Columbia Music Scholarship Conference 2014 (March 8, 2014)
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 Brooklyn-based composer and guitarist. Raised in upstate New York, Hough moved to New York City in 1999. Once in NYC, Hough co-founded the groups Zs (2000), Galoshes (2002), Seductive Sprigs (2005), and Music=quals (2008). In 2012, Brooklyn label Original Abstractions released Remembered States, the first full-length album comprised solely of Hough's compositions.
Hough's recent works have been performed and/or presented by Wet Ink, Iktus Percussion, the Machine Project, soprano Rachel Payne, violinist Joshua Modney, Freeport Schools, Red Light New Music, Loadbang, Yarn/Wire, and others. Hough's current projects include solo works for organist Meghann Wilhoite and percussionist Ian Antonio, as well as a collection of ensemble pieces based on texts by Ian Gallagher.
Hough has received awards, grants and/or other recognition from New Music USA, Sally Mead Hands Foundation, Pollock-Krasner Foundation, Minnesota Orchestra, New York Youth Symphony, and Ithaca College. Hough holds a DMA from the Manhattan School of Music, where he studied composition with Reiko Fueting and guitar with Jack Wilkins. 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 joined the Music Theory graduate programme at Columbia University in 2013.
The American Musical
For Fall 2013:
Call Number: 21919
Instructor: Prof. Walter Frisch
622 Dodge Hall
Musical theater is one of America ?s most vital and important art forms. Several of its major creators studied at Columbia, including Richard Rodgers, Lorenz Hart, Oscar Hammerstein II, John Kander, and Fred Ebb. This course will present a historical survey of American musical theater from its origins in late nineteenth-century; through the musicals of figures like Kern, Gershwin, and Rodgers & Hammerstein; through Sondheim and the "megamusical" of Lloyd Webber. Focus will be on selected shows,through which broader cultural and musical trends will be examined.
Reading ability of music and some theoretical knowledge is required.
Silence (new course for Fall 2013!)
FALL 2013 info:
Call Number: 67902
814 Dodge Hall
In our daily lives, we hear concomitant fluxes and negotiations of frequencies, of noises, of aural spaces, some seemingly organized, others seemingly chaotic. How do we become attuned to processing the myriad of acoustic information that envelops us? What might it mean to "hear without listening," and what are the consequences? Throughout this course, we address these questions and others that arise by thinking through the relationship of silence and its "other." Often, silence is defined in the negative sense-by its assumed opposites such as sound, noise, music, and voice. Decentering the notion of silence as absence, our discussions will draw from interdisciplinary sources and thus be framed by theories of silence and the presence of silence as sensible, historical, philosophical, aesthetic, stylistic, political, and ethical. Theorizing silence in these ways, we will work to understand silence not as the binary opposite of audible expressions, but rather as regulations of them, at times being the impetus for their emergence(s).
Seminar in Historical Musicology: The Middle Ages
Call number: 88961
701A Dodge Hall
Whether sensuous or abstract, angelic or demonic, the idea and experience of music were vividly portrayed in medieval art. This seminar on the meanings of music in medieval visual culture will examine the elusive relationship between sound and image. Some of the topics to be addressed include the symbolic uses of music and musicians in the visual arts; the illustration of music manuscripts (such as the Cantigas de Santa Maria); the role of musical ideas in the construction of images (such as the capitals of the modes from Cluny); the place of acoustics in church design; and visual aspects of medieval soundscapes. We will read the work of medievalists in several disciplines as well as scholarship from other contexts (such as Bonnie Wade's Imaging Sound). Some class meetings will take place at the Metropolitan Museum and the Cloisters.