FUNDAMENTALS OF MUSIC

 

Introduction to music, including notation, written and aural skills, and basic conceptual resources of music theory. Exploration of scale, mode, rhythm, meter, texture and form, with reference to a diverse range of musics.

• MW 1:10 p.m.-2:25 p.m.
• Instructor: Calder M Hannan
  Info
• 3 points

INTRODUCTORY EAR-TRAINING

This course is an introduction to basic skills in sight reading. Instruction includes reading rhythms in simple meter, solfege recitation, and sight-singing simple melodies.

• MW 12:10 p.m.-1 p.m.
• Instructor: Mary Asti
  Info
• 1 points

COLLEGIUM MUSICUM

 Collegium Musicum is a performing group dedicated primarily to the study and performance of early music, broadly defined.

• M 7:30 p.m.-9:30 p.m.
• Instructor: Justin T Gregg
  CULPA: 1 Info
• 1 points

UNIVERSITY ORCHESTRA I

Founded by composer Edward MacDowell in 1896, the Columbia University Orchestra is the oldest continually operating university orchestra in the United States. The principal mission of the Orchestra is to expose talented student musicians to the highest level of orchestral repertoire. An audition is required.

• T 6:30 p.m.-9:30 p.m.
• Instructor: Jeffrey Milarsky
  CULPA: 6 Wikipedia Info
• 2 points

WORLD MUSIC ENSEMBLE

ARAB MUSIC ENSEMBLE

In collaboration with the Center for Ethnomusicology, MESAAS, Institute for Medieval Japanese Studies and the Louis Armstrong Jazz Performance Program, the Music Performance Program (MPP) offers students the opportunity to participate in various world music ensembles: Arab Music, Bluegrass, Japanese Gagaku/Hogaku, Klezmer and Latin American Music. Each ensemble requires different levels of experience, so please refer to the World Music section of the Music Performance Program website for more info. Please note the Latin American Music Ensemble focuses on two different Latin music traditions: The Afro-Cuban Ensemble meets in the Fall and the Brazilian Ensemble meets in the Spring.

• R 5 p.m.-7 p.m.
• Instructor: Taoufik Ben-Amor
  CULPA: 11 Info
• 1 points

JAZZ

The musical and cultural features of jazz, beginning in 1900.

• TR 1:10 p.m.-2:25 p.m.
• Instructor: Christopher J Washburne
  CULPA: 31 Info
• 3 points

JEWISH MUSIC IN NEW YORK

Prerequisites: Music Humanities (Columbia University) or An Introduction to Music (Barnard). With the arrival of the first Jewish immigrants in New York in the mid-1600s until today, Jewish music in the City has oscillated between preserving traditions and introducing innovative ideas. This course explores the variety of ways people have used music to describe, inscribe, symbolize, and editorialize their Jewish experience. Along these lines, it draws upon genres of art music, popular music, and non-Western traditions, as well as practices that synthesize various styles and genres, from hazzanut to hiphop. Diverse musical experiences will serve as a window to address wider questions of identity, memory, and dislocation. We will also experience the Jewish soundscape of New York’s dynamic and eclectic music culture by visiting various venues and meeting key players in today’s music scene, and thus engage in the ongoing dialogues that define Jewishness in New York. A basic familiarity with Judaism and Jewish culture is helpful for this course, but it is by no means required. You do not need to know Jewish history to take this class, nor do you need to be able to read music. Translations from Hebrew and Yiddish will be provided, and musical analysis will be well explained.

• MW 11:40 a.m.-12:55 p.m.
• Instructor: Tina Fruehauf
  CULPA: 7 Info
• 3 points

INTRODUCTION TO DIGITAL MUSIC

An introduction to the potential of digital sound synthesis and signal processing. Teaches proficiency in elementary and advanced digital audio techniques. This course aims to challenge some of the tacet assumptions about music that are built into the design of various user interfaces and hardware and fosters a creative approach to using digital audio workstation software and equipment.  Permission of Instructor required to enroll. Music Majors have priority for enrollment.

• TR 1:10 p.m.-2:25 p.m.
• MW 1:10 p.m.-2:25 p.m.
• F 1:10 p.m.-3:40 p.m.
• Instructor: Seth Cluett
  h-index: 4 Info
• Instructor: Anna Meadors
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• Instructor: Danielle R Dobkin
  Info
• 3 points

History and Practice of Electronic Music

History & Practice of Ele

This course will provide a critical survey of the development of electronic and computer music and sound from around the globe. From early experiments and precursors in the late 19th century through to modern-day experimental and popular music practices, this course aims to trace the development of technologies used in the production of electronic and computer derived sound and music alongside the economic, cultural, and social forces that contribute to the development of audiences. The course will focus intently on listening through a series of curated playlists in an effort to unpack style and genre distinctions. Readings and listening examples will be paired with small, hands-on assignments, that demonstrate the effect of music making tools on the process and structure of musical genres and styles ranging from the experimental practices of musique concrete, drone, and harsh noise to the mainstream practices of dub, techno, vaporwave, hyperpop, and hip hop and more.

• TR 2:40 p.m.-3:55 p.m.
• Instructor: Anna Meadors
  Info
• 3 points

EAR-TRAINING I

Designed to improve the students basic skills in sight-singing, and rhythmic and melodic dictation with an introduction to four-part harmonic dictation.

• TR 12:10 p.m.-1 p.m.
• MW 12:10 p.m.-1 p.m.
• Instructor: Michael Joviala
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• Instructor: Sadie Dawkins
  Info
• 1 points

EAR-TRAINING II

Techniques of sight-singing and dictation of diatonic melodies in simple and compound meter with strong emphasis on harmonic dictation.

• MW 12:10 p.m.-1 p.m.
• Instructor: Ramin Amir Arjomand
  CULPA: 8 Info
• 1 points

MUSIC THEORY I

Elementary analysis and composition in a variety of modal and tonal idioms. A one-hour weekly lab is required, to be scheduled at the beginning of the term.  Course to be taken in conjunction with the Ear-Training sequence, up through Ear-Training IV. 

• TR 1:10 p.m.-2:25 p.m.
• Instructor: Peter M Susser
  CULPA: 20 Info
• 3 points

MUSIC THEORY II

Elementary analysis and composition in a variety of tonal idioms.  A one-hour weekly lab is required, to be scheduled at the beginning of the term.  Course to be taken in conjunction with the Ear-Training sequence, up through Ear-Training IV.

• MW 1:10 p.m.-2:25 p.m.
• Instructor: Cheng W Lim
  Info
• 3 points

Introduction to Music Cognition

Intro to Music Cognition

The aim of music cognition is to understand the musical mind. This course is an introduction to a variety of key topics in this field, including human development, evolution, neural processing, embodied knowledge, memory and anticipation, cross-cultural perspectives, and emotions. The course explores recent research on these topics, as well as ways in which this research can be applied to music scholarship. Readings are drawn from fields as diverse as music theory, psychology, biology, anthropology, and neuroscience, and include general works in cognitive science, theoretical work focused on specific musical issues, and reports of empirical research.

• MW 2:40 p.m.-3:55 p.m.
• Instructor: Mariusz Kozak
  CULPA: 4 h-index: 5 Info
• 3 points

HIST-WEST MUS: MID AGE-BAROQUE

Prerequisites: MUSI UN2318 - MUSI UN2319. May be taken before or concurrently with this course. Topics in Western music from Antiquity through Bach and Handel, focusing on the development of musical style and thought, and analysis of selected works.

• TR 2:40 p.m.-3:55 p.m.
• Instructor: Giuseppe Gerbino
  CULPA: 12 Info
• 3 points

ADVANCED COMPOSITION I

Composition in more extended forms. Study of advanced techniques of contemporary composition. Readings of student works.

• MW 10:10 a.m.-11:25 a.m.
• Instructor: Finola C Merivale
  Info
• 3 points

EAR-TRAINING III

Sight-singing techniques of modulating diatonic melodies in simple, compound, or irregular meters that involve complex rhythmic patterns. Emphasis is placed on four-part harmonic dictation of modulating phrases.

• MW 12:10 p.m.-1 p.m.
• Instructor: Peter M Susser
  CULPA: 20 Info
• 1 points

EAR-TRAINING IV

Techniques of musicianship at the intermediate level, stressing the importance of musical nuances in sight-singing. Emphasis is placed on chromatically inflected four-part harmonic dictation.

• TR 12:10 p.m.-1 p.m.
• Instructor: Peter M Susser
  CULPA: 20 Info
• 1 points

MUSICS OF INDIA & WEST ASIA

A topical approach to the concepts and practices of music in relation to other arts in the development of Asian civilizations.

• MW 6:10 p.m.-7:25 p.m.
• Instructor: Daniel Ferguson
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• Instructor: Noah D Rosen
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• Instructor: George H Murer
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• Instructor: Hicham Chami
  CULPA: 2 Info
• 3 points

MUSIC THEORY III

Intermediate analysis and composition in a variety of tonal idioms.  A one-hour weekly lab is required, to be scheduled at the beginning of the term.  Course to be taken in conjunction with the Ear-Training sequence, up through Ear-Training IV.

• TR 1:10 p.m.-2:25 p.m.
• Instructor: Joseph P Dubiel
  CULPA: 3 Info
• 3 points

MUSIC THEORY IV

Intermediate analysis and composition in a variety of tonal and extended tonal idioms.  A one-hour weekly lab is required, to be scheduled at the beginning of the term.  Course to be taken in conjunction with the Ear-Training sequence, up through Ear-Training IV.

• TR 1:10 p.m.-2:25 p.m.
• Instructor: Cheng W Lim
  Info
• 3 points

TOPICS IN MUSIC & SOCIETY

This course seeks to approach the study of music and society by comparatively studying repertories from different parts of the world, how the history of ideas and methods of studying such repertoires shaped them, the practices that constitute them and the ways they are understood and used by different peoples. Central to this course is the interrelationship between the constitution of a repertoire and the history of the construction of knowledge about it.

• TR 4:10 p.m.-5:25 p.m.
• Instructor: Ruth Opara
  Info
• 3 points

MEDIEVAL MUSIC DRAMA

In this seminar we will study examples of music drama from the tenth century to the fourteenth, taking into account both the
manuscript sources and methodological questions raised by performative works at the intersection of literature, music, and ritual.

• F 1 p.m.-3 p.m.
• Instructor: Susan Boynton
  CULPA: 18 Info
• 3 points

ANALYSIS OF TONAL MUSIC

Detailed analysis of selected tonal compositions. This course, for advanced undergraduates and beginning graduates, is intended to develop understanding of tonal compositions and of theoretical concepts that apply to them, through study of specific works in various forms and styles.

• W 2:10 p.m.-4 p.m.
• Instructor: Joseph P Dubiel
  CULPA: 3 Info
• 3 points

Topics in Sound Studies

Sound studies is a burgeoning interdisciplinary field that explores the question of how does listening to sound, beyond having a phone conversation or listening to your favorite tunes, influence culture, knowledge, and society by initiating dialogues across musicology, philosophy, cultural studies, disability studies, race and gender studies, and science and technology studies. In this course, students will examine three interrelated debates within the field: 1. the role of sound in understanding and uncovering historical and cultural knowledge; 2. the function of sound in the invention of media and technologies that have transformed listening culture; 3. the capacity of sound to shape social perceptions of race and gender. Reading texts that have revolutionized the way we think about sound, students will learn how sound and listening participated in historical and contemporary meaning-making.

• M 2:10 p.m.-4 p.m.
• Instructor: Knar Abrahamyan
  Info
• 3 points

MUSIC AND PROPERTY

• T 2:10 p.m.-4 p.m.
• Instructor: Aaron A Fox
  CULPA: 7 Info
• 3 points

JAZZ TRANSCRIPTION & ANALYSIS

Prerequisites: the instructors permission. A progressive course in transcribing, proceeding from single lines to full scale sections and ensembles. Stylistic analysis based on new and previously published transcriptions.

• MW 4:10 p.m.-5:25 p.m.
• Instructor: Ole Mathisen
  Wikipedia Info
• 3 points

INSTRUMENTATION

Prerequisites: extensive musical background. Analysis of instrumentation, with directional emphasis on usage, ranges, playing techniques, tone colors, characteristics, interactions and tendencies, all derived from the classic orchestral repertoire. Topics will include theoretical writings on the classical repertory as well as 20th century instrumentation and its advancement. Additional sessions with live orchestral demonstrations are included as part of the course.

• TR 1:10 p.m.-2:25 p.m.
• Instructor: Jeffrey Milarsky
  CULPA: 6 Wikipedia Info
• 3 points

RECORDED SOUND

Prerequisites: The instructors permission. As music moves into the 21st century, we find ourselves surrounded by an ever-evolving landscape of technological capability. The world of music, and the music industry itself, is changing rapidly, and with that change comes the opening – and closing – of doorways of possibility. What does this shift mean for today’s practicing artist or composer? With big label recording studios signing and nurturing fewer and fewer artists, it seems certain that, today, musicians who want to record and distribute their music need to be able to do much of the recording and production work on their own. But where does one go to learn how to do this – to learn not only the “how to” part of music production, but the historical underpinnings and the development of the music production industry as well? How does one develop a comprehensive framework within which they can place their own artistic efforts? How does one learn to understand what they hear, re-create what they like and develop their own style? This class, “Recorded Sound,” aims to be the answer. It’s goal is to teach artists how to listen critically to music from across history and genres in order to identify the production techniques that they hear, and reproduce those elements using modern technology so they can be incorporated into the artist’s own musical works.

• M 1:10 p.m.-4 p.m.
• Instructor: David Adamcyk
  CULPA: 1 Info
• 3 points

PROSEMINAR-HISTORICL MUSICOLGY

Introduction to Historical Musicology: the history of the discipline, major areas of research, source materials, and methodological problems.

• T 2:10 p.m.-4 p.m.
• Instructor: Elaine Sisman
  CULPA: 13 Wikipedia Info
• 3 points

MUSIC SINCE 1900

Prerequisites: the instructor's permission. Investigation and analysis of styles and techniques of music since 1900, carried out in part through individual projects. (Prior to Spring 2008, the course was titled 20-Century Styles and Techniques.)

• R 10:10 a.m.-noon
• Instructor: George Lewis
  CULPA: 10 Wikipedia h-index: 18 Info
• 3 points

PROSEMINAR-ETHNOMUSICOLOGY I

Introduction to Ethnomusicology: the history of the discipline and the evolution of theories and methods. G6412, Proseminar in Ethnomusicology II: Contemporary Ethnography is offered Fall 2012.

• R 4:10 p.m.-6 p.m.
• Instructor: Alessandra M Ciucci
  CULPA: 1 Info
• 3 points

INTERACTIVE SOUND & VIDEO

Prerequisites: the instructors permission. In this year-long sequence students gain familiarity with the materials used in electroacoustic music and the techniques and equipment that are employed to transform and organize these materials into compositions. Individual projects are assigned.

• M 4:10 p.m.-6 p.m.
• Instructor: Seth Cluett
  h-index: 4 Info
• 3 points

SOUND: ADVANCED TOPICS I

This class explores advanced topics relating to the production of music by computer. Although programming experience is not a prerequisite, various programming techniques are enlisted to investigate interface design, algorithmic composition, computer analysis and processing of digital audio, and the use of computer music in contexts such as VR/AR applications. Check with the instructor for the particular focus of the class in an upcoming semester. Some familiarity with computer music hardware/software is expected. Permission of instructor is required to enroll.

• W 6:10 p.m.-8 p.m.
• Instructor: Bradford G Garton
  CULPA: 14 Info
• 3 points

SEM-HISTORCL MUSICLGY-CLASSIC

Topic to be announced.

• T 4:10 p.m.-6 p.m.
• Instructor: Julia Doe
  Info
• 3 points

SEM IN MUSIC COMPOSITION I

Individual projects in composition.

• W 3:10 p.m.-5 p.m.
• 3 points

Music Beyond 12 Tone Temperament II

This class is intended for students to develop composing skills for creating music “between the keys” (or “outside the keys”) of a traditionally tuned piano or organ.  We will be analyzing relevant works and techniques of the present and of the past.  Students compose and perform/present their own music influenced by these works and techniques.  We will start with “just intonation” and with music independent from Western traditions.  Students are free to enroll for “Music beyond 12 tone temperament II” before “Music beyond 12 tone temperament I”.  Knowledge of the harmonic row’s intonation, at least until the 17th partial, is mandatory.

• T 4:10 p.m.-6 p.m.
• Instructor: Georg Friedrich Haas
  Info
• 3 points

SEM-ETHNOMUSICLGY:FLD MTHDS I

• T 12:10 p.m.-2 p.m.
• Instructor: Kevin Fellezs
  CULPA: 4 Info
• 3 points