performance and graphics work at four cities in the Alentejo area. Brad Garton and Terry Pender performed improvisational music (alongside Gregory Taylor of Cycling '74 software) as "PGT" with Portugese musicians playing traditional instruments. Click here for a sampling of music and photos from the festival.
Brian Karl is Program Director at the Marin Headlands Center for the Arts, and an Adjunct Professor at the California College of the Arts.
For the last fifteen years, Brian Karl has conceived and produced numerous independent experimental video documentaries and public performances, most often in collaboration with others. Several of these projects have received awards when screened at film festivals, as well as have been purchased for collections and/or commissioned by galleries and museums internationally.
He has also worked professionally for over two decades as a curator and administrator at art organizations in support of others' multidisciplinary creative work, including positions at Los Angeles Contemporary Exhibitions (LACE), Art-in-General, Harvestworks Digital Media Arts, and Headlands Center for the Arts. He has consulted as a curator, technician and guest speaker for organizations such as Creative Time, Composers Forum, Kadist Foundation, the Kitchen, San Francisco Art Institute, Yerba Buena Center for the Arts, and the Mabou Mines, Squat and Wooster Group theater companies, along with serving as editor and producer for Tellus, the Audio Art Magazine. He completed his doctoral dissertation in music and anthropology at Columbia University after conducting archival and field research in Morocco, Spain and the U.S. He has taught courses widely at the university level in art, cultural anthropology and music.
Bio courtesy of his faculty page.
Tim Mangin currently teaches at the City College of New York. He earned his PhD in ethnomusicology at Columbia in 2012. He has conducted fieldwork in New York City's underground hip hop and jazz clubs and in Senegal, Cape Verde, and South East Asia. His publications include "Notes on Jazz in Senegal," in Uptown Conversations: The New Jazz Studies, eds, Robert G. O'Meally, Brent Edwards, and Farah Griffin (Columbia University Press) and "Cosmopolitan Routes. Jazz im Senegal," in Begegnungen: The World Meets Jazz, Wolfram Knauer editor, Hofheim [Wolke Verlag]. Tim has also taught at Columbia, Hunter College, and St. Lawrence University.
Important Announcement: The Ethnomusicology PhD Program IS NOT accepting applications for 2015 admission. We will accept Ethnomusicology PhD program applications next in Fall 2015 for 2016 admission.
Are you considering applying for our PhD program in Musicology (for 2014: Historical Musicology, Music Theory) or our DMA program in Composition?
If you are looking for information on the "Sound Arts" MFA Program, please start here.
Prospective PhD/DMA applicants should begin by visiting the "Admissions" section of the Columbia University Graduate School of Arts and Sciences (GSAS) website. This is the portal for online applications and contains key information regarding requirements and deadlines for applicants.
General Guidance for Applicants to our PhD/DMA Programs:
Columbia offers one of the top doctoral programs in academic musicology (PhD, including historical musicology, ethnomusicology, and music theory) and music composition (DMA) in the United States. We are committed to the professional development of our students, and expect them to be committed to their own professional goals as scholars, teachers, and composers.