Ben Duane is a Mellon Post-Doctoral Teaching Fellow in Music at Columbia
University. He completed his Ph.D. in Music Theory and Cognition at
Northwestern University in 2012, before which he earned an M.A. in music
theory from the University of Minnesota and a B.M. in tuba performance from
Augsburg College. His doctoral dissertation, advised by Robert O.
Gjerdingen, was entitled "Texture in First-Movement Expositions of
Eighteenth- and Early Nineteenth-Century String-Quartet Expositions." In
addition to the structure and perception of musical texture, his research
involves music cognition more generally, computational modeling, and
intersections between music and information theory. Part of his dissertation
research appeared last spring in the Journal of Music Theory. He has also
given recent presentations at regional, national, and international meetings
of the Society for Music Theory, the Society for Music Perception and
Cognition, and the International Computer Music Association.
Undergraduate Theory and Ear Training Guidelines at a Glance for Spring 2013:
Please read on for important information on placement, enrollment restrictions, scheduling and advising for all students taking basic Music Theory classes ("Fundamentals of Music," MUSI V1002; "Diatonic Harmony and Counterpoint," (V2318 - 19); and "Chromatic Harmony and Counterpoint," (V3222 - 23), and for students planning to enroll in Ear Training at any level (Intro, I, II, III, and IV) this Spring.
Some of these policies are new for 2012-13. If you are a music major, minor, or concentrator, or otherwise planning to enroll in basic theory or ear training courses this year, please familiarize yourself with these policies.
Please note that in the document below, the acronym "MMC" stands for "Music majors, minors, and concentrators."
For more information contact:
Prof. Peter M. Susser,
Director of Undergraduate Musicianship
Musicianship/ET First Day of Class for Spring 2013
- All students who were enrolled in Fall 2012 ET classes advance to the next level for Spring 2013.
- Students new to the ET sequence regardless of experience must attend Intro ET or ET I to take a diagnostic exam for placement into the appropriate ET level.
- Students are REQUIRED to attend one of these sections for placement if you have not previously taken any Ear Training at Columbia and wish to do so this year:
1. Tuesday, January 22, 3:10 – 4PM, Dodge TBA
2. Tuesday, January 22, 12:10 – 1PM, Dodge TBA
The Music Theory area of the Department is pleased to announce the following news and offer congratulations to the following affiliated students, faculty, and alumni of the Theory program.
PhD candidate Dan DiPaolo successfully defended his dissertation proposal, “Analyzing the Music of Steely Dan,” in January 2012.
PhD candidate Scott Gleason successfully defended his dissertation proposal, “Princeton Theory’s Problematics,” in January 2012.
PhD Candidate Kate Heidemann presented “Remarkable Women and Ordinary Gals: Performance of Identity in Songs by Loretta Lynn and Dolly Parton” at the annual meeting of the Society for American music conference in Charlotte, NC in March 2012.
PhD Candidate Caleb Mutch successfully defended his dissertation proposal, “A History of Cadence in Tonality and Its Precedents” in February 2012 and delivered two papers: “A Major Step Forward: Changing Conceptions of Whole Tone and Scale Step in Ancient and Medieval Theory” at the annual meeting of the Society for Music Theory in Minneapolis in October 2011 and “Towards a Freer Form of Interruption” at Mannes College’s Second Graduate Student Theory Conference in January 2012.
PhD Candidate Max Schmeder delivered the paper “At One with One’s Instrument: Transcending the Body-Instrument Divide” at the annual meeting of the Society for Ethnomusicology in Philadelphia in November 2011, and defended his dissertation proposal successfully in May, 2012.
PhD student Maeve Sterbenz read “Possibilities for the Analysis of Noise Music from a Listening Perspective” at the Yale Graduate Music Symposium in March 2012 and at the Second International Conference on Analytical Approaches to World Music, held at the University of British Columbia in May 2012.
The Department of Music at Columbia University warmly congratulates all of our graduating majors, concentrators, and graduate students and their families on the occasion of the 2012 Columbia University Commencement.
Fall 2012 Music G6333
PROSEMINAR IN MUSIC THEORY
Section 001 Call Number: 19806 Points: 3
Day/Time: T 2:10pm-4:00pm
Location: To be announced
Instructor: Prof. Joseph P Dubiel (bio)
Introductory graduate seminar in music theory. Required of all graduate students in Music Theory and fulfils second proseminar requirement for music PhD students in other areas.
Enrollment by permission of instructor only.
Fall 2012 Music G6302
INTRODUCTION TO SET THEORY
Section 001 Call Number: 21773 Points: 3
Day/Time: R 10:10am-12:00pm
Location: To be announced
Instructor: Prof. Joseph Dubiel (bio)
Fall 2012 Music G6300
HISTORY OF MUSIC THEORY FROM RAMEAU TO RIEMANN
Call Number: 28991 Points: 3
Day/Time: M 10:10am-12:00pm [NB: change of time]
Location: 620 Dodge
Instructor: Prof. Benjamin Steege (bio)
Survey of European music-theoretical perspectives from roughly 1720 to 1920. This period witnessed the consolidation of the field of “modern” theory that continues to inform contemporary discourse. In addition to tracing the emergence of novel theoretical topics—from “form” to “function”—we will address the relation of music theory to the new or modernizing fields it productively interacted with: physics, aesthetics, historiography, hermeneutics, physiology, psychology, and so on. Texts will be read in connection with the analysis and interpretation of relevant musical repertories.
Readings are drawn from translation, but knowledge of French and/or German is very useful. Presentations and final paper.
Fall 2012 Music W4526
Section 001 Call Number: 65942 Points: 3
Day/Time: TR 8:40am-9:55am
Location: To be announced
Classical and Romantic music is normally studied with an eye to the vertical and horizontal organization of tones (harmony and counterpoint) and to the organization of form and rhythm (musical analysis), as well as from a historical perspective. Rules of orchestration are also crucial to fully understanding a work of music.
The goal of this course is to study different principles of "functional" orchestration, with examples taken mainly from eighteenth and nineteenth century music (Haydn, Beethoven, Schubert, Brahms, Wagner, Mahler, etc.). "Functional orchestration" designates different instrumental techniques for organizing the musical work such as crescendos, contrasts, opposition of themes, climax, melodic movements, counterpoint and voice leading, distinction and fusion, resonance, "wet"/"dry" sounds, doubling and mixtures, complex textures, etc.
Students will also write practical exercises "in the style of" various composers under the instructor's supervision.This seminar is for undergraduate students as well as for graduate students in composition, historical musicology, and music theory. It is given once a year only. The ability to read and write orchestral music is required.
Fall 2012 Music W4525
Section 001 Call Number: 69342 Points: 3
Day/Time: TR 1:10pm-2:25pm
Location: To be announced
Instructor: Jeffrey Milarsky (bio)
Analysis of instrumentation, with directional emphasis on usage, ranges, playing techniques, tone colors, characteristics, interactions and tendencies, all derived from the classic orchestral repertoire. Topics will include theoretical writings on the classical repertory as well as twentieth-century instrumentation and its advancement. Additional section will be provided with live orchestral demonstrations.
Prerequisite: Advanced music majors and extensive music background.