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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).
Post-1965 Jazz (New Course for Fall 2013!)
Call Number: 23338
Prof. Kevin Fellezs
622 Dodge Hall
This course will focus on the developments in jazz after 1965, particularly engaged with its discursive formation as an art movement, a political position, and a cultural force. The course will not follow a chronological survey but will engage various critical issues that jazz has confronted since 1965. These questions focus on the definition and constitution of jazz; the music ?s relationship to popular culture broadly, particularly with popular music genres; and the nature of contemporary jazz.
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.
Call Number: 22003
Prof. Marilyn McCoy
Day/Time: MW 6:10pm-7:25pm
Location: 404 Dodge Hall
Love! Death! Passion! Betrayal! Magic! All of these, and more, emanate from opera, a genre where music, literature, and drama combine to create sounding artworks with multiple layers of meaning. In this course we will focus on getting to know FIVE operatic masterworks very well, each in a different language, drawn from the Classical, Romantic, and Modern eras of music history: Mozart ?s The Magic Flute (1791, German); Verdi ?s Rigoletto (1851, Italian); Bizet ?s Carmen (1875, French); Tchaikovsky ?s Eugene Onegin (1877, Russian); and Britten ?s A Midsummer Night ?s Dream (1960, English). Special attractions include attendance at two to three live opera performances, live classroom demonstrations by singers, and a backstage tour of the Metropolitan Opera of New York. Open to music majors and non-majors who have taken "Masterpieces of Western Music."
JEWISH MUSIC IN NEW YORK
Call Number: 12110
814 Dodge Hall
Instructor: Prof. Mark L. Kligman (link to HUC bio page)
This course will look at musical life of Jews in three broad contexts: art music, popular music, and non-European traditions. This will include liturgical, para-liturgical, folk, pop, rock and the growing practices that synthesize styles and genres. From the mid 1600s until today Jews immigrated from Europe, South America, the Middle East and Asia to America. The music of Jews in New York is diverse, dynamic and eclectic. During the semester we will visit various venues and meet composers and performers and investigate the ongoing dialogue of preserving tradition and innovating new ideas to express and encounter Jewishness in NY today.
IMPORTANT NOTICE FOR FALL 2013-14 SEMESTER:
YOU MUST AUDITION IN ADVANCE FOR LESSONS AND ENSEMBLES.
Information on auditions for lessons and ensembles for the Fall 2013 semester is posted at this link:
The Department of Music congratulates Historical Musicology PhD candidate Matthew D. Morrison, who has been awarded the Howard Mayer Brown Fellowship by the American Musicological Society, to support the completion of his doctoral dissertation on sound, race, and performance under the sponsorship of Prof. George Lewis.
Mr. Morrison's dissertation is entitled "Sound in the Construction of Race." His research considers the implications of positing sound as a major component in both individual and societal racial formation. Music, as the soundtrack to daily life, serves as a central site to interrogate the ways in which race is heard, formed, and interpreted within the political and cultural structures of society. As such, Mr. Morrison seeks to unpack the ways in which the racialization of sound is central to how humans have come to imagine both self and other.
Learn more at Matthew Morrison's website.
Two-Year Mellon Postdoctoral Teaching Fellowships-Lecturerships in Music at Columbia University
The Columbia University Department of Music invites applications for Mellon Postdoctoral Teaching Fellowships for a period of two years, to begin July 1, 2014. Appointment will be at the rank of Mellon Teaching Fellow/Lecturer. Ph.D. or equivalent required. The degree must have been received between 1 January 2010 and 1 July 2014. Fellows will be expected to do research, participate in the academic life of the Department of Music, and teach one class 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 on October 11, 2013 and will continue until the position is filled. For more information and to apply, please visit:
Columbia University is an Equal Opportunity/Affirmative Action employer.
The Department of Music congratulates Prof. Kevin Fellezs, who is one of 8 faculty members recognized under the Provost's Grant Program for "Junior Faculty Who Contribute to the Diversity Goals of the University." These awards, of up to $25,000 each, support new or ongoing research and scholarship, seed funding for innovative research for which external funding would be difficult to obtain, and curricular development projects.
Prof. Fellezs, who is jointly appointed in the Department of Music and in the Institute for Research in African-American Studies, and is affiliated with the Center for Jazz Studies, was awarded this grant for his project Sound Waves Across the Waters: The Polycultural Music of Japanese and American Smooth Jazz Artists.