Frühauf, Tina

Name: 
Tina Frühauf
Position: 
Adjunct Assistant Professor of Music
Contact Information
Office Address: 
621 Dodge Hall
Email Address: 
tf2213@columbia.edu
Educated in Germany, Dr. Fruhauf specializes in the history of Jewish music in Western Europe. She is the author of The Organ and Its Music in German-Jewish Culture (Oxford University Press, 2009/2012), and editor of An Anthology of German-Jewish Organ Music (A-R Editions, 2013, nominated for the Claude V. Palisca Award for Outstanding Edition), Hans Samuel: Selected Piano Works (A-R Editions, 2013), and Dislocated Memories: Jews, Music, and Postwar German Culture (OUP, 2014). Supported by grants from the Leo Baeck Institute and Memorial Foundation of Jewish Culture, Dr. Fruhauf is currently completing a monograph on music in the Jewish communities of Germany after 1945.
 

Parkhurst, Bryan

Name: 
Bryan Parkhurst
Position: 
Mellon Postdoctoral Teaching Fellow in Music, 2014-16
Contact Information
Email Address: 
bjp2146@columbia.edu

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. 

Field Methods & Techniques in Ethnomusicology for Undergrads (MUSI G4401, Fall 2014)

Course Information

Course Title: 
Field Methods and Techniques in Ethnomusicology
CU Directory Course Number: 
MUSI G4401
Points/Credits: 
3
Instructor: 
Aaron Fox (Fall 2014)

Fall 2014 
Music G4401
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 and Politics in Pre-Revolutionary France (MUSI W4150, NEW for Fall 2014!)

Course Information

Course Title: 
Music and Politics in Pre-Revolutionary France
CU Directory Course Number: 
MUSI W4150
Points/Credits: 
3
Instructor: 
Julia Doe

Fall 2014
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.

Listening to Hip-Hop

Course Information

Course Title: 
Listening to Hip-Hop
CU Directory Course Number: 
MUSI V3395
Points/Credits: 
3
Instructor: 
Ellie Hisama

Fall 2014 Music V3395
LISTENING TO HIP-HOP

Section 001
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.

20th Century Music (MUSI V3172, Fall 2014)

Course Information

Course Title: 
20th Century Music
CU Directory Course Number: 
MUSI V3172
Points/Credits: 
3
Instructor: 
Prof. George Lewis

Fall 2014
Music V3172
20TH CENTURY MUSIC
Section 001
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.

History of Western Music: Middle Ages-Baroque (MUSI V3128 Fall 2014)

Course Information

Course Title: 
History of Western Music: Middle Ages-Baroque
CU Directory Course Number: 
MUSI V3128
Points/Credits: 
3
Instructor: 
Prof. Susan Boynton

Fall 2014
Music V3128
HISTORY OF WESTERN MUSIC: MIDDLE AGES-BAROQUE
Section 001
Call Number: 28382 Points: 3 
Day/Time: TR 2:40pm-3:55pm
Location: To be announced
Notes: MUSIC MAJORS/CONCE PRIORITY
Instructor: Susan Boynton  (bio)

Pre- or co requisite:V2318-V2319. Topics in Western music from Antiquity through Bach and Handel, focusing on the development of musical style and thought, and analysis of selected works.

 

The Music of Russia: A Survey (MUSI V2145, Fall 2014)

Course Information

Course Title: 
Russian Music: A Survey
CU Directory Course Number: 
MUSI V2138
Points/Credits: 
3
Instructor: 
Deborah Bradley-Kramer

Fall 2012 Music V2138
RUSSIAN MUSIC
Section 001 Call Number: 63017 Points: 3  
Day/Time: MW 11:40am-12:55pm
Location: To be announced
Instructor: Deborah J Bradley-Kramer

This course is detailed survey of Russian national and international composers from Glinka to Shostakovich, and will also address Russian realism, orientalism, the relationship between composers and poets of the Russian Symbolist era, the Ballets Russes, Soviet film music, and musical aesthetics. A knowledge of Russian is not required.  

Collegium Musicum (MUSI V1580, Fall 2014)

Course Information

Course Title: 
Collegium Musicum
CU Directory Course Number: 
MUSI V1580
Points/Credits: 
1
Instructor: 
Anne Levitsky

Fall 2014 Music V1580
COLLEGIUM MUSICUM

Call Number: 78533 Sec. 001 Points: 1
Day & Time: MW 7:30pm-10:00pm
Location: To be announced
Instructor: Anne Levitsky (aal2140@columbia.edu)

Performance of vocal and instrumental music from the medieval, Renaissance, and baroque periods. The Collegium usually gives one public concert each term.

May be taken for Pass credit only. Prerequisite: an audition to be held during the registration period. Contact the department for further details (212-854-3825).  Email Anne Levitsky at aal2140@columbia.edu to set up an audition.

_______________
Columbia University's esteemed Collegium Musicum incorporates vocal and instrumental performance practice techniques, improvisation, and gesture in bold, imaginative concerts inspired by historical performance practice.