Maeve Sterbenz received the 2018 Adam Krims Award, for her article, "Movement, Music, Feminism: An Analysis of Movement-Music Interactions and the Articulation of Masculinity in Tyler, the Creator's 'Yonkers' Music Video," published in Music Theory Online.
At the recent joint meeting of the American Musicological Society and Society for Music Theory, as well as the Society for Ethnomusicology Meeting, the music department had an impressive showing of faculty, students, and alumni presenting papers and chairing/responding to sessions.
The Library sound archives preserve the groundbreaking work of Columbia University’s electronic and computer music pioneers. Explore a new universe of sounds with Columbia University Computer Music Center Director Seth Cluett. From Charles Dodges’ 1969 computer generated masterwork Earth’s Magnetic Field to the most boundary blurring contemporary works by Columbia’s current students, join us for an interactive electronic sound salon.
Presented by the University Seminars & Columbia University Press, Fred Lerdahl (Fritz Reiner Professor of Musical Composition) will give three lectures on the 26th Series of the Leonard Hastings Schoff Memorial Lectures. Congratulations, Professor Lerdahl!
Today is Columbia Giving Day 2018! Today, we stand for the schools, programs, and causes that mean the most to us. We stand for access to education, groundbreaking research, thought-provoking art and championship athletics, healthcare that is both cutting-edge and compassionate, and building partnerships—locally and globally—that can address world issues from climate change to social justice and more. Today, we stand for changing lives that change the world.
For one day, your gifts go further through challenge funds from the University Trustees, adding to your impact. Last year, we raised $15.6 million from 15,088 gifts…we need your help to make Columbia Giving Day 2018 even bigger!
On September 26th, 2018, Music Performance Program held a special recital of the winners of the Richard and Brooke Kamin Rapaport Summer Music Performance Fellowship.
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.
The Department of Music is pleased to formally announce a study group in historical music notation, Ars Nota, which meets weekly on Columbia’s campus to sing medieval and Renaissance music from facsimiles of original sources.
For the Daughters of Harlem: Working in Sound has won an Action Grant from Humanities New York and a Public Outreach Grant from Columbia University’s Center for Science and Society to host a campus workshop in October 2018 for young women of color from New York’s public high schools.
Please Visit our Memorial Website for Anne Gefell, our former Director of Academic Administration and Finance.
Kevin Fellezs, Associate Professor of Music in Ethnomusicology, is featured in the latest issue of the Journal of Popular Music Studies, with his new article entitled “Edge of Insanity: Tony MacAlpine and Black Virtuosity.”
Postdoctoral Music Theory Lecturer Maeve Sterbenz has been appointed Scholar-in-Residence at the San Francisco Ballet.
Kevin Fellezs, Associate Professor of Music in Ethnmusicology, is featured in the Summer 2018 issue of Columbia College Today.
The Music Department is offering a wide range of courses this fall, including several featured and new electives.
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.