Congratulations to Jenny Payne (BC 2016), a neuroscience and ethnomusicology major, for being awarded the prestigious Luce Scholarship! The Luce Scholars Program provides professional placement, in addition to language study and stipends, in Asia for American college seniors, graduate students, and young professionals. The program's goal is to "enhance the understanding of Asia among potential leaders in American society." Jenny gave an interview to the Columbia Spectator, in which she outlines her personal and professional journey and goals: read it here.
NYC Community Interest News
Columbia Music Scholarship Conference (CMSC) 2016
The eleventh annual Columbia Music Scholarship Conference (CMSC) will be held at Columbia University on Saturday, February 27, 2016.
CMSC is a conference organized and staffed by the graduate students of the Department of Music at Columbia University.
Professor Alexander Rehding (Harvard University)
"Piano, Monochord, Siren: Studying Music 1999 – 1518 – 1834"
Full details at the conference website!
Professor Ellie Hisama's 1993 paper "Postcolonialism on the make: the music of John Mellencamp, David Bowie and John Zorn" has been quoted in two recent articles on David Bowie (following Bowie's death on January 10 of this year):
"For Bowie, the Thin White Duke, inspiration was black" (Economic Times)
Ruth Tam, "How David Bowie's 'China Girl' used racism to fight racism" (Washington Post)
Please mark your calendars for the Columbia Composers 2015-16 concert season:
Saturday, December 5th, 2015 at 8:00 PM: Electroacoustic works
at Prentis Hall (3rd floor), 632 W. 125th Street
Featuring works by MFA students Danielle Dobkin, Chatori Shimizu, Geronimo Mercado, and Frank Spigner, and DMA students Sam Yulsman, Ryan Pratt, and Martin Heindl, with special guests Carrie Frey (viola), Chris Pitsiokos (saxophone), William Cepeda (conch shell), Dana Malseptic (synthesizer), and Nathan Bellott (saxophone)
Friday, March 11th, 2016 at 8:00 PM: Ekmeles and Yarn/Wire
at the DiMenna Center for Classical Music, 450 W 37th St
Featuring works by Christopher Trapani, Yair Klartag, Martin Heindl, Matthew Ricketts, Ashkan Behzadi, Bill Doughery, and Shih-Wei Lo
Saturday, April 2nd, 2016 at 8:00 PM: Mivos Quartet and Loadbang
at Symphony Space, 2537 Broadway
Featuring works by Tyshawn Sorey, Mary Kouyoumdjian, Paul Clift, John Rot, Stylianos Dimou, Onur Yildirim, and Sam Yulsman
Saturday, April 30th, 2016 at 8:00 PM: Wet Ink (Large Ensemble and Band)
at St. Peter's Church, 346 W 20th St
Featuring works by David Bird, Sky Macklay, Ryan Pratt, Taylor Brook, Roberto Toscano, Alec Hall, and Nina C. Young
More information about the Columbia Composers' concerts can be found on their website.
Professor Zosha Di Castri and pianist Julia Den Boer have won the 2016 Yvar Mikhashoff Trust competition, whose goal is "to encourage the composition and performance of new works for solo piano reflecting and continuing the legacy of the distinguished American pianist, Yvar Mikhashoff" (http://www.mikhashofftrust.org/).
Professor Di Castri will be collaborating with Dr. Den Boer next year to write a new work for solo piano that will be premiered at the Banff Center for the Arts. Congratulations, Professor Di Castri!
The Department warmly congratulates Prof. Ana Maria Ochoa (Ethnomusicology), whose new book Aurality: Listening and Knowledge in Nineteenth Century Colombia (Duke University Press, 2014) has been co-awarded the prestigious Alan Merriam Prize from the Society for Ethnomusicology.
The Merriam Prize recognizes "the most distinguished, published English-language monograph in the field of ethnomusicology" of the prior two year period.
Columbia Sounds: A New Concert Series at Columbia Global Centers | Paris
At Columbia Global Centers | Paris, the Department of Music offers a new concert series featuring Department faculty, students, and alumni. Held at Reid Hall (4, rue de Chevreuse, 75006 Paris), the performances will be free of charge.
Columbiana, on February 15, 2016, at 7 pm, will present the cellist Anssi Karttunen and the violinist Marina Chiche. The program includes music of Edmund Campion, Tan Dun, Fred Lerdahl, Bryan Jacobs, Taylor Brook, Zosha Di Castri, Yoshiaki Onishi, Pablo Ortiz, Nina C. Young, Magnus Lindberg, Kaija Saariaho, and Henri Dutilleux. Karttunen, widely praised as the most distinguished cellist performing new music today, has collaborated extensively with Columbia composers of several generations. After the concert, Karttunen will join Nina C. Young (Columbia DMA student and Fellow of the American Academy in Rome) in a conversation about the Creative Dialogue project that gave rise to several of the works on the program.
Ensemble Pamplemousse: This is the Uplifting Part, on March 15, 2016, at 7 pm, will feature the composer/performer collective Ensemble Pamplemousse in a program of experimental new music by the collective’s members, including prominent Columbia DMA alumni Natacha Diels and Bryan Jacobs. Diels, now Assistant Professor of Composition at UC San Diego, founded the Ensemble in New York in 2003. Each of the Pamplemousse members specializes in a unique aspect of composition, from micro-detailed instrumental writing to experimental theatre with electronics to electro-mechanical musical robotics. Their performances combine weirdness and beauty with pop culture and classical virtuosity. After the concert, the musicians will discuss their work in conversation with Susan Boynton (Chair, Department of Music and organizer of the series).
Event Sponsors: Columbia Global Centers | Europe; Department of Music, Columbia University; Office of Global Programs, Columbia University; Alice M. Ditson Fund
The Department of Music at Columbia is pleased to announce the publication of our 2015-16 Newsletter, which documents the extraordinary range of activities and accomplishments in our community over the last year.
The Department of Music at Columbia University invites applications for (two) 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, 2016.
A PhD, DMA or the equivalent is required. The degree must have been received between January 1, 2012 and July 1, 2016. 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 January 19, 2016 and will continue until the positions are filled.
Please visit the following link (Columbia University RAPS) for detailed information and to apply:
Columbia University is an Equal Opportunity/Affirmative Action employer -- Race/Gender/Disability/Veteran.
Tina Frühauf, along with her co-editor Lily E. Hirsch, won the American Musicological Society's Ruth A. Solie award this year for their edited volume, Dislocated Memories: Jews, Music, and Postwar German Culture (Oxford University Press, 2014). Solie Committee Chair Professor Colleen Reardon (UC Irvine) described the volume at the award presentation:
"The Solie award winner this year tackles themes of transnationalism, displacement, and memory by examining the fascinating and often problematic relationship between Jewish music and German culture in the shadow of the Holocaust. An introduction that leads naturally into a survey of postwar writings on Jewish music, and an illuminating postscript on the “represence” of Jewish music in Germany frame a collection of essays that elegantly mirror the theme of the volume by traveling backwards and forwards in time, by exploring music in the camps and outside its borders, and by tackling such difficult topics as the discourse of avoidance and narratives of survival."
At Columbia, Dr. Frühauf teaches Jewish Music of New York (MUSI V2030) and Masterpieces of Western Music (Music Humanities).
The live (audio) recording of George Lewis's new opera Afterword, performed in the Lawrence Batley Theater as part of the Huddersfield Contemporary Music Festival in November 2015, is being streamed on the BBC Radio 3 site, as part of its “Hear and Now” series.
The opera, Afterword, celebrates the work of the Association for the Advancement of Creative Musicians (AACM), a pioneering collective of musicians that took root in Chicago in 1965.
Joelle Lamarre (soprano)
Julian Terrell Otis (tenor)
Gwendolyn Brown (contralto)
International Contemporary Ensemble
David Fulmer (conductor)
Sean Griffin (director)
(Pictured: Julian Terrell Otis, Gwendolyn Brown, and Joelle Lamarre -- copyright Ross Karre and I Care If You Listen, 2015)
The Columbia Music Scholarship Conference invites graduate students and recent Ph.D. recipients to submit abstracts to be selected for presentation at our eleventh annual meeting on February 27, 2016 at Columbia University in New York. The theme of the 2016 meeting will be Listening. We are pleased to announce that the conference will feature a keynote address by Alexander Rehding (Harvard University).
CFP Deadline: January 5, 2016.
We seek papers that engage with topics including, but not limited to, the following:
--Mediated Listening: How have technologies shaped listening practices and how have practices of listening shaped technologies?
--Sound: Toxic or Curative?: How have medical, physiological, and psychological discoveries affected the way listening is understood? How have practitioners in these fields studied listening and hearing?
--(In)Active Listening: How might states of mind affect listening? How does space influence listening practice and musical performance?
--Listening In: How can listening be used as a mode of surveillance and control? How does ethics factor into listening?
--Constructed Listeners: Who are the assumed listeners in music scholarship? Whose identities are excluded? How are these exclusions perpetuated by different types of music, sound, or noise?
--Pedagogy: In what ways have educational institutions impacted the practices of listening? How do pedagogical approaches “cultivate” listeners?
We are soliciting proposals for twenty-minute presentations from scholars active in all music disciplines as well as from scholars in related fields, aiming to maximize the theoretical and methodological breadth of the discussion.
Please submit abstracts of 200 to 250 words to 2016cmsc [at] gmail.com by January 5, 2016. Please include your name and contact information in your e-mail only, and attach the abstract as a Word, text, or .pdf file. The committee will select papers anonymously. All scholars who submit abstracts will be notified of the committee's decision by January 20th. For more information on the conference, please visit the conference website.
Prof. George Lewis (Case Professor of American Music) gave the President's Endowed Plenary Address at the 2015 meeting of the American Musicological Society (AMS) to a capacity crowd. The lecture, entitled “Putting Scholarship into (Art) Practice: Four Cases," was described in the AMS program as follows:
“This talk troubles the bright line separating creative work from academic research, through an examination of four cases from my own work as a composer and interactive artist. The works themselves are diverse in content and affect, and range from computer music performance and interactive installations to opera. Each of these works, however, was developed through a combination of ethnographic method, historical and archival work, analysis of musical practice, and critical examination. The results are serving in turn as the impetus for my musicological writing—on the works themselves, on histories of larger networks of musical practice that these works draw upon, and on still larger socio-technological networks and practices that all of us encounter every day. Thus, the talk affirms the fact that the world continues to draw critically important lessons from music—often cryptically, and despite an ongoing and deleterious trope that portrays music as peripheral to American intellectual life. In staunch opposition to this trope, musicologist Jann Pasler has proposed that ‘music can serve as a critical tool, activating and developing multiple layers of awareness... I invite the reader to listen for music’s resonance in the world and, through music, to help us imagine our future.’ My talk makes common cause with Professor Pasler’s view, echoing philosopher Pierre Hadot’s understanding that ‘in philosophy, we are not dealing with the mere creation of a work of art: the goal is rather to transform ourselves.’”
Congratulations to Prof. Lewis!
Professor Ana María Ochoa delivered four public lectures from November 2 to November 6 for the Cátedra Jesús C. Romero 2015 in Mexico's CENIDIM (Centro Nacional de Investigación, Documentación e Información Musical "Carlos Chávez"). The lecture series was entitled "Figuraciones de lo sonoro en América Latina y el Caribe." More information can be found here.