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.
- TR 1:10 p.m.-2:25 p.m.
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Instructor:
Charles P Kirchen
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.
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.
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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.
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Instructor:
Jeffrey Milarsky
CULPA: 6
Wikipedia
Info
- 2 points
CHAMBER ENSEMBLE
CHAMBER ENS - PERF MASTERCLASS
The Music Performance Program (MPP) offers students the opportunity to participate in various classical ensembles and study with some of the most renowned chamber musicians in New York City. An audition is required.
- W 4:10 p.m.-5:25 p.m.
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Instructor:
Magdalena Baczewska
CULPA: 4
Info
- 1 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.
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Instructor:
Taoufik Ben-Amor
CULPA: 11
Info
- 1 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 10:10 a.m.-11:25 a.m.
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Instructor:
Uri Kochavi
Info -
Instructor:
Anna Meadors
Info - 3 points
The Song Within Us: Composition, Analysi
This class offers insight through composing, analysis, and performance for the composer, singer/songwriter, and performance artist. Coupling specifics of rhythm, melody, and harmony with story telling, lyric writing and the voice itself, students will be encouraged to share their imagination in song regardless of style, genre, or aesthetic. Music ranging from Chant to Music Theatre, the German lied to international pop fusion will be included as models upon which to base discussion and creative endeavor. Improvisation and musicianship techniques will complement pedagogical presentations of tonal and non - tonal compositional practice. A required final project based on any combination of composition, analysis, and performance, and in any media will be due at the end of the semester. All levels of experience and all types of instruments are welcome. Notation software is recommended but not required.
- MW 1:10 p.m.-2:25 p.m.
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Instructor:
Peter M Susser
CULPA: 20
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.
- MW 12:10 p.m.-1 p.m.
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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.
- TR 12:10 p.m.-1 p.m.
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Instructor:
Ramin Amir Arjomand
CULPA: 8
Info
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Instructor:
Michael Joviala
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.
- MW 1:10 p.m.-2:25 p.m.
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Instructor:
Cheng W Lim
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.
- TR 1:10 p.m.-2:25 p.m.
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Instructor:
Knar Abrahamyan
Info - 3 points
WOMEN AND MUSIC
This course explores the relationship between women, music, and performance from a thematic and a cross-cultural perspective. Through the analysis of different case studies, we will investigate different topics from the perspective of ethnomusicology, cultural anthropology, and performance studies. A number of critical questions we will consider include: how does a particular gender ideology constructs and is constructed by musical aesthetics? What are some of the critical roles for women in performance? What is the significance of gender in performances? What does it mean for women to have have and to be the voice? And how is a musical performance bound up with emotions?
- MW 11:40 a.m.-12:55 p.m.
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Instructor:
Ruth Opara
Info - 3 points
JAZZ IMPROVISTN:THRY,HIST,PRAC
This course offers an introduction to jazz improvisation for instrumentalists. Through recordings, transcriptions, daily performance and selected readings, students will actively engage the history of jazz through their instruments and intellect. The idea of improvisation will be explored in an historical context, both as a musical phenomenon with its attendant theory and mechanics, and as a trope of American history and aesthetics. This class is for instrumentalists who wish to deepen their understanding of the theory, history and practice of jazz improvisation. The history of jazz will be used as a prism through which to view approaches to improvisation, from the cadences of the early Blues through the abstractions of Free Jazz and beyond. The student will be exposed to the theory and vocabularies of various jazz idioms, which they will also learn to place in their social and historical contexts.
- MW 4:10 p.m.-5:25 p.m.
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Instructor:
Ole Mathisen
Wikipedia Info - 3 points
LATE BEETHOVEN
Prerequisites: MUSI UN2318-UN2319 MUSI UN2318-UN2319 or the instructor's permission. An examination of the visionary works of Beethoven's last dozen or so years as a composer, beginning with the revision of his only opera, Fidelio, in 1814, and continuing with the late piano sonatas, cello sonatas, string quartets, Diabelli variations, Ninth Symphony, and the Missa Solemnis. Topics will include late style, romanticism, politics, deafness, and the changing nature of the musical work and its performance.
- TR 1:10 p.m.-2:25 p.m.
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Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
Info
- 3 points
HIST-WEST MUS:CLASSICAL-20TH CENTURY
Topics in Western music from the Classical era to the present day, focusing on the development of musical style and thought, and on analysis of selected works.
- TR 2:40 p.m.-3:55 p.m.
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Instructor:
Sonja G Wermager
CULPA: 2 Info - 3 points
THE AMERICAN MUSICAL
Prerequisites: reading ability of music and some theoretical knowledge is required. Musical theater is one of Americas most vital and important art form. Several of its major creators studied at Columbia, including Richard Rodgers, Lorenz Hart, Oscar Hammerstein II, John Kander, and Fred Ebb. This course will present a historical survey of American musical theater from its origins in late nineteenth-century; through the musicals of figures like Kern, Gershwin, and Rodgers - Hammerstein; through Sondheim and the megamusical of Lloyd Webber. Focus will be on selected shows, through which broader cultural and musical trends will be examined.
- MW 2:40 p.m.-3:55 p.m.
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Instructor:
Walter M Frisch
CULPA: 17
Info
- 3 points
Chopin, Pianos, Revolutions
This seminar offers a survey of the music by Fryderyk Chopin, examining his output in historical, geopolitical, and cultural context. Organized by genre, the study will be accompanied by the discussion of music as performance, using legendary recordings, and live in-class demonstrations. Through guided listening, analysis of the written score, and reading assignments, students will obtain tools to discuss topics related to the piano (the development of which will be an integral part of the course), comparative performance, interpretation, and performance practice. Since student performances will be an important component of the course, members of the Music Performance Program receive registration priority.
- MW 2:40 p.m.-3:55 p.m.
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Instructor:
Magdalena Baczewska
CULPA: 4
Info
- 3 points
INTRODUCTION TO COMPOSITION I
Composition in shorter forms. Students will compose new works for the cello, with a focus on diverse approaches to the instrument. Student pieces will be workshopped, rehearsed, and performed (and/or recorded).
- MW 10:10 a.m.-11:25 a.m.
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Instructor:
Marcos Balter
Wikipedia 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.
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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.
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Instructor:
Peter M Susser
CULPA: 20
Info
- 1 points
MUSIC-EAST ASIA-SOUTHEAST ASIA
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 6:10 p.m.-7:25 p.m.
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Instructor:
Daniel Ferguson
Info - 3 points
MUSIC-EAST ASIA-SOUTHEAST 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.
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Instructor:
Noah D Rosen
Info - 3 points
MUSIC-EAST ASIA-SOUTHEAST ASIA
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.
- TR 10:10 a.m.-11:25 a.m.
- TR 11:40 a.m.-12:55 p.m.
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Instructor:
Thomas T Wetmore
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:
Joseph P Dubiel
CULPA: 3 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.
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Instructor:
George H Murer
Info - 3 points
Medieval Mediterranean Love Songs
Medieval Med Love Songs
This seminar will focus on love poetry in the medieval western Mediterranean. Readings will consist primarily of medieval lyric in Old Occitan, Galician Portuguese, Old French, Italian, and Castilian in conversation with concurrent kindred forms of the lyric in classical Arabic and medieval Hebrew from medieval Iberia and Italy. Most weeks will include listening examples but a background in music is not a prerequisite. All texts will be available in translation; originals will also be made available. We will emphasize close reading and analysis, often addressing the relationship between text and music.
- R 12:10 p.m.-2 p.m.
- 4 points
Topics in Music Cognition
This advanced seminar builds on the Introduction to Music Cognition (MUSIC UN2320) with an in-depth inquiry into selected key topics in the field of Music Cognition. Specific topics vary each year, depending on interest and availability of instructors, and include human development; evolution; communication and music’s relation to language; embodied knowledge; first-person awareness; metaphor; ineffability; neuroscience; mental representations; memory and anticipation; cross-cultural studies; emotions; musical aesthetics; artificial intelligence; agency; creativity; and music’s relation to other art forms. Each semester the course delves into recent research on 3–4 of these topics, focusing in particular on how this research can be applied to questions of musical knowledge. Advanced readings are drawn from fields as diverse as music theory, psychology, biology, anthropology, philosophy, and neuroscience. They include general works in cognitive science, theoretical work focused on specific musical issues, and reports of empirical research.
- W 4:10 p.m.-6 p.m.
- 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 4:10 p.m.-6 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
ADVANCED ORCHESTRATION
Prerequisites: W4525 (Instrumentation) and Orchestration and recommendation of Orchestration instructor for undergraduates. Graduate students (other than composition graduate students) must obtain the instructors permission. The Advanced Orchestration class explores orchestrational techniques under the light of our current knowledge of acoustics and sound analysis. It will focus on the late romantic era and on the 20th and 21st centuries. The most recent techniques (micro-tonality, extended instrumental techniques, electronics) will also be studied.
- T 4:10 p.m.-6 p.m.
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Instructor:
Georg Friedrich Haas
Info - 3 points
MUSIC SINCE 1900 (II)
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
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Instructor:
George Lewis
CULPA: 10
Wikipedia
h-index: 18
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.
- M 4:10 p.m.-6 p.m.
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Instructor:
Ruth Opara
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
SEM-HIST MUSICOLOGY:MUSIC,MIND
- W 10:10 a.m.-noon
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Instructor:
Giuseppe Gerbino
CULPA: 12
Info
- 3 points
SEM IN MUSIC COMPOSITION II
Individual projects in composition.
- W 3:10 p.m.-5 p.m.
- 3 points
SEM-MUSIC THEORY: ADV ANALYSIS
- R 10:10 a.m.-noon
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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 12:10 p.m.-2 p.m.
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Instructor:
Christopher J Washburne
CULPA: 31
Info
- 3 points
Dissertation Proposal Seminar II
Interdisciplinary group work as part of Dissertation Proposal Seminar series.
- R 2:10 p.m.-4 p.m.
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Instructor:
Alessandra M Ciucci
CULPA: 1 Info - 3 points