Sampo Haapamaki (Columbia DMA in Composition, 2012) has composed a double concerto, two concertos, three chamber orchestra works, compositions for mixed choir and tape, violin and live electronics, concert band, big band, and chamber music. Haapamaki had a composition recital in Musica nova Helsinki festival in 2006. Haapamaki was the Tapiola Sinfonietta's Composer-in-Residence for the season 2011-12.
Haapamaki studied composition at the Sibelius Academy in Helsinki with Tapio Nevanlinna (1998-2002) and Veli-Matti Puumala (2002-05) and graduated as a Master of Music in 2005. In the winter semester 2006-07 Haapamaki studied with Claus-Steffen Mahnkopf at the Hochschule fur Musik und Theater Leipzig. Sampo Haapamaki has studied composition with Tristan Murail (2005-06, 2007-09) as a student at Columbia, where he graduated with a DMA in 2012. He took part in a composition and music technology course, Cursus 1, at IRCAM in Paris, Gregoire Lorieux as his tutor, during the academic year 2012-13.
Haapamaki has been involved in the developing processes of new quarter-tone instruments. These instruments are the quarter-tone accordion of Veli Kujala (made by Pigini), the quarter-tone guitar of Juuso Nieminen (made by Keijo Korelin), and the quarter-tone piano of Elisa Jarvi and Sampo Haapamaki (made by Otso Haapamaki). These instruments aim to have as wide a quarter-tone register as possible (24 notes per octave), to be ergonomic, and to produce a genuine acoustic sound. Haapamaki has written two works using quarter-tone instruments. The quarter-tone accordion concerto Velinikka (2008) was a commission from the Gaudeamus Muziekweek and is dedicated to Veli Kujala; the double concerto Conception (2012) for quarter-tone guitar, quarter-tone accordion and orchestra is dedicated to Veli Kujala and Juuso Nieminen, and was commissioned by the Tapiola Sinfonietta.
Spring 2015 Colloquia - Columbia University Department of Music
February 13: Joel Sachs (the Juilliard School)
"Weighing the Evidence: Problems for the Cowell Biographer."
622 Dodge, 2 pm
February 13: "Tomorrow is the Question: Afrofuturism, Sound, and Spirit": panel discussion: http://ircpl.org/event/tomorrowisthequestion/
Union Theological Seminary, James Memorial Chapel, 7-9 pm
Sponsored by the Institute for Religion, Culture, and Public Life Life; and co-sponsored by Columbia's Department of Music; Columbia University's Edwin H. Case Chair in American Music; the Center for the Study of Ethnicity and Race; and the Department of Africana Studies at Barnard.
February 20: Stefano Lorenzetti (Italian Academy for Advanced Studies in America)
"Scritte nella mente"? Giovanni Gabrieli's Keyboard Music and the Art of 'Improvised Composition'
622 Dodge Hall, 2 pm
February 27: Digital Projects in Music Research
523 Butler Library, 2-5 pm
Presented by the Department of Music and the Columbia University Libraries
March 6: Rick Hermann (University of New Mexico)
Verdi Challenges, the Ave Maria from the Quattro Pezzi Sacri-An Italian Approach?
622 Dodge, 2 pm
April 10: Roger Grant (Wesleyan University)
The Passions in Print: Musical Taxonomies and the First Death of Affect Theory
622 Dodge, 2 pm
April 17: Melissa Bilal (Columbia University)
Digital Projects in Music Research
Friday, February 27, 2-5 pm, 523 Butler Library
Presented by the Department of Music and the Columbia University Libraries
Bringing the Songs Home: Music Repatriation Projects at the Center for Ethnomusicology (Aaron Fox)
Aaron Fox will discuss the Center for Ethnomusicology's ongoing projects to repatriate recordings of traditional and indigenous music (most from the 1930s and 1940s) to their source communities, and to return control over the publication of these archives, which includes the development of digital interfaces with these recordings and associated materials, including photographs and transcriptions, being developed in collaboration with indigenous elders, performers, educators, activists, and scholars. Discussion to include projects with Hopi, Inupiat, Tsimshian, and Navajo communities.
Using motion-capture technology to study musical experience (Mariusz Kozak)
Mariusz Kozak will present ways in which motion-capture technologies can be used to study how musicians, listeners, and dancers experience music through movement. The project relates to a broader interest in using digital technology to interpret how human artifacts are appropriated by end users, and to critically examine how this technology enables new humanistic methodologies. Questions of value of motion-capture technology, as well as its practical applications in music creation, analysis, criticism, and pedagogy, will also be discussed.
Read more here.
Date: Friday, 30th January 2015
Time: 7:30pm - 9.00pm
Location: Computer Music Center
320G Prentis Hall (3rd floor project space)
632 West 125th St
"Culturally diverse individual participants' reaction to sound in an acousmatic space" is the central theme in our integrated audio-visual installation "Play_algorithm." The project utilizes a wall-to-ceiling projection programmed by Alice Emily Baird and a live percussion and electronic composition by Chatori Shimizu. The space encourages audience participation in which their reactions to the sound directly reflect the real-time visual display.
click image for full-sized poster
Spring 2014 New and Featured Courses in Music. Click each poster for a full-sized version.
Two-Year Mellon Postdoctoral Teaching Fellowships-Lecturerships in Music at Columbia University
The Department of Music at Columbia University invites applications for Mellon Postdoctoral Teaching Fellowships. Appointment will be at the rank of Mellon Teaching Fellow/Lecturer, for a period of two years to begin July 1, 2015. A PhD, DMA or the equivalent is required. The degree must have been received between 1 January 2011 and 1 July 2015. Fellows will be expected to do research, participate in the academic life of the Department of Music, and teach one course per semester in each of the two years (three in Columbia's Core Curriculum and one in the candidate's area of specialization).
Review of applications begins immediately and will continue until the positions are filled. For more information and to apply, please visit:
Columbia University is an Equal Opportunity/Affirmative Action employer.
Susan Boynton (Department Chair) was awarded a grant from the Provost for the redesign of her spring 2015 graduate seminar (Music G8102, Seminar in Historical Musicology: the Middle Ages) to include an extensive digital humanities component. The seminar, held in the Rare Book and Manuscript Library, will focus on the analysis and presentation of medieval liturgical manuscripts in the web environment, with a focus on manuscripts from Columbia and Barnard collections. The seminar will dedicate extensive time to study of the physical manuscripts, aided by Consuelo Dutschke (Curator of Medieval and Renaissance Manuscripts, RBML) and Alexis Hagadorn (Conservator and Head of the Conservation Program, Columbia University Libraries) as well as the Mellon Conservator for Special Collections, Vasare Rastonis. Read Boynton's description of her plans for the course here.
In addition to the funding for expenses such as digital photography of medieval manuscripts and recording of sound examples, the seminar will receive support from the Columbia Center for New Media Teaching and Learning (CCNMTL) in the form of content development, instructional design, media production, systems integration, assessment and project management.
The members of the Department of Music express our collective sorrow at the passing of our colleague, Emeritus Professor Joel Newman, and offers our sincere condolences to his family, students, colleagues, and friends.
Below is Prof. Newman's obituary as it appeared in The New York Times on December 21, 2014.
Joel Newman, Ph.D. died in his home in Provincetown, Massachusetts on December 17, 2014. Born in Brooklyn, NY in 1918, he was 96. Dr. Newman played an important role in the early music revival in New York City. His 1962 doctoral thesis on the early Italian composer, Salamone Rossi, remains the definitive work on him. In the 1950's, Dr Newman became the musicologist for the New York Pro Musica and joined the music department at Columbia University.
Dr. Newman taught at Columbia for more than 30 years and after retirement continued teaching as Professor Emeritus. Newman studied recorder with Bernard Krainis and played in the first American Recorder Society ensemble under Erich Katz. He was proficient on early instruments, piano, organ and harpsichord. He received the Distinguished Achievement Award from the American Record Society in 2007 for his work as a musicologist, music editor and musician. After retirement, Joel Newman settled in Provincetown, Massachusetts, ran his own sheet music business and was co- owner of the Provincetown Bookshop. He is predeceased by Elloyd Hanson, his husband and partner of 46 years, and by his brother, Morris Newman. Joel is survived by his twin sisters, Phoebe Sheres and Dorothy Swayze, and a host of fond nieces, nephews and great nieces and nephews. Joel will be greatly missed and remembered for his pithy sense of humor, his erudition and his charm.
Brad Garton: "The Books Of Music, Dreams, And Memories" (multi-media performance)
Wednesday February 18th, 2015, 7PM, at The Italian Academy (1161 Amsterdam Ave.)
Prof. Brad Garton, Director of the Columbia University Computer Music Center, has assisted in the establishment and development of a number of computer music studios throughout the world, and is an active contributor to the greater community of computer musicians/researchers, formerly serving on the Board of Directors of the International Computer Music Association as editor (with Robert Rowe) of the ICMA newsletter and as artistic director/co-organizer of several high-profile festivals and conferences of new computer music.
His current work includes focused research on the modeling and enhancement of acoustic spaces as well as the modeling of human musical performance on various virtual "instruments." He is also the primary developer (with Dave Topper) of RTcmix, a real-time music synthesis/signal-processing language.
Prof. Adriana N. Helbig
The Department of Music congratulates Adriana N. Helbig, Associate Professor of Music at The University of Pittsburgh, and a 2005 alumna of the Columbia Ethnomusicology PhD program, on the publication of her book Hip Hop Ukraine: Music, Race, and African Migration (2014, Indiana University Press).
Kate Soper (DMA 2011) was recently featured in a New York Times ArtsBeat article, which includes a video of her performing "Go Away," from her 2011 "Only the Words Themselves Mean What They Say," with flutist Erin Lesser. ArtsBeat calls Soper's work "virtuosic" and "limit-stretching."
You can see the full article and watch the video here.
Read more about Kate Soper's work on her website.
Congratulations to Columbia DMA student Nina Young who was named as one of "10 Imagination-Grabbing Trailblazing Artists of 2014" by WQXR's Q2 Music.
The article includes an audio clip of Nina's "Vestigia Flammae" from a performance by Nouvel Ensemble Moderne, and Brad Balliett writes: "Nina's music is constantly surprising, but at the same time, seems predestined. Every event seems so well-placed and inevitable that one is left with the feeling that the piece could have gone only the way she has it mapped out. Echoes of Stravinsky and something spectral give way to an intensely personal voice cut through with an ear for color and balance that is almost unmatched among composers that are not Marcos Balter, Alex Mincek or Helmut Lachenmann. Listen and enjoy."
You can see the full article here.
Learn more about Nina's work on her website.
The Department of Music is pleased to announce the publication of its Fall 2014 official Newsletter!
The Department also asks our friends and alumni to consider making a financial gift in support of the Department's many initiatives and programs this holiday season. Your generous gift will support many student needs directly, including graduate student conference and research travel, visiting speakers and performers, and needed improvements to classrooms and practice rooms.
2015 will be an exciting year for the Department as we celebrate 50-year anniversaries for both the journal Current Musicology (in spring 2015) and the Center for Ethnomusicology (in fall 2015), in this the Department's 119th year.
Please see the Newsletter for some of the outstanding upcoming events for the spring semester.
Finally, we wish all our friends, affiliates, students, and colleagues a very happy, warm, and music-filled holiday season and extend our best wishes for the new year!
Call for Papers: Current Musicology 50th Anniversary Conference, March 28-29, 2015 (Deadline for submissions is 1/15/15)
Call for Papers!
50th Anniversary Conference
March 28-29, 2015 at Columbia University
Deadline for All Abstract Submissions: January 15, 2015
Submissions are invited for a conference commemorating the fiftieth anniversary of the journal Current Musicology. As a tribute to Current Musicology's multidisciplinary orientation, which combines perspectives from different areas of music scholarship, we welcome proposals for 20-minute paper presentations on any topic related to the areas of historical musicology, ethnomusicology, music theory and analysis, philosophy of music, popular music studies, music education, and related fields. Papers presented at the conference will be considered for publication in the journal's celebratory special issue.
To submit a proposal, please e-mail your name, institution, e-mail address, and an abstract of no more than 250 words to email@example.com by January 15, 2015, with the subject line "Conference Submission." The committee will select papers anonymously. All scholars who submit abstracts will be notified of the committee's decision by February 1, 2015.
Georg Friedrich Haas, MacDowell Professor of Music, was the featured composer at the festival Wien Modern in Vienna from October 29 to November 21, 2014. The Festival's opening concert, which took place on October 29, featured Haas's Concerto grosso Nr. 2 for chamber ensemble and orchestra, with Cornelius Meister leading Klangforum Wien and the ORF Radio-Symphonieorchester Wien. On October 30, Klangforum Wien delivered an all-Haas chamber program, including "flow and friction" for a sixteenth-tone piano for four hands, "de terrae fine" for solo violin, and "... Schatten ... durch unausdenkliche Walder" for two pianos and two percussionists. On November 2, Francois-Xavier Roth led the SWR Symphony Orchestra Baden-Baden and Freiburg in a rare performance of limited approximations for six microtonal pianos and orchestra. Additional performances in the festival included tria ex uno by oenm (Austrian Ensemble for Contemporary Music) on November 3, Concerto grosso Nr. 1 with Peter Rundel conducting the hornroh alphorn quartet and the ORF Radio-Symphonieorchester Wien on November 4, AUS.WEG on November 17 with Ensemble Kontrapunkte led by Peter Keuschnig. All of Haas's eight string quartets were performed by the Arditti quartet in four concerts on November 10 and 11.
For more information on this year's Wien Modern festival, click here.
The Department of Music congratulates Professor Ellie Hisama, who was awarded an inaugural curriculum development grant from Columbia's Institute for Research on Women, Gender, and Sexuality. Funded by the Mellon Foundation and the Heyman Center, the grant supports development of a new course titled "Feminist Listening: Critical and Intersectional Approaches to Popular Music," which Prof. Hisama expects to offer in 2015 or 2016.
Prof. Ana María Ochoa Gautier Publishes "Aurality: Listening and Knowledge in Nineteenth-Century Colombia"
In Aurality: Listening and Knowledge in Nineteenth-Century Colombia, Ana Maria Ochoa Gautier explores how listening has been central to the production of notions of language, music, voice, and sound that determine the politics of life. Drawing primarily from nineteenth-century Colombian sources, Ochoa Gautier locates sounds produced by different living entities at the juncture of the human and nonhuman. Her "acoustically tuned" analysis of a wide array of texts reveals multiple debates on the nature of the aural. These discussions were central to a politics of the voice harnessed in the service of the production of different notions of personhood and belonging. In Ochoa Gautier's groundbreaking work, Latin America and the Caribbean emerge as a historical site where the politics of life and the politics of expression inextricably entangle the musical and the linguistic, knowledge and the sensorial.
Ana Maria Ochoa Gautier is Associate Professor of Music and Director of the Center for Ethnomusicology at Columbia University. She is the author of several books and many articles.
At the Annual Meeting of the Society for Music Theory in Milwaukee (November 2014), held in conjunction with the Annual Meeting of the American Musicological Society, the faculty, alumni, and affiliates of the Music Theory area garnered major awards, presented papers, and chaired panels.
The Outstanding Publication Award (for a distinguished article by an author of any age or career stage) was awarded to Nathan Martin (Yale University; Mellon Postdoctoral Teaching Fellow 2009-11), "Rameau's Changing Views on Supposition and Suspension," Journal of Music Theory.
Maeve Sterbenz (doctoral student in Theory) read "Listening through Movement: An Examination of Lar Lubovitch's Choreography of the Adagio from Mozart's Clarinet Concerto in A Major, K. 622" on "Dancing Undisciplined" (AMS Music and Dance Study Group).
On October 25, MPP Director Magdalena Stern-Baczewska performed The Banquet Concerto by Columbia's distinguished graduate, Oscar-winning composer Tan Dun, in Beijing's National Performing Arts Center with the China National Symphony conducted by maestro Tan Dun.
The program was:
Violin Concerto Hero (Tan Dun)
Cello Concerto Crouching Tiger (Tan Dun)
Piano Concerto The Banquet (Tan Dun)
Concerto for Violin, Cello and Piano Revival (Tan Dun)
Conductor: Tan Dun
Violin: Yao Jue (Hong Kong, China)
Cello: Zhu Lin
Piano: Magdalena Stern-Baczewska (U.S.)
For more information about Tan Dun and the performance go here.
For more on Magdalena Stern-Baczewska's work and performances go here.
Congratulations to Prof. Brad Garton on the public release of "MemoryBook." MemoryBook is an interactive text/music/graphics application for iPads and Android tablets (Kindle Fire HD/HDX readers in particular).
Prof Garton describes the "MemoryBook" as a "recollection of memories, but memories enhanced b music and graphics. Past stories act as a springboard for random speculations about life, memory, existence, all that fun stuff. The music and graphics are algorithmically-generated within the app. They are synchronized with the text at any point (and no matter what reading speed). Essentially it is a 'book with a soundtrack'."
To learn more about MemoryBook and to download the Apple App Store and Amazon App Store versions:
for links to the Apple App store and the Amazon App store to download it.
A "stand-alone" Macintosh application is also available. A Windows version coming soon.
The Department of Music warmly congratulates Dr. Shannon Garland, who successfully defended her doctoral dissertation on September 5, 2014. Dr. Garland's dissertation, advised by Prof. Ana Maria Ochoa, is entitled: "Music, Affect, Value, and Labor: Late Capitalism and the (Mis)Productions of Indie Music in Chile and Brazil."
Dissertation Abstract: This dissertation traces the tensions surrounding indie music production in Santiago, Chile and Sao Paulo, Brazil. I conducted several years of ethnographic research on locally situated, yet transnationally interpolated, musical production, circulation and listening practices in Santiago and Sao Paulo. I open by detailing the expansion of the indie touring market from the global north into both cities, theorizing the enlistment of affect as a neoliberal technique for producing monetary value. The next chapter considers spaces for musical association as forms of infrastructure that both emerge from and themselves help constitute musical-social networks in Santiago. I follow by showing how the history of Brazilian individuals' engagement with particular sets of indie sounds from the global north bear upon the contemporary formation of infrastructures of social relations, musical aesthetics, and places for musical and social association. Finally, I detail how the tensions between the construction of audience, value, aesthetics and circulation arising from new production structures manifest in the politics of a new type of Brazilian institution called Fora do Eixo. Here, I inspect the logics of aesthetic valuation in building structures for music production within a complex state-private nexus of cultural funding in Brazil. As a whole, this dissertation explores the political struggles emerging as actors seek to establish new structures for participating in live shows and for playing music as both a creative practice and as an economic activity within emerging forms of communication made possible by digital media. Each struggle is simultaneously interpolated by the messy articulation of transnationally-produced notions of aesthetics, authentic modes of engagement with music, and moral-ethical ways of organizing music production, circulation and remuneration as a social practice. The dissertation thus highlights the way new media and economic logics build upon and clash with historical practices of production, evaluation of aesthetics, and regimes for mediating the artistic, the economic, and the social.
Congratulations Dr. Garland!!
The Department of Music warmly congratulates Dr. Melissa Gonzalez, who successfully defended her PhD dissertation on September 17, 2014. Dr. Gonzalez is also an alumna of the Barnard College music major. Her dissertation, advised by Prof. Christopher Washburne, is entitled: "Cien por Ciento Nacional!" Panamanian Musica Tipica and the Quest for National and Territorial Sovereignty."
Dissertation Abstract: "In this dissertation, I investigate the socio-cultural and musical transfigurations of a rural-identified musical genre known as musica tipica as it engages with the dynamics of Panama's rural/urban divide and the country's nascent engagement with the global political economy. Though regarded as emblematic of Panama's national folklore, musica tipica is also the basis for the country's principal and most commercially successful popular music style known by the same name. The primary concern of this project is to examine how and why this particular genre continues to undergo simultaneous processes of folklorization and commercialization. As an unresolved genre of music, I argue that musica tipica can offer rich insight into the politics of working out individual and national Panamanian identities.