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The tenth annual Columbia Music Scholarship Conference (CMSC) will be held on March 8, 2014 at Columbia University in the City of New York.
The theme of the 2014 meeting is Music and Memory.
We are happy to welcome Prof. Jonathan Sterne from the Department of Art History and Communication Studies, McGill University as the 2014 keynote speaker. Prof. Sterne is author of MP3: The Meaning of a Format (Duke 2012), The Audible Past: Cultural Origins of Sound Reproduction (Duke, 2003); and numerous articles on media, technologies and the politics of culture. He is also editor of The Sound Studies Reader (Routledge, 2012). The topic of his keynote address scheduled for 4:15PM is "The Stereophonic World of Soundscape."
The conference is organized by graduate students from the Department of Music at Columbia University with financial support from the Department of Music and the Graduate Student Advisory Council.
Michael Mason: "Smithsonian Folkways Recordings and the Global Movement to Sustain Local Cultures" (3/11, 4-6PM)
Dr. Michael Mason
Director of Smithsonian Center for Folklife and Cultural Heritage
"Smithsonian Folkways Recordings and the Global Movement to Sustain Local Cultures."
Tuesday, March 11, 4.00 pm - 6.00 pm
Center for Ethnomusicology, Dodge Hall 701C
Columbia University Morningside Campus
Broadway and 116th St.
Free and open to the public.
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. Georg F. Haas, recently appointed as Professor of Music Composition at Columbia, is featured in a Feb. 20, 2014 profle in the New York Times, entitled Varied Pitches to Fill Empty Spaces: Georg Friedrich Haas's Works Are Rooted in Microtonality. The article was written by Vivien Schweitzer.
Mr. Haas's works are rooted in microtonality -- a system that divides the conventional scale of Western classical music into many more than its usual 12 semitone pitches. (His opera "Thomas" incorporates some 1,600 different pitches.) In Europe, composers like Ligeti and Penderecki used microtones; American composers including Charles Ives, Harry Partch and La Monte Young have also breached the standard division of the octave.
In Mr. Haas's scores, these microtones result in opulent and otherworldly harmonies that at times seem impossible to have been produced by acoustic instruments. On the two occasions I heard the excellent Argento Chamber Ensemble perform his "In Vain," a masterpiece of glistening sonorities that unfurls in hypnotic waves of sound, I had the sense of hearing something unique.
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."
Film Screening & Discussion -- Miguel Coyula: "Sound & Image in Memories of Overdevelopment" (Feb. 21, 2PM)
The Center for Ethnomusicology Presents a Talk and Film Screening of:
Sound and image in Memories of Overdevelopment.
featuring Miguel Coyula, Independent film-maker (Cuba)
Friday February 21, 2014
701 C Dodge Hall (The Center for Ethnomusicology)
2.00 pm- 5.00 pm
Free and open to the public. For more information contact firstname.lastname@example.org
Talea Ensemble plays Columbia Composers
February 10, 2014, 8PM
at the Italian Academy at Columbia University.
With new works by:
The Institute for Research in African-American Studies at Columbia University "Conversations" Series Presents:
"Composing Living Legacies in Spirituals, Sound, and Song"
A conversation and performance with vocalist, composer and cultural worker Imani Uzuri, moderated by Matthew D. Morrison, PhD candidate in Historical Musicology, Columbia University.
FRIDAY, FEBRUARY 7, 2014
Room 754 Schermerhorn Extension
(Columbia Univ. Morningside Campus)
FREE & OPEN TO THE PUBLIC
Space is Limited; First Come, First seated