Professional Development Workshops Series
Monday, 30 March: On Publishing
This workshop will focus on the process of submitting your work for publication to journals and to book publishers, and will discuss the peer review process, working with an editor, correcting proofs, and other matters.
*Library Seminar Room* (note change of place), Dodge 701a
3-4:30 pm
Workshop leaders: Professors Giuseppe Gerbino and Ellie Hisama
For graduate students in music and PhDs/DMAs.

The Louis Armstrong Jazz Performance Program at Columbia University and the Music
Department is pleased to announce the debut concert of the CU Jazz Composers Collective
on Friday February 27 at 8:00pm in Miller Theatre. Conducted by Professor Chris
Washburne, the Collective is composed of current graduate and undergraduate Columbia
University students as well as alumni and faculty and the concert will premiere new jazz
works. Washburne envisions the event as a platform for emerging student composers, as
well as a unique reunion opportunity for renowned jazz musicians who have passed through
Columbia's gates over the years integrating the past, present, and future of jazz at
Columbia in one big evening.

The concert will mark the launching of the Collective as they unveil a set of new and
innovative works for jazz combo and big band. Featured will be some of the most talented
student performers from across the University's campus, as well as promising students of
the Columbia Music Department's Composition Program, including Patrick Zimmerli, Steve

Click here for the complete event schedule

Listening In, Feeding Back

Organizers:

David Novak, Columbia University, Society of Fellows in the Humanities

den12@columbia.edu
Ana Maria Ochoa, Columbia University, Department of Music

ao2110@columbia.edu

Conference and concert are free and open to the public. No registration or tickets necessary. Seating is on a first come, first served basis.

Description:

In recent years, several North American academic disciplines, including history, anthropology, ethnomusicology, and media studies, have devoted significant attention towards practices of listening. The act of listening is undoubtedly an underexplored dimension of modern sensory experience -- and of modernity itself, which is too often characterized by an overdetermined regime of visuality. What can listening offer to emerging interdisciplinary work on perception, performance, aesthetics, social life, and the circulation of sound media? Listening is more than a given function of musical interpretation, which might attend to sound only in its deliberately aesthetic or openly communicative forms. Rather, it is a culturally-situated practice that shapes the particular spatial and material conditions of our perception. Listening influences the social distinctions of daily life, and is inextricably bound to aesthetic and bodily experiences with music and noise. And increasingly, characterizations of listening recognize its diverse practices as productive transcultural relationships, which in themselves constitute the globalization of media. Our experiences with sound are key to broad projects of self-making that rewrite logics of authorship and cultural origin through circulation and new modes of appropriation.