The John Simon Guggenheim Memorial Foundation has awarded Fellowships to Columbia Composition (DMA) alumni Kate Soper, Alex Mincek, and Huck Hodge. Appointed on the basis of prior achievement and exceptional promise, the 181 successful candidates for 2012 Guggenheim Fellowships were chosen from a group of almost 3,000 applicants.
World Music Ensembles for Fall 2012 -- Bluegrass, Gagaku, Hogaku, Middle Eastern, Klezmer, Latin! (MUSI V1625)
For Fall 2012, the Department of Music and the Music Performance Program are pleased to offer six "World Music" ensembles, including Bluegrass, Klezmer, Japanese Gagaku/Hogaku (separate ensembles), Middle Eastern, and Latin groups. All four are offfered as 1 or 2 credit ensembles under the course number MUSI V1625. (Click on each section number to go to the associated Directory of Classes listing.)
NB: For most participants, these ensembles expect a year-long commitment (fall and spring semester registration) and hold auditions for new members ONLY in the Fall.
For more information on these ensembles, contact:
The CU Music Performance Program (Becky Lu, Program Coordinator)
Office Hours: Tuesday-Friday, 12:00 to 5:00PM in 618 Dodge
Email: firstname.lastname@example.org Phone: (212) 854-1257
WORLD MUSIC ENSEMBLE-BLUEGRASS
Call Number: 64457 Points: 1-2
Notes: AUDITIONS REQUIRED & ARE IN FALL ONLY. SIGN UP IN 618 DODGE
Instructor: Jordan Shapiro
Fall 2012 Music W4526
Section 001 Call Number: 65942 Points: 3
Day/Time: TR 8:40am-9:55am
Location: To be announced
Classical and Romantic music is normally studied with an eye to the vertical and horizontal organization of tones (harmony and counterpoint) and to the organization of form and rhythm (musical analysis), as well as from a historical perspective. Rules of orchestration are also crucial to fully understanding a work of music.
The goal of this course is to study different principles of "functional" orchestration, with examples taken mainly from eighteenth and nineteenth century music (Haydn, Beethoven, Schubert, Brahms, Wagner, Mahler, etc.). "Functional orchestration" designates different instrumental techniques for organizing the musical work such as crescendos, contrasts, opposition of themes, climax, melodic movements, counterpoint and voice leading, distinction and fusion, resonance, "wet"/"dry" sounds, doubling and mixtures, complex textures, etc.
Students will also write practical exercises "in the style of" various composers under the instructor's supervision.This seminar is for undergraduate students as well as for graduate students in composition, historical musicology, and music theory. It is given once a year only. The ability to read and write orchestral music is required.
Fall 2012 Music V3310
TECHNIQUES OF 20TH CENTURY MUSIC
Section 001 Call Number: 22386 Points: 3
Time/day, location, instructor TBA shortly
Materials, styles, and techniques of 20th-century music. Topics include scales, chords, sets, atonality, serialism, neoclassicism, and rhythm. Prerequisites: MUSI V3322 or instructor's permission.
This course fulfills the requirement of the 3000-level advanced theory elective, or the non-tonal repertoire course (not both) for the Major.
The prerequisite for this course is V3321x Chromatic Harmony and Counterpoint I.
Undergraduate Section: (MUSI V3305)
Fall 2012 Music V3305
THEORIES OF HEINRICH SCHENKER (undergrad/grad)
Section 001 Call Number: 26154 Points: 3
Day/Time: M 9:10am-11:00am Location: To be announced
Day/Time: W 9:10am-10:00am Location: To be announced
Notes: (This is a "SWING" class w/G6305, and may only be taken by graduate students under that number.)
Graduate Section: (MUSI G6305)
Fall 2012 Music G6305
INTRODUCTION TO SCHENKERIAN ANALYSIS (graduate)
Section 001 Call Number: 13288 Points: 3
Day/Time: M 9:10am-11:00am Location: To be announced
Day/Time: R 10:10am-12:00pm Location: To be announced
Notes: ("SWING" CLASS W/V3305)
An examination of Schenker's concepts of the relation between strict counterpoint and free writing; "prolongation"; the "composing-out" of harmonies; the parallels and distinctions between "foreground," "middleground," and "background"; and the interaction between composing-out and thematic proesses to create "form." This course fulfills the requirement of the 3000-level advanced theory elective for the Major.
The current blog of The New Republic features a story on the legendary songwriter and composer Nick Hathaway, described by his discoverer and Columbia Journalism Professor David Hajdu as "the genre- and taste-defying songsmith known for having the kind of talent that is truly not to be believed."
The blog post is in honor of the first anniversary of Hathaway's death at the piano in Chester, Pennsylvania, on April 1, 2011. It features a riveting video performance of Hathaway's best-loved unheard piece of work: the words and music he wrote for "Man in a Mousetrap," the conceptual production directed in 1953 by the avant-gardist Jeffrey Cordova. Here, in the piece's debut, Theo Bleckmann, the esteemed experimental vocalist, performs "Man in a Mousetrap" at Columbia University, with Jon Weber (pianist and host of the NPR radio series "Piano Jazz Rising Stars"), Chris Washburne (respected trombonist and director of the Jazz Performance Program at Columbia), and the violinist and scholar (and Columbia musicology PhD candidate) Matthew Morrison. The performance also features a consideration of Hathaway's historical importance by Columbia's Edwin Case Professor of Music, George Lewis, who concludes that "in the history of the American avant-garde, Nick Hathaway stands out as a figure of rare conventionality."
On Wednesday, December 7th, 50 outstanding performing, visual, media and literary artists were awarded with USA Fellowship grants of $50,000 each, in Santa Monica, CA.
Professor George Lewis, the Edwin H. Case Professor of American Music, was one of the awardees, receiving the USA Walker Fellowship.
George Lewis is a composer, trombonist, improviser, educator, and a pioneer of computer music. Lewis has been a member of the Association for the Advancement of Creative Musicians (AACM) since 1971, and studied at its school under USA Prudential Fellow Muhal Richards Abrams. Lewis's work with musicians from Count Basie to John Zorn is documented in over 140 recordings. He has also created and performed with interactive computer systems since the late 1970s and has collaborated with visual artists, roboticists, and turntablists in sound installations. He is the Edwin H. Case Professor of American Music at Columbia University and won a MacArthur Fellowship in 2002.
Photo credit Eileen Barroso
Explore our course offerings for Spring 2012!
V2014 Popular Musics- Americas: Country Music
Instructor: Aaron Fox Call #: 68348, 3 pts, TR 2:40pm-3:55pm, 405 Dodge
This is an undergraduate lecture/discussion survey course that combines a detailed musical and social history of "country" as an American and global popular music genre with an introduction to key issues in the academic study of popular music as exemplified by the growing scholarly literature on country. Inarguably, the genre (formerly known as "hillbilly" and "country and western" and sometimes "folk" music) constitutes a crucially important strand in the history of music in the 20th century, both in the United States and globally.
V3030 Asian American Music
Instructor: Ellie Hisama Call #: 62292, 3 pts, MW 10:35am-11:50am, 404 Dodge
Examination of the diverse ways in which Asian Americans have understood and shaped their musical prac- tices. We will explore the ways in which Asians have been represented via sound, text, and image, and will consider Asian Americans' participation in composed music traditions, jazz, traditional/folk music, diasporic music, improvised music, and popular musics. The course will reflect on readings from musicology, ethnomu- sicology, and music theory as well as fields outside of music in order to consider Asian American music in relation to critical issues of diaspora, race/ethnicity, gender/sexuality, polyculturalism, and political activism.
Fred Lerdahl, the Fritz Reiner Professor of Composition at Columbia, has published a tribute to his friend and colleague, the late George Edwards (Edward MacDowell Professor Emeritus of Music) in the online journal New Music Box.
"Music was his refuge, his inner sanctum of order, beauty, and refined expression."
From the article:
"George and I met in 1965 as incoming graduate students at Princeton. He, Joel Gressel, and I soon formed a three-way friendship that became at least as important to our development as the classes we took. After seminars we would relax by playing pool, frisbee, chess, or tennis, and we spent long hours listening to and discussing music, not only modern pieces but also the classics, in particular Beethoven and Mahler. By the time I met him, George's personality and musical style were already formed. He had an acerbic wit that quickly spotted contradictions and deflated pretensions. Beneath the high-spirited jokes and puns lay a stern moral sensibility, seemingly inherited from his Puritan background. (One of his forebears was the 18th-century theologian Jonathan Edwards.) This sensibility made him vulnerable to moods of discouragement and outrage, yet it was also a strength. He held firm convictions, musical and otherwise. He followed unwaveringly his own artistic path, and he approached all of his relationships and obligations with exemplary candor, responsibility, and loyalty."