Qingfan Jiang came to the United States at the age of fifteen to study piano at Interlochen Arts Academy. She has earned her Bachelor's degree in Music Composition from Illinois Wesleyan University and her Master's in Musicology from Rice. She is currently a PhD student at Columbia. Her research focuses on the revival of early music in late nineteenth-century France.
Velia Ivanova is a PhD student in Historical Musicology with research interests focused on critical theory, aesthetics, and twentieth century music. She holds a Bachelor of Music and a Master of Arts in Musicology from the University of Ottawa, where her thesis "Twelve-Tone Identity: Adorno Reading Schoenberg through Kant" sought to compare Adorno's commentaries on Schoenberg and Kant and to relate this comparison to a critique of the transactional nature of the production and reception of ideas. In the past, her research has been supported by the Joseph Armand Bombardier Canada Graduate Scholarship and the Ontario Graduate Scholarship.
Julia Hamilton spent the 2013-14 academic year on a Fulbright grant, studying for an MA in Eighteenth-Century Studies at the University of Southampton. She wrote her dissertation on 'Pamela' operas on the 1760s London stage. Prior to this, she received a BA in Music and English from the College of the Holy Cross. Outside of studying, Julia enjoys singing, acting, and playing cello.
Dr. Bryan Parkhurst came to Columbia as a Mellon Postdoctoral Teaching Fellow in Music in 2014. He earned his PhD in philosophy and music theory from the University of Michigan, where he was supported by both a Regents Fellowship and a Rackham Predoctoral Fellowship. His dissertation, "Sound's Arguments: Philosophical Encounters with Music Theory," which was written under the supervision of Kendall Walton, Ramon Satyendra, and Kevin Korsyn, engages closely with the thought of such figures as Schenker, Lewin, Kant, Hegel, Hanslick, Schopenhauer, Dewey, and Wittgenstein. He is currently researching a book about Hegel and Hauptmann. Additionally, Bryan is interested in Marxist philosophy generally and Marxist aesthetics in particular, as well as in the grand question of whether and how it is possible for music to be philosophy (Marxist or otherwise). Bryan's recent publications appear in Music Theory Online, The Journal of Aesthetic Education, The Journal of Interdisciplinary Humanities, and elsewhere. He is a also a harpist and accordionist.
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.
Music MUSI W4150
MUSIC & POLITICS IN PRE-REVOLUTIONARY FRANCE (New for 2014!)
Section 001 Call Number: 27746 Points: 3
Day/Time: MW 10:10am-11:25am
Location: 701a Dodge Hall
Instructor: Julia Doe (bio)
This course examines the relationship between musical and political institutions in France, from the reign of Louis XIV through the fall of the monarchy. We will 1) survey the development of musical style through listening and analysis; and 2) investigate how representative works reflected broad changes in the production and consumption of music during the grand siecle and age of Enlightenment. Topics will include: systems of court patronage and theatrical privilege; the rise of music criticism in the public sphere; the influence of the philosophes; salon culture; and the role of the arts in the historiography of the Revolution.
Fall 2014 Music V3395
LISTENING TO HIP-HOP
Call Number: 24116 Points: 3
Day/Time: MW 2:40pm-3:55pm
Location: To be announced
Instructor: Ellie Hisama
An interdisciplinary exploration of hip-hop music and culture from its beginnings to the present through historical, analytical, and critical perspectives. The course's primary focus will be on critical listening. Readings will help to situate particular pieces of music, artists, and genres within their cultural, political, and social contexts. Using through historical, analytical, and critical perspectives, we will examine hip-hop's complex relationships to politics, race, gender, sexuality, class, region, and diaspora as evident in performances, recordings, videos, films, and popular culture.