derived from the classic orchestral repertoire. Topics will include theoretical writings on the classical repertory as well as twentieth-century instrumentation and its advancement. Additional section will be provided with live orchestral demonstrations.
Prerequisite: Advanced music majors and extensive music background.
ETHNOMUSICOLOGICAL FIELD METHODS/TECHNIQUES (for undergraduates!)
Section 001 Call Number: 62038 Points: 3
Day/Time: T 4:10pm-6:00pm
Location: To be announced
Instructor: Prof. Aaron A. Fox (bio)
The goals of this course are practice-oriented. The end result will be short fieldwork-based project of approxiamtely 20 pages in length. In order to complete the paper, students will conduct fieldwork, read and synthesize relevant literatures, and think carefully about the questions in which they are interested and methods of addressing them through ethnographic inquiry.
This course is open to both undergraduate and graduate students in the junior or senior year only. Permission of the instructor is required. Class size is limited to 12 students, with priority given to Barnard College Ethnomusicology majors and other Music major/concentrators. Please contact Prof. Fox as soon as possible if you intend to register for this course.
TECHNIQUES OF 20th CENTURY MUSIC
Section 001 Call Number: 12208 Points: 3
Day/Time: TR 4:10pm-5:25pm
Location: 814 Dodge Hall
Instructor: Sophia (Zosha) Di Castri (bio)
Course Description V3310:
This course focuses on the analysis of significant pieces from the twentieth and twenty-first centuries via the close study of new techniques used by composers and theorists. Through listening, analysis, discussion, and composition, we will engage with a diversity of approaches to post-tonal music from the Euro-American avant-gardes. Music studied will include solo, chamber, and large ensemble works, as well as experimental vocal music, music theatre, and electronic/mixed-music genres.
Week-to-week work required of you: listening, study, analysis of assigned pieces sometimes accompanied with short readings (come prepared to share your perspectives in class); several miniature compositional response exercises.
Plus two main assignments: a 20-minute oral presentation on a research/analysis topic of your choice; a final composition to be performed and presented in class
This course fulfills the requirement of a 3000-level advanced theory elective for the Major.
The prerequisite for this course is V3322y (Music Theory IV) or equivalent.
Fall 2014 Music V3239x
INTRODUCTION TO COMPOSITION I
Section 001 Call Number: 23074 Points: 3
Day/Time: MW 2:40pm-3:55pm
Location: To be announced
Enrollment: 23 students as of July 15, 2014
Instructor: Georg Friedrich Haas (bio)
Composition in shorter forms. Basic issues of musical structure and expression are explored in traditional and contemporary repertory.
The prerequisites for this course are V1002 Fundamentals of Western Music and the instructor's permission.
20TH CENTURY MUSIC
Call Number: 65591 Points: 3
Day/Time: MW 10:10am-11:25am
Location: To be announced
Instructor: George Lewis (bio)
A multicultural survey of composers, improvisers, sounds, practices and social issues in the music of "the long 20th century." Engages form, technique, genre, style, canon, media reception, constructions of gender and race, cultural nationalisms, and the impact of transnationalism and globalization. Reading knowledge of music is very helpful but not required.
An introduction to the potential of digital synthesis by means of the MIDI (Musical Instrument Digital Interface). The goals of the course, in addition to teaching proficiency in elementary and advanced MIDI techniques, are to challenge some of the assumptions about music built into the MIDI specifications and to foster a creative approach to using MIDI machines. (This course was previously called MIDI Music Production Techniques).
The prerequisite for this course is C1123 or F1123 Masterpieces of Western Music or BC 1001x or 1002y Introduction to Music, or equivalent.
Due to high demand, prospective students should attend the first meeting of the class, and be aware that placement will be determined by various factors including permission of the instructor.
The Department of Music warmly welcomes and congratulates Zosha Di Castri, who has been appointed as Assistant Professor of Music (Composition). Prof. Di Castri, who will soon complete her DMA in the Department, will begin her appointment on July 1, 2014
Ms. Di Castri is a Canadian composer/pianist living in New York. Her work (which has been performed in Canada, the US, and Europe) extends beyond purely concert music, including projects with electronics, installations, and collaborations with video and dance. Her latest work, Serafiniana, for solo amplified violin, amplified harp, orchestra, and electronics was premiered in Toronto by Esprit Orchestra in May. Other recent orchestral compositions have been programmed by the San Francisco Symphony, New World Symphony, Toronto Symphony Orchestra, Orchestre Symphonique de Montreal, and the Cabrillo Festival Orchestra among others. Zosha has made appearances with the Chicago Symphony Orchestra and the L.A. Philharmonic in their chamber music series and has worked with many local groups including Talea Ensemble, Wet Ink, Ekmeles, and Ensemble Pamplemousse. She was the recipient of the Jules Leger Prize for New Chamber Music for her work Cortege in 2012, and participated in Ircam's Manifeste Festival, writing an interactive electronic work for Thomas Hauert's dance company ZOO. Upcoming projects include an evening-length collaborative interdisciplinary work with David Adamcyk and ICE, and a piece for the Cecilia String Quartet. Zosha is presently completing her doctorate and will begin a tenure-track appointment in the summer of 2014.
Learn more about Prof. Di Castri's work on her Columbia Composers bio page!
Read an article (with audio samples) about Prof. Di Castri in musicworks magazine.
Music Majors Olivia Harris & Solomon Hoffman Perform & Arrange the National Anthem for Commencement!
On May 22, 2014, for the Columbia University Commencement Ceremony, graduating Columbia College Music Major Olivia Harris, along with fellow students Taylor Harvey and Brittany Carroll-Watts, brilliantly performed a striking arrangement of "The Star Spangled Banner," arranged by Columbia graduating Music Major Solomon Hoffman.
Enjoy the performance!
The Department of Music is delighted to welcome Dr. Ashley Fure as an incoming Mellon Postdoctoral Teaching Fellow in Music for 2014-16.
Dr. Fure is an American composer interested in chaotic matter and music's ability to convey movement. She works in both acoustic and electroacoustic media and collaborates frequently with artists from other disciplines. A 2013-14 Fulbright Fellow in France, Fure is currently creating a 65 minute electroacoustic ballet with choreographer Yuval Pick commissioned by IRCAM for the 2014 Manifeste Festival in Paris. She earned a Phd in Music Composition from Harvard University, where she studied with Chaya Czernowin, and further degrees from IRCAM (Cursus 1 and 2), Oberlin Conservatory (B.Mus), and the Interlochen Arts Academy. Notable honors include a 2013 Impuls International Composition Prize, a 2012 Darmstadt Stipendienpreis, a 2012 Staubach Honorarium, a 2011 Jezek Prize, and a 2010 10-month residency at Akademie Schloss Solitude.