The Department of Music congratulates Dr. Beau Bothwell, a recent alumnus of Columbia's PhD program in Musicology, who has accepted an appointment as Assistant Professor of Music at Kalamazoo College, to begin in September 2014.
Beau Bothwell is currently Music Humanities Core Lecturer at Columbia University and Adjunct Professor of Music History at the Juilliard School. He completed his PhD in Musicology in 2013 at Columbia, with a dissertation entitled "Song, State, Sawa: Music and Political Radio between the US and Syria," advised by Prof. Ellie Hisama.
Dr. Bothwell has presented his research at numerous national and international conferences, including gatherings of the American Musicological Society, the Society for Ethnomusicology, the Middle East Studies Association, and the Society for American Music, and in invited lectures at Boston College, NYU's Kevorkian Center for Near Eastern Studies, and Harvard University. Dr. Bothwell recently contributed a chapter to the volume The Soundtrack of Conflict: The Role of Music in Radio Broadcasting in Wartime and in Conflict Situations, and is writing a book on popular music and transnational radio in Syria and Lebanon.
Prof. Mariusz Kozak, who recently joined Columbia's faculty in Music Theory, is the subject of a new article in Columbia News discussing his research. Author Gary Shapiro writes . . .
"Kozak, who joined Columbia's Department of Music last July, is now taking that research interest a step further, studying the connection between how people listen and move to music. "Every known culture has some sort of combination of dance and music." Whether you're tapping your feet to jazz, nodding along to classical music or playing air guitar to rock 'n' roll, it is all material for his research. "The study of motion and music is an emerging area," said Kozak, who notes that interest in the subject has risen over the past decade or so as the technology for recording the movement of objects and people--motion capture--has improved."
Announcing new and featured courses in Music for Spring 2014!
Click on the image to enlarge the poster (PDF).
V3127 Bach's Vocal Music
Instructor: Laura Weber
Call #: 67320, 3 pts
MW 6:10pm-7:25pm, 404 Dodge
This course will examine the vocal works of J.S. Bach and the historical, cultural, and liturgical contexts in which they were created. We will focus on sacred works through close engagement with a selection of cantatas, the St. Matthew Passion, and the B Minor Mass. Over the course of the semester, students will gain an understanding of their place within Bach's oeuvre; their role in Lutheran devotional practice, particularly in Leipzig; the musical innovations Bach brought to these genres; and his techniques for expressing the texts and enhancing the liturgical contexts in which they were performed.
V3310 Techniques of 20th Century Music
Instructor: Benjamin Steege
Call #: 27445, 3 pts
MW 8:40am-9:55am, 620 Dodge
Intensive analysis and interpretation of selected works from the past century, with emphasis on the historical contexts of compositional technique. Topics include scales, chords, sets, atonality, serialism, neoclassicism, and rhythm.
G4122 Songs of the Troubadours
Instructor: Susan Boynton
Call #: 78449, 4 pts
W 10:10am-12:00pm, 701A Dodge
This interdisciplinary seminar approaches the songs of the troubadours as poetic and musical traditions. Together we will develop methods for analysis and interpretation, situate the songs within literary and social history, and address broad issues such as the nature of performance, the interplay between orality and writing, the origins of troubadour poetry, fin'amor, and gender. Students will learn to analyze the poetic and musical structure of the songs and to transcribe and edit them from medieval manuscripts. Weekly assignments in Paden's Introduction to Old Occitan will familiarize students with the language of the texts; one hour a week will be devoted to going over texts in the original language using Paden's book. Individually designed paper assignments will take students' backgrounds into account;; students from all departments are welcome.
G6205 Billie Holiday: The Origins of a Style
Instructor: John Szwed
Call #: 12904, 3 pts,
R 4:10pm-6:00pm, 701A Dodge
This seminar will introduce students to the life and music of Billie Holiday. Because Holiday's style and repertoire drew on many sources and shifted radically several times throughout her life, attention will be paid to her sources among women singers in European, American, and African-American cabaret, Broadway musical theater, African American folk music, and Tin Pan Alley popular music. The nature of song itself will be considered, especially in terms of its social functions and how singers and audiences understand sung performances. We will also examine Holiday's autobiography, as well as films and documentaries of her life. Prerequisites: A Course in Jazz Studies or the equivalent.
New Currents in Hip-Hop Studies: Theory and Analysis
Instructor: Ellie Hisama
Call #: 72547, 3 pts
R 2:10pm-4:00pm, 701A Dodge
This seminar examines hip hop from a music-theoretical perspective, focusing on close readings of music analyzed alongside recent scholarly workonhip-hop. We will explore some of the key texts that have presented theoretical and analytical work on hiphop music, and students will prepare their own listening-based analyses of selected works throughout the term, culminating with a final presentation and paper. Throughout the course, we will track key words in hip hop studies such as race, ethnicity, gender, sexuality, politics, society, class, representation, and diaspora, focusing on recordings, performances, videos, and films. Readings will help to locate music, artists, and genres within their various contexts, which in tum will assist us in our analysis of specific works. The enrollment is open to graduate students only.
G8111 HM-20th Cent.: American Popular Song of the "Golden" Age, 1900-1960
Instructor: Walter Frisch
Call #: 10089, 3 pts
T 2:10pm-4:00pm, 701A Dodge
We will look at American popular song from the early Tin Pan Alley era into the age of recording, radio and television broadcast, Broadway, and Hollywood. Composers will include renowned figures like Berlin, Kern, Gershwin, Arlen, Porter, and Rodgers. Emphasis will be on both historical and cultural contexts and on musical/ analytical methodologies.
Patricia Carpenter (1923-2000) was a Professor of Music Theory at Barnard College and Columbia University. Her areas of scholarly interest included music theory, the history of music theory, musical analysis, and the aesthetics of music.
Prof. Carpenter was born in Santa Rosa, California on January 21, 1923. She studied several instruments, primarily piano with Ruth Leginska, as well as percussion, bassoon, and conducting. She conducted the San Bernadino Symphony. Learning of Arnold Schoenberg from Leginska, she wrote asking him for lessons (correspondence is preserved in the Arnold Schoenberg Center in Vienna). From 1942 to 1949 she studied with Schoenberg, and in 1944 she gave the Los Angeles premier of his Piano Concerto in the two-piano version. She was initially accepted into the composition program at Columbia University to study with Douglas Moore, and her compositions included several chamber and orchestra works. Under the supervision of Albert Hofstader in philosophy and Paul Henry Lang in musicology, she embarked upon studies in the aesthetics and history of music. She completed her Ph.D. in Music and Philosophy at Columbia in 1972. The first woman to present a keynote address to the Society of Music Theory, she served as its Vice-President from 1992 to 1994.
Columbia Music Scholarship Conference 2014 (March 8, 2014)
CLICK HERE to be redirected to the conference website.
Call for Abstracts on the theme: Music and Memory (ABSTRACT DEADLINE DEC. 15, 2013)
The Columbia Music Scholarship Conference invites graduate students and recent Ph.D. recipients to submit abstracts to be selected for presentation at our tenth annual meeting on March 8, 2014 at Columbia University in New York. The theme of the 2014 meeting will be Music and Memory.
Burgeoning interdisciplinary inquiry on memory is enabling scholars to develop new perspectives in a diverse array of fields ranging from history, anthropology, sociology, literary studies, art history, archeology, cultural studies, and media studies, to philosophy, political science, theology, education, psychology, and the cognitive sciences. This conference will add to this growing interdisciplinary conversation about memory in the sciences, arts, and humanities, stimulating a dialogue both on the role of memory in music studies and on the place of music in studies of memory. We are soliciting proposals for twenty-minute presentations from scholars active in all music disciplines as well as from scholars in related fields, aiming to maximize the theoretical and methodological breadth of the discussion.
Matthew Hough (b. 1981) is a composer, guitarist, professor and music theorist currently living in Brooklyn, New York.
Hough's achievements as a composer include commissions from Iktus Percussion, Yarn/Wire, Loadbang, Red Light New Music and the Freeport, New York school district. He has received awards and grants from New Music USA, the Sally Mead Hands Foundation, Pollock-Krasner Foundation, Minnesota Orchestra and the New York Youth Symphony.
Hough's work as a guitarist includes six years with the band Zs, which he co-founded in 2000. He has also performed with the Wet Ink Ensemble, Argento Chamber Ensemble, Dither Guitar Quartet and Matthew Welch's Blarvuster.
Hough's writing has appeared in the journal Guitar Review and the Ear To Mind Newspaper.
Hough holds a DMA in composition from the Manhattan School of Music (2012), where his primary teachers were Reiko Fueting and Nils Vigeland. In addition to his work at Columbia, Hough has taught at New York University, Manhattan School of Music, Wagner College, Nyack College, and SUNY Empire State College.
Music Theory PhD student Orit Hilewicz Wins Founders Prize from International Society for the Study of Time (ISST)!
The Department congratulates Music Theory PhD Candidate Orit Hilewicz, who has received the Founders Prize for New Scholars at the triennial conference of the International Society for the Study of Time (ISST) for her paper "Tracing Space in Time: Morton Feldman's Rothko Chapel."
The prize announcement may be read online here.
Ms. Hilewicz's paper explores the relationship between Rothko's chapel in Houston, TX, and Morton Feldman's 1971 composition titled Rothko Chapel, composed for the chapel space. Focusing on the temporal dimension of Feldman's work, she examines the piece as a case of musical ekphrasis, the musical representation of another artwork, and shows that the interaction between contrasting musical temporalities in Feldman's Rothko Chapel becomes a temporal trace of a visitor's experience in Rothko's chapel. This paper is part of a larger analysis project that explores points of intersection between music and the visual arts, studying ekphrastic musical works as text for the original works they represent.
Mark Saccomano received a BA in linguistics with high honors from UC Berkeley and an MA in applied linguistics from UCLA. His master's thesis examined the social, political and philosophical beliefs underlying competing approaches to the study of literacy. A native of the San Francisco Bay Area, Mark earned a second baccalaureate in music at Cal State East Bay before coming to New York to study music theory at Columbia. His research interests include late twentieth-century American music, ambient and fusion genres, and the role of hermeneutics in theories of musical meaning. Recent work has explored harmonic devices used by Steve Reich, formal conventions in the late works of Morton Feldman, and the aesthetic significance of structural variation in the early medieval sequence.
Marc Hannaford is an award-winning improvising pianist who fosters a deep interest in improvisation. He is particularly interested in developing a personal language, connections with other like-minded improvisers, history and what music means in the modern day. His research has investigated the work of Elliott Carter, Oliver Messiaen, Herbie Nichols, Thelonious Monk, Anthony Braxton, J.S. Bach, Carlo Gesualdo, Brian Wilson, Lydia Goehr, Richard Taruskin and Gary Peters, to name a few.
Eamonn Bell graduated from Trinity College, Dublin with a B.A. (Mod.) Mathematics and Music in June 2013. He was awarded the University Gold Medal for performance in the degree examinations. He was awarded the Geoffrey Singleton Prize and the Mahaffy Memorial Prize for "an essay on the theory or history of music, embodying some original research", for his B.A. dissertation on a model for fugal counterpoint in the music of Byrd.
He joined the Music Theory graduate programme at Columbia University in 2013.