The most recent issue of the Journal of the American Musicological Society features contributions from faculty and alumni of the Department.
The Fromm Music Foundation at Harvard University has announced the names of fifteen composers selected to receive 2019 Fromm commissions. Eight of the fifteen winners are alumni of Columbia's DMA program in Composition.
The Columbia University Ethnomusicology community is delighted to congratulate our recent PhD alumnus Dr. Beatriz Goubert, who has been selected as the associate editor for Latin America at RILM (International Repertory of Music Literature) in New York.
Dr. Eamonn Bell was appointed as a postdoctoral Research Fellow in the Department of Music at Trinity College, Dublin in October 2019.
“Affordances and Free Improvisation: An Analytical Framework”—which Dr. Hannaford delivered at last year’s combined meeting for the American Musicological Society (AMS) and Society for Music Theory (SMT) in San Antonio—was awarded the Steve Larson Award for Jazz Scholarship at this year’s SMT meeting in Columbus.
The Department of Music warmly congratulates Dr. Mario Diaz de Leon (DMA, Composition 2013), who was recently appointed Assistant Professor of Music and Technology at Stevens Institute of Technology in Hoboken, NJ.
Yair Klartag is one of three laureates for 2019-2022. Ricordi Berlin will publish selected works by the laureates, support the composers with expertise in the music business, and provide international promotion for a period of three years.
Peter M. Susser, Senior Lecturer, Director of Undergraduate Musicianship, has received the Provost’s new Large-Scale Teaching and Learning Grant for his, “Digital Ear Training Improvisation Initiative.”
We are deeply saddened that our alumnus Paul Nauert (GSAS ’97) passed away on Friday, July 26. Paul received his doctorate in music theory in 1997 under Jonathan Kramer's sponsorship. He was an accomplished composer, pianist, and computer programmer as well as music theorist.
The Department of Music congratulates Dr. Courtney Bryan who has been awarded the Rome Prize from the American Academy in Rome!
Sam Pluta, Matthew Ricketts, Katharina Rosenberger, and Christopher Trapani have been awarded the 2019 Fellowship from the John Simon Guggenheim Memorial Foundation. Congratulations!
The Department of Music has received a generous donation from Nina Sanders and Peter Sanders, daughter and son of the late Professor Emeritus, Ernest H. Sanders, who passed away at the age of 99 in early 2018. This donation was a bequest from Sanders.
Students, alumni, and faculty in the Music Department are featured in the article "Daughters of Harlem Teaches Local Young Women to Record and Produce Their Own Music" about the Fall 2018 workshop For the Daughters of Harlem: Working with Sound.
The Department of Music is now accepting applications for the Serwer Fund, which will assist currently registered graduate students in Historical Musicology, Theory, and Ethnomusicology in the pursuit of their scholarly work, including dissertation-related research, travel to conferences, and other initiatives.
Postdoctoral Music Theory Lecturer Maeve Sterbenz has been appointed Scholar-in-Residence at the San Francisco Ballet.
Alumna Nina C. Young (DMA, Composition 2016) has recently been announced as the Assistant Professor of Composition and Director of the Electronic Music Studios at the Butler School of Music at The University of Texas at Austin. Her contract will begin with the 2018-2019 academic year.
Rebecca Kim edits the first comprehensive survey of the groundbreaking work of Earle Brown, augmented with several newly published items from his personal archive. Earle Brown (1926–2002) was a crucial part of a group of experimental composers known as the New York School, and his music intersects in fascinating ways with that of his colleagues John Cage, Morton Feldman, and Christian Wolff.
Composer and pianist Courtney Bryan (DMA Composition, 2014) works in multiple genres, both sacred and secular, including jazz and other experimental music, traditional gospel, spirituals, and hymns. Unifying her compositions - solo to orchestral works, choral music and sound installations - is a desire to “communicate the sounds of rebellion and healing.”