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.
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Instructor:
Michael Joviala
Info - 1 points
MUSIC IN EAST ASIA
A topical approach to the concepts and practices of music in relation to other arts in the development of Asian civilizations.
- MW 10:10 a.m.-11:25 a.m.
- MW 5:40 p.m.-6:55 p.m.
- TR 10:10 a.m.-11:25 a.m.
- TR 5:40 p.m.-6:55 p.m.
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Instructor:
Thomas T Wetmore
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Instructor:
George H Murer
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Instructor:
Thomas T Wetmore
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Instructor:
Katie M Cooke
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.
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Instructor:
Cheng W Lim
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.
- MW 1:10 p.m.-2:25 p.m.
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Instructor:
Calder M Hannan
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.
- R 4:10 p.m.-6:40 p.m.
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Instructor:
Kevin Fellezs
CULPA: 4
Info
- 3 points
HONORS RESEARCH
Prerequisites: a formal proposal to be submitted and approved prior to registration; see the director of undergraduate studies for details. A creative/scholarly project conducted under faculty supervision, leading to completion of an honors essay, composition, or the equivalent.
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Instructor:
Susan Boynton
CULPA: 18 Info -
Instructor:
Alessandra M Ciucci
CULPA: 1 Info -
Instructor:
Zosha Di Castri
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Instructor:
Julia Doe
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Instructor:
Joseph P Dubiel
CULPA: 3 Info -
Instructor:
Kevin Fellezs
CULPA: 4
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Instructor:
Aaron A Fox
CULPA: 7
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Instructor:
Walter M Frisch
CULPA: 17
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Instructor:
Bradford G Garton
CULPA: 14
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Instructor:
Giuseppe Gerbino
CULPA: 12
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Instructor:
Georg Friedrich Haas
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Instructor:
Marcos Balter
Wikipedia Info -
Instructor:
Mariusz Kozak
CULPA: 4 h-index: 5 Info -
Instructor:
George Lewis
CULPA: 10
Wikipedia
h-index: 18
Info
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Instructor:
Jeffrey Milarsky
CULPA: 6
Wikipedia
Info
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Instructor:
Seth Cluett
h-index: 4 Info -
Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
Info
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Instructor:
Benjamin A Steege
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Instructor:
Magdalena Baczewska
CULPA: 4
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Instructor:
Peter M Susser
CULPA: 20
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Instructor:
Christopher J Washburne
CULPA: 31
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Instructor:
Knar Abrahamyan
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Instructor:
Ruth Opara
Info - 2-3 points
SUPERVISED INDEPENDENT STUDY
Prerequisites: approval prior to registration; see the director of undergraduate studies for details. A creative/scholarly project conducted under faculty supervision.
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Instructor:
Susan Boynton
CULPA: 18 Info -
Instructor:
Alessandra M Ciucci
CULPA: 1 Info -
Instructor:
Zosha Di Castri
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Instructor:
Julia Doe
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Instructor:
Joseph P Dubiel
CULPA: 3 Info -
Instructor:
Aaron A Fox
CULPA: 7
Info
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Instructor:
Kevin Fellezs
CULPA: 4
Info
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Instructor:
Walter M Frisch
CULPA: 17
Info
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Instructor:
Bradford G Garton
CULPA: 14
Info
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Instructor:
Giuseppe Gerbino
CULPA: 12
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Instructor:
Georg Friedrich Haas
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Instructor:
Marcos Balter
Wikipedia Info -
Instructor:
Mariusz Kozak
CULPA: 4 h-index: 5 Info -
Instructor:
George Lewis
CULPA: 10
Wikipedia
h-index: 18
Info
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Instructor:
Jeffrey Milarsky
CULPA: 6
Wikipedia
Info
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Instructor:
Seth Cluett
h-index: 4 Info -
Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
Info
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Instructor:
Benjamin A Steege
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Instructor:
Magdalena Baczewska
CULPA: 4
Info
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Instructor:
Peter M Susser
CULPA: 20
Info
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Instructor:
Christopher J Washburne
CULPA: 31
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Instructor:
Knar Abrahamyan
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Instructor:
Ruth Opara
Info - 2-3 points
Composing for Dance
The course presents tools, techniques, methodologies, and concepts for composing original music for dance (both acoustic and electronic). Composers will develop a work for dance collaborating with choreographers, culminating in a public showing at the end of the semester. Weekly meetings will be used to discuss the unique challenges (both practical and aesthetic) that this type of interdisciplinary collaboration raises, and to troubleshoot potential solutions. Students will examine case studies of collaborative composer/choreographer pairs (especially from the last 75 years), as potential models for working via the study of artist statements, interviews, articles, videos, and classroom discussions with invited guests. No prior experience writing for dance is necessary. Basic familiarity with a digital audio workspace is preferable. For participants who don’t write music or work in sound, a research project either analyzing a composer/choreographer pairing or looking at a topic relating to music and dance more broadly will serve as an equivalent final project (resulting in an academic paper, a podcast, or the production of an educational video).
- T 12:10 p.m.-2 p.m.
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Instructor:
Zosha Di Castri
Info - 3 points
Modular Sound Synthesis
Modular Sound Synthesis is a hands-on studio class that explores contemporary techniques for synthesizers both in studio practice and performance while framing them in the historical context in which they developed. The class approaches the fundamentals of sound and synthesis through the perspective of Columbia’s Computer Music Center: vintage function generators, suitcase reel-to-reel tape machines, prototype modules, custom devices; and the first programmable music synthesizer, the RCA Mark II. Students will learn to perform and compose on both hardware devices and software emulations, utilizing them as a creative tool for recording and live performance. Topics include oscillators, modulation, sequencers, voltage processing, wave shaping, filters, and LFOs. The course will engage in listening to both historical and contemporary examples to develop critical listening skills. This class is designed as a follow-up to Intro to Digital Music for undergraduates or graduate students interested in integrating modular synthesis within their artistic practice.
- R 4:10 p.m.-7:10 p.m.
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Instructor:
Danielle R Dobkin
Info - 3 points
Music and Global Africa
This course examines the transatlantic sounds of African music, including Afrobeat, Afrobeats, Amapiano, Chimurenga, Highlife, Kwaito, Makossa, Reggae, and more, to explore the rich cultural roots of African musical traditions and how they navigate and assimilate within the global popular culture sphere. From migration and collaborations to the rise of African artists in the era of advanced technology, the course uncovers how these genres transcend borders, inspire cross-cultural innovation, and influence the global music scene in contemporary times. Critical issues such as cultural appropriation, commodification, gender, health, and authenticity in the ever-evolving global music industry will be explored. By the end of the course, you will have a deep understanding of the complex dynamics driving the influence and dissemination of African music across the world.
- M 4:10 p.m.-6 p.m.
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Instructor:
Ruth Opara
Info - 3 points
JAZZ ARRANGING & COMPOSITION
- MW 4:10 p.m.-5:25 p.m.
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Instructor:
Ole Mathisen
Wikipedia Info - 3 points
CONDUCTING MUSIC
Prerequisites: advanced music major and extensive contemporary music background. Analysis of the modern repertory of contemporary music with directional emphasis on actual conducting preparation, beating patterns, rhythmic notational problems, irregular meters, communication, and transference of musical ideas. Topics will include theoretical writing on 20th-century conducting, orchestration, and phrasing.
- TR 1:10 p.m.-2:25 p.m.
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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.
- T 10:10 a.m.-1 p.m.
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Instructor:
Anna Meadors
Info - 3 points
Instrument, Interface, Installation: Bui
This course will address hands-on making through creative projects reinforced with critical and historical readings to contextualize work. Coursework will explore fabrication, gears and motors, homemade instruments, 3d printing, amplifiers and transducers, circuit bending, and getting comfortable soldering and reading circuits. The course engages creative uses of audio technology within and beyond the concert hall, instrumental acoustics and organology, and movement, gesture, and space as elements of structuring sound work. Fluency, troubleshooting,
and self-reliance regarding basic audio hardware, signal flow, and technical requirements for supporting the addition of amplification, fixed media, or interactive electronics to sound work will be a focus throughout. We’ll explore instrument building and modification, installation
design and construction, and physical interfaces to software instruments through hands-on projects supported by readings and repertoire and will culminate in a creative project of your own design.
- M 1:10 p.m.-4 p.m.
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Instructor:
Seth Cluett
h-index: 4 Info - 3 points
Practicum in Music Composition
This course provides an opportunity for students in the Music Department’s Composition DMA program to engage in off-campus practicum or internships in music composition for academic credit that will count towards the requirements for the degree.
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Instructor:
George Lewis
CULPA: 10
Wikipedia
h-index: 18
Info
- 1 points
SOUND: AVDANCED TOPICS II
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. Note: this class is not necessarily a continuation of Sound: Advanced Topics I/GR6610. Some familiarity with computer music hardware/software is expected. Permission of instructor is required to enroll.
- W 6:10 p.m.-8 p.m.
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Instructor:
Seth Cluett
h-index: 4 Info - 3 points
Techniques of Live Sound
This course explores both analogue and digital tools for the sound reinforcement of concerts in all formats. Through hands-on experience, the course addresses the impact and potential of contemporary tools on the aesthetic choices of musical projects. The course supports artists (performers, composers, improvisers, sounds artists, etc.) by providing a solid foundation and a working knowledge of live sound concepts in order to improve the realization of their creative audio work. A significant feature of the course is direct experience producing live concerts in order to fully understand the implications of the transition between the pre-concert studio preparation and live concert execution. Under the supervision of the instructor, students are expected to oversee the audio-related technical aspects of two to three music department events, including the doctoral composition work of the Columbia Composers concert series. Topics include the practice and theory behind analog and digital mixing, live sound processing, concert diffusion, spatial audio, sound reinforcement, mixed music techniques, concert recording, and efficient equipment set-up and tear-down. Please note that students must be available for two whole-day Saturday events whose dates will be determined and distributed by the instructor at the start of the semester.
- M 10:10 a.m.-noon
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Instructor:
David Adamcyk
CULPA: 1 Info - 3 points
INDIV PROJECTS IN MUSICOLOGY
Sec. 1: Ethnomusicology; Sec. 2: Historical Musicology; Sec. 3: Music Theory; Sec. 4: Music Cognition; Sec. 5: Music Philosophy.
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Instructor:
Susan Boynton
CULPA: 18 Info -
Instructor:
Alessandra M Ciucci
CULPA: 1 Info -
Instructor:
Julia Doe
Info -
Instructor:
Kevin Fellezs
CULPA: 4
Info
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Instructor:
Joseph P Dubiel
CULPA: 3 Info -
Instructor:
Aaron A Fox
CULPA: 7
Info
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Instructor:
Walter M Frisch
CULPA: 17
Info
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Instructor:
Giuseppe Gerbino
CULPA: 12
Info
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Instructor:
Knar Abrahamyan
Info -
Instructor:
Mariusz Kozak
CULPA: 4 h-index: 5 Info -
Instructor:
George Lewis
CULPA: 10
Wikipedia
h-index: 18
Info
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Instructor:
Georg Friedrich Haas
Info -
Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
Info
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Instructor:
Benjamin A Steege
Info -
Instructor:
Christopher J Washburne
CULPA: 31
Info
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Instructor:
Ruth Opara
Info - 3 points
SEM-HISTORCL MUSICLGY-MID AGES
- F 10 a.m.-1 p.m.
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Instructor:
Susan Boynton
CULPA: 18 Info - 3 points
SEM-HISTORCL MUSICLGY-CLASSIC
Topic to be announced.
- R 12:10 p.m.-2 p.m.
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Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
Info
- 3 points
SEM IN MUSIC COMPOSITION II
Individual projects in composition.
- W 3:10 p.m.-5 p.m.
- 3 points
ANALYSIS OF MUSICAL FORM
- T 4:10 p.m.-6 p.m.
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Instructor:
Georg Friedrich Haas
Info - 3 points
SEM-MUSIC THEORY: ADV ANALYSIS
- R 2:10 p.m.-4 p.m.
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Instructor:
Joseph P Dubiel
CULPA: 3 Info - 3 points
Dissertation Proposal Seminar II
Interdisciplinary group work as part of Dissertation Proposal Seminar series.
- T 2:10 p.m.-4 p.m.
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Instructor:
Walter M Frisch
CULPA: 17
Info
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Instructor:
Aaron A Fox
CULPA: 7
Info
- 3 points
MUSIC,MEMORY & CONTEMP MIGRATN
- W 12:10 p.m.-2 p.m.
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Instructor:
Alessandra M Ciucci
CULPA: 1 Info - 3 points