New Graduate Course for Fall 2011:
GENDER/SEXUALITY/MUSIC: THEORY, HISTORY AND CRITICISM
Call #: 95946
Prof. Ellie Hisama
Exploration of gender and sexuality studies in music theory and historical musicology. Music explored will include classical music, popular music and jazz. Prerequisites: One graduate course in music and permission of the instructor.
Prof. John Szwed
Miles Davis is one of the five or six most important figures in the history of jazz. This course provides a survey of the life and music of Davis, examining the social history and musical traditions that shaped his work, and exploring his influence on music, performance, literature and other arts.
The eighth annual Columbia Music Scholarship Conference will take place on Saturday, March 5 in 301 Philosophy Hall at Columbia University from 10 AM to 6 PM. Nine graduate students and young scholars will present original research exploring various facets of the conference theme "Sound at Play: Music, Humor, and Games." Musicologist Roger Moseley (Cornell University) will deliver the keynote address "Ludomusicality." CMSC would like to thank the Graduate Student Advisory Council, Columbia University Department of Music, and the Center for Ethnomusicology for co-sponsorship of this year's conference.
All events are free and open to the public. Lunch will be provided and a reception will follow the keynote address. For more information about the conference and the schedule of presenters, please visit http://www.columbia.edu/cu/cmsc/.
Composition and Cognition
Prof. Alfred Lerdahl
This seminar studies contemporary compositional practice from the perspective of the cognitive science of music. Particular reference is made to the instructor's theories. Issues include compositional vs. perceptual grammars; cognitive constraints on compositional systems; perceptual critiques of serialism, spectralism, and other recent compositional methods; the cognitive organization of rhythm, pitch, and timbre. The student develops a major research project, first as class presentation and then as a term paper.
Seminar in Historical Musicology: Music and Biography
What constitutes interpretive adequacy in a musical biography? The framing of lives and works says as much about writers as about their subjects. Negotiating the complexities of a representation of career, personality, and music, biographers both construct and are situated in intellectual history. Will the chronological narrative reveal the composer's voice, the musician's gift? In this seminar, we will examine the theory, practice, and limits of biography as well as autobiography. The initial focus will be on composers and musicians of the 18th and early 19th centuries, but topics for seminar reports and papers may be drawn from any period.
Music and Childhood
This seminar addresses the relationship between music and childhood through a focus on the following areas: child musicians, music written for or about children, the role of music in the creation of "childhood" as a modern cultural construct, and the history of musical education, and the shaping of identity through music. We will address a variety of themes using both diachronic and synchronic analysis. Students will pursue research projects in their own areas of interest that may overlap with or compliment the course content.
An infrequent performance by the AJ Johnson quintet will take place on Tuesday, January 25, 2011 at University of the Streets in the East Village. There will be two sets, at 8 and 10 PM. This is the original band from my 2009 CD Songs of Our Fathers featuring all-time greats Victor Lewis (drums) and Onaje Allan Gumbs (piano) along with Salim Washington (tenor sax, flute, and oboe) and Robert Sabin (bass). We will be playing mostly my orginal music.
The performance costs $15 and tickets can be bought in advance at www.universityofthestreets.org. I am hoping to see many of my friends and colleagues there!
NOTICE: THIS POSITION HAS BEEN FILLED
The Institute for Research in African-American Studies and the Department of Music at Columbia University are pleased to announce the following position:
The Institute for Research in African-American Studies and the Department of Music at Columbia University seek to hire an Assistant Professor with a specialization in African-American Music. The responsibilities of the position include undergraduate and graduate teaching; research and publication; and institutional service. We seek candidates with specializations in musicology, ethnomusicology, or music-centered studies in arts, humanities or social science fields; whose research centers on global Afrodiasporic/circum-Atlantic positions, practices and discourses; and whose teaching and research are informed by critical race/ethnicity theory and postcolonial discourses. Candidates must have earned the doctoral degree by July 1, 2011.
To learn more or to begin the application process, please visit the following link:
Review of applications will begin JANUARY 1, 2011.
(Note correction from earlier posting, which had listed an earlier date.)
Columbia University is an Equal Opportunity/Affirmative Action employer.
The Department is often approached by scholars and graduate students from other institutions who have plans to spend time in New York and who are seeking a "visiting" (courtesy) affiliation with us. We are delighted to host several Visiting Scholars and Students annually, under a variety of program auspices, and many of us have been graciously hosted at sister institutions in the past. Visiting Scholars and Students enhance the life of our community and create new connections for future exchanges.
The Politics of Desire in Latin America (New Grad Seminar for Fall 2010)
Prof. Ana Maria Ochoa
701C Dodge Hall
The course explores the politics of desire through three main contrastive and complementary arenas: the politics of desire as mediated by the state; the politics of desire as mediated by music and, the politics of desire as mediated by literature and film. The course will be simultaneously announced at NYU, CUNY and Columbia, programmed at the same time in all campuses. Four classes will be taught in each of the campuses. All professors are present at all lectures and contribute to all lectures. Students register through their home institution. READING SPANISH IS REQUIRED. Enrollment is by permission of the instructor.
"The New Thing": Jazz 1955-80 (Course for Fall 2010)
Prof. John Szwed
An examination of the new jazz that emerged shortly after the middle of the 20th century. The seminar will include the work of musicians such as Ornette Coleman, Cecil Taylor, Don Cherry, Anthony Braxton, Carla Bley, Albert Ayler, and the Art Ensemble of Chicago; the economics and politics of the period; parallel developments in other arts; the rise of new performance spaces, recording companies, and collectives; and the accomplishments of the music and the problems it raised for jazz performance and criticism.
Sound: The Sacred,The Secular (New Course for Fall 2010)
Prof. Ana Maria Ochoa
This course explores the significance of sound for understanding the negotiation of the relation between the sacred and the secular, in light of recent work in critical religious studies. It seeks to explore the acoustic dimensions of the 'turn to religion' by exploring the uses of sound in mediating the relationship between the sacred and the secular in different cultures.
Ruth Crawford Seeger: Modernism and Tradition in 20th-c. American Music (New Graduate Course for Fall 2010)
Ruth Crawford Seeger: Modernism and Tradition in 20th-c. American Music
(New Graduate Course for Fall 2010)
Course Number: MUSI G8370
Prof. Ellie Hisama
An interdisciplinary exploration of the music and life of composer and folk music advocate Ruth Crawford Seeger (1901-1953). Considers her prescient contributions to modernism and American traditional music through analytical study of her compositions and recent Crawford scholarship.
Music, Gender and Performance (New Course for Fall 2010)
Course Number: MUSI V3462
Prof. Ellen Gray
This seminar explores relationships between gender, music and performance from the perspective of ethnomusicology, cultural anthropology, critical music studies, feminist and queer theory and performance studies. We examine debates around issues of sex and gender and nature and culture through the lens of musical performance and experience. Some questions we consider include: In what ways is participation in particular music dictated by gendered conventions? What social purpose do these delineations serve? How can we think about the concept of nation via gender and music? How might the gendered performances and the voices of musical celebrities come to represent or officially "speak" for the nation or particular publics? How does music shape our understanding of emotion, our experience of pleasure?
and his SYOTOS Band played to a packed house at the Kennedy Center on August 8, 2010. This concert featured percussionist Candido Camero and saxophonist Gene Jefferson. You can watch the webcast at:
This course seeks to explore the significance of sound for understanding the negotiation the relation between the sacred and the secular, in light of recent work in critical religious studies. It seeks to explore the acoustic dimensions of the 'turn to religion' by exploring the uses of sound in mediating the relationship between the sacred and the secular in different cultures.
Peter Susser, who joined the Department as Director of Undergraduate Musicianship in 2011, has a long association with Columbia, where he earned his DMA and where he has taught as an adjunct instructor for many years.
Check out the photo and feature on professor Christopher Washburne in the NY Times:
From: Walter Frisch, Director of Graduate Studies
Meeting with All Music Graduate Students on Wednesday, May 5, 2:15 to 3:30 pm
This will be our spring semester meeting with graduate students and the DGS, and any available faculty, to discuss issues of concern and for us to update you on graduate matters. All music graduate students are encouraged to attend. Refreshments will be served!