MUSIC THEORY III
Intermediate analysis and composition in a variety of tonal idioms.
- MW 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.
- TR 1:10 p.m.-2:25 p.m.
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Instructor:
Cheng W Lim
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:
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:
Giuseppe Gerbino
CULPA: 12
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Instructor:
Georg Friedrich Haas
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Instructor:
Christopher J Washburne
CULPA: 31
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:
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:
Giuseppe Gerbino
CULPA: 12
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Instructor:
Georg Friedrich Haas
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Instructor:
Christopher J Washburne
CULPA: 31
Info
- 2-3 points
Theory of the Modes from Antiquity to Gl
Theory Modes Antiq to Gla
Overview of the theory of the modes from ancient Greece to the middle of the sixteenth century, tracing the themes that recur throughout writings about the tonal structures underlying music. While the emphasis will be on close reading of selected primary sources in English translation, we will also address the most influential arguments in the secondary literature. Reading music theory against musical compositions and scrutinizing scores in light of treatises will highlight the symbiosis of theory and practice that has shaped discourse on the modes.
- T 12:10 p.m.-2 p.m.
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Instructor:
Susan Boynton
CULPA: 18 Info - 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).
- R 10:10 a.m.-noon
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Instructor:
Zosha Di Castri
Info - 3 points
Music Production & Studio Composition
This course explores the recording studio and Digital Audio Workstations (DAWs) as tools for diverse compositional practices. By exploring a range of recording and editing techniques to craft new musical works beyond the limitations of live performance, this class encourages a seamless blend of composition and music production. Various genres, artists, and techniques that push the boundaries of music recording will be studied, such as Jamaican dub, musique concrète, hyper-pop, jazz fusion, and more. Students will gain hands-on experience with DAWs, exploring tools like effects processing, layering, and spatial placement. They will learn to listen closely to pieces exemplifying these techniques, building a shared analytic vocabulary to describe them. Students will also create original pieces, applying and building on the techniques studied in class, while engaging in constructive feedback with peers.
- T 10:10 a.m.-1 p.m.
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Instructor:
Anna Meadors
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 p.m.
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Instructor:
Danielle R Dobkin
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
Recording Studio Sessions
Recording Studio Sessions places students in weekly recording sessions at Columbia’s Computer Music Center with guest bands and music ensembles. The course aims to give students as much hands-on recording studio experience as possible, with the end goal of developing studio skills that lead to the production of professional-level audio materials. Technical and preparatory information is covered during the one-hour class, immediately followed by a three-hour recording session. In addition to the recording sessions, students must watch asynchronous course materials, read weekly assignments, and mix materials from each week’s session.
- T 5 p.m.-9 p.m.
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Instructor:
David Adamcyk
CULPA: 1 Info - 3 points
PROSEM-ETHNOMUSICOLOGY II
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.
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Instructor:
Aaron A Fox
CULPA: 7
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.
- T 2:10 p.m.-5 p.m.
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Instructor:
Theodore S Moore
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:
Joseph P Dubiel
CULPA: 3 Info -
Instructor:
Kevin Fellezs
CULPA: 4
Info
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Instructor:
Aaron A Fox
CULPA: 7
Info
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Instructor:
Giuseppe Gerbino
CULPA: 12
Info
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Instructor:
Christopher J Washburne
CULPA: 31
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
Seminar in Music Composition
Investigation of contemporary composition topics through invited guest lectures, student and faculty presentations, listening sessions, and professional development workshops. DMA students only also receive one-on-one weekly composition lessons during which they will develop individual projects in composition (lessons are offered for the first three years of the DMA).
- 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 12:10 p.m.-2 p.m.
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Instructor:
Joseph P Dubiel
CULPA: 3 Info - 3 points
SEM-ETHOMUSICLGY:FLD MTHDS II
Prerequisites: MUSI G8412. A study of the theoretical and practical aspects of ethnomusicological field work, using the New York area as a setting for exercises and individual projects.
- T 4:10 p.m.-6 p.m.
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Instructor:
Alessandra M Ciucci
CULPA: 1 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.
- T 12:10 p.m.-2 p.m.
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Instructor:
Giuseppe Gerbino
CULPA: 12
Info
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Instructor:
Kevin Fellezs
CULPA: 4
Info
- 3 points