Analysis and discussion of representative works from the Middle Ages to the present.

Keyboards: K. Cooper.Strings: R. Morley.Wind instruments: TBA. Prerequisite: an audition to be held during registration period in 618 Dodge. Contact the Music Performance Program for further details (854-1257) or access the Music Performance Program from the Music Department web page: www.music.columbia.edu.

Entrance by audition only. Call Barnard College, Department of Music during registration for time and place of audition (854-5096).

Prerequisite: the instructor's permission.

Prerequisite: the instructor's permission.

Prerequisites: MUSI W1513-W1514 or the equivalent, and the instructor's permission.

Prerequisite: the instructor's permission. Lessons emphasize the progressive development of a harmonic vocabulary representative of the techniques of the central tradition of 18th- and 19th-century music.

Prerequisite: an audition to be held during the registration period in 618 Dodge. Contact the Music Performance Program for further details (212-854-1257) and Music Performance Program from the Music Dept web page at music.columbia.edu. Students participating in the orchestra are given preference when applying for private instrumental instruction.

May be taken for Pass credit only. Prerequisite: an audition to be held during the registration period. Contact the department for further details (854-3825). Performance of vocal and instrumental music from the medieval, Renaissance, and baroque periods. The Collegium usually gives one public concert each term.

Prerequisite: an audition to be held during registration period, by appointment at 618 Dodge. Contact the department for further details (854-5409). Students should bring two short works, or movements of longer works, of different stylistic periods; they will also be asked to read brief orchestral or chamber music excerpts at sight. The orchestra performs throughout the academic year in works spanning all periods of music including contemporary compositions. Distinguished guest soloists sometimes perform with the orchestra, and qualified student soloists may also have the opportunity either to perform or read concertos with the orchestra. Staff positions: a few persons interested in managerial work may gain experience as orchestra librarian and personnel manager.

Prerequisite: auditions by appointment made at first meeting. Contact Barnard College, Department of Music (854-5096). May be taken for Pass credit only. Membership in the chorus is open to all men and women in the University community. The chorus gives several public concerts each season, both on and off campus, often with other performing organizations. Sight-singing sessions offered. The repertory includes works from all periods of music literature. Students who register for chorus will receive a maximum of 4 points for four or more semesters.

Prerequisite: auditions by appointment made at first meeting. Contact Barnard College, Department of Music (854-5096). May be taken for Pass credit only. Membership in the chorus is open to all men and women in the University community. The chorus gives several public concerts each season, both on and off campus, often with other performing organizations. Sight-singing sessions offered. The repertory includes works from all periods of music literature.

Prerequisite: an audition to be held during the registration period, by appointment at 618 Dodge. Contact the Music Performance Program for further details (854-1257). Students registering for chamber music receive ensemble training with the performance associates. Student chamber ensembles perform a recital at the conclusion of each semester and are given other opportunities to perform throughout the academic year. See further mpp.columbia.edu for current list of Music Performance Associates.

Prerequisites: An audition to be held during the registration period, by appointment at 618 Dodge. Contact the Music Performance Program for further details (854-1257)

A small advanced jazz band. The repertoire will cover 1950's hard bop to more adventurous contemporary Avant Garde styles. Students will be required to compose and arrange for the group under the instructor's supervision.

Prerequisites: MUSI W2515-W2516 or the equivalent, and the instructor's permission.

Prerequisites: MUSI W2515-W2516 or the equivalent, and the instructor's permission.

Corequisite: MUSI V1312. A student may place out of V1002 with a score of 5 on the Theory Placement Examination given on the first day of class. Similarly, a student may place into a higher level of the co-requisite by passing the Ear Training Placement Test, offered on the first day of the V1312 class. The basic elements of music to be studied in the Fundamentals of Western Music course with the aim of developing musicianship include: notation, dictation, sight-singing, transposition, aural recognition of the simpler forms, triad identification, cadence types, and voice-leading in two parts. Undergraduate Theory Faculty.

A student may place into a higher level of this course by passing an examination given on the first day of the class. V1312 is an introduction to basic skills in sight reading. Instruction includes reading rhythms in simple meter, solfege recitation, and sight-singing simple melodies.

Lab Required.

Prerequisites: MUSI V1002 or the equivalent. All students, without exception, who wish to take Diatonic must pass an entrance examination given on the first day of class in each section. For a detailed description of the Diatonic entrance exam, and advice on preparing for it, contact the Director of Undergraduate Theory Instruction.
Corequisites: An ear-training class (MUSI V1312, V2314-V2315, V3316-V3317, or W4318-W4319).

"Diatonic" is a two-semester course that constitutes the first year of the two-year sequence of courses in music theory required of all music majors and concentrators (the "main theory sequence," of which the second year is MUSI V3321-V3322). Assigned readings, musical analysis, and compositional exercises, designed to teach the following: (1) analysis and composition of melodies; (2) strict (species) counterpoint in two voices; (3) the idiomatic use of all diatonic chords in major and minor keys, and tonicizations of secondary key areas; (4) principles of figured bass; (5) four-part writing; (6) harmonization of melodies, e.g., chorales; (7) basic principles of musical form. Each semester includes some work in tonal composition, e.g., minuets for piano modeled on examples by Haydn and Mozart.Lab Required.

Prerequisites: MUSI V2318-V2319 and satisfactory completion of any two terms of ear training.
Corequisites: An ear-training class (MUSI V2314-V2315, V3316-V3317,or W4318-W4319.

Continuation of MUSI V2318-V2319. Placement in this class is determined by an exam given in the first class meeting of MUSI V2318-V2319. "Chromatic" is a two-semester course that follows on from MUSI V2319 and constitutes the second year of the two-year sequence of courses in music theory required of all music majors and concentrators (the "main theory sequence," of which the first year is MUSI V2318-V2319). Assigned readings, musical analysis, and compositional assignments, designed to teach the following: (1) tonal counterpoint in the style of Bach, in selected contrapuntal forms (e.g., chorale prelude, invention, fugue); (2) more advanced harmonic and voice-leading techniques, including sequences and "chromatic harmony"; (3) forms and genres associated with the Classical and Romantic periods (e.g., sonata-allegro form; Lied).Lab Required.

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

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

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.

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.

Prerequisites: MUSI V3310 or instructor's permission.

Composition in more extended forms. Survey of advanced techniques of contemporary composition. (Previously called Advanced Composition.)

Prerequisites: MUSI V3241-3242 and instructor's permission.

Composition for larger ensembles, supported by study of contemporary repertoire.

Fulfills the requirement of a nontonal course for music majors. A topical approach to concepts and practices of music in relation to other arts in the development of Asian civilizations.

Fulfills the requirement of a nontonal course for music majors. A topical approach to concepts and practices of music in relation to other arts in the development of Asian civilizations.

Prerequisites: No previous knowledge of music is required.

x: A survey of the development of Western music from 6th-century Gregorian Chant to Bach and Handel, with emphasis upon important composers and forms. Extensive listening required. y: A survey of the development of Western music from the first Viennese Classical school at the end of the 18th century to the present, with emphasis upon composers and forms. Extensive listening required.

Prerequisites: HUMA W1123 or the equivalent.

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

Prerequisites: Prerequisite: HUMA W1123 or the equivalent.

A survey of the major syncretic urban popular music styles of the Caribbean, exploring their origins, development, and sociocultural context.

"Music in Contemporary Native America" is a historical, ethnographic, and topical examination of contemporary Native American musical practices and ideologies. The course emphasizes popular, vernacular, and mass mediated musics, and calls into question the simple distinction between "traditional" and "modern" aspects of Native American cultures. Our readings and class guests (several of whom will be Native American scholars) emphasize the importance of understanding Native 2 American perspectives on these topics. Three short papers and one substantial final project are required. Approximately 100-150 pages of reading per week.

Prerequisites: HUMA W1123 or the equivalent.

The life, works, and cultural milieu of Wolfgang Amadeus Mozart, with emphasis on selected symphonies, string quartets, piano concertos, and operas.

This course will look at musical life of Jews in three broad contexts: art music, popular music, and non-European traditions. This will include liturgical, para-liturgical, folk, pop, rock and the growing practices that synthesizes styles and genres. From the mid 1600s until today Jews immigrated from Europe, South America, the middle East and Asia to America, New York City is the focal point of this migration. The music of Jews in New York is diverse, dynamic and eclectic. During the semester there will be visits to various venues to meet composers and performers and to investigate the ongoing dialogue of preserving tradition and innovating new ideas to express and encounter Jewishness in New York today.

Prerequisites: HUMA W1123 or the equivalent. Permission of the instructor required.

An introduction to the potential of digital synthesis by means of the MIDI (Musical Instrument Digital Interface). Teaches proficiency in elementary and advanced MIDI techniques. Challenges some of the assumptions about music built into the MIDI specifications and fosters a creative approach to using MIDI machines.

This course approaches the history of musical modernism through the lens of opera. Although we'll be consi dering many of the major stylistic movements of the twentieth century, we'll also be discussing how the sheer stubbornness of operatic tradition complicates narratives of development and progress. We'll be listening to six operas in their entirety: Claude Debussy's Pélleas et Mélisande, Alban Berg's Wozzeck, Igor Stravinsky's Oedipus Rex and The Rake's Progress, Benjamin Britten's The Turn of the Screw, and John Adams' Nixon in China.

Worldmuse Ensemble delves into compelling music from many genres such as world music, gospel, classical--old and new. We perform without a conductor, increasing awareness and interaction among ourselves and our audience. We collaboratively integrate music, dance, and theatre traditions (masks etc.). For experienced singers, and instrumentalists and dancers who sing.

Prerequisites: MUSI V3322 and either V3126 or V3379, or instructor's permission.

Fulfills the requirement of either the 3000-level advanced theory elective or the nontonal course. A study of the basic principles of set theory through the writings of Schoenberg, Babbitt, Forte, Martino, Lewin, et al. Concepts illustrated with examples from late 19th- and early 20th-century repertory.

Prerequisites: Prerequisite: MUSI V3322 or instructor's permission. Fulfills the requirement of either the 3000-level advanced theory elective or the nontonal course.

An examination of Schenker's concepts of the relation between strict counterpoint and free writing; "prolongation"; the "composing-out" of harmonies; the parallels and distinctions between "foreground," "middle ground," and "background"; and the interaction between composing-out and thematic processes to create "form."

Prerequisites: MUSI V3322 or instructor's permission.

Materials, styles, and techniques of 20th-century music. Topics include scales, chords, sets, atonality, serialism, neoclassicism, and rhythm.

Prerequisites: HUMA W1123 or the equivalent.

An introduction to the field of ethnomusicology in the context of the intellectual history of music scholarship. IN FALL 2011, THIS COURSE WILL BE OFFERED TR 6:10-7:25 IN RM 622 DODGE.

The goals of this seminar are a) to introduce senior music majors to ethnographic, bibliographic, and archival research methods in music and b) to help the same students develop, focus, implement, draft, revise, and polish a substantive, original piece of research (25-30 pages) which will serve as the senior project. The course will begin with a survey of academic literature on key problems in musicological research and writing, and will progress to a workshop/discussion format in which each week a different student is responsible for assigning readings and leading the discussion on a topic which s/he has formulated and deemed to be of relevance to her own research.

The popular and academic reputations of Giacomo Puccini have diverged more sharply than those of any other classical composer. This course aims less to "rehabilitate" Puccini than to imagine an alternate history of modernism in which his music plays a central role. Discussions will be centered around six operas, which we will be listening to in their entirety, as well as a variety of films, stage productions, and works by other composers. Major themes will include: sound studies and the history of technology; performance studies; theories of realism and modernism; and the relationship between Italian cultural politics and larger cosmopolitan and imperial formations.

This course provides an introduction to contemporary work on music and place from an ethnomusicological perspective. It situates ethnomusicological work and specific musical case studies from multiple geographical regions within an interdisciplinary theoretical framework that draws from the fields of cultural anthropology, cultural, media, and sound studies.

A study of the basic principles of Schenkerian theory: the Halics; principles of composing-out; middleground and foreground prolongation through arpeggiation, unfolding, linear progressions, register transfers, voice exchange, coupling; diminutions. Concepts illustrated with examples from the tonal literature.

This course explores the relation between music, myth and indigeneity with particular emphasis on the work of Lévi-Strauss and musical ethnographies from indigenous South America.

This course creatively examines advanced and unorthodox uses of electronic tools, devices, and techniques in the creation of compositions for live instruments and electronic devices of all types (i.e., fixed "tape," live processing, electric instruments, MIDI controllers, etc.).

A study of the meanings and cultural significance of music and music theory; integration of music theory with areas outside of music, such as aesthetics, literary criticism, cognitive psychology, sociology of music, semiotics, phenomenology, theories of narrative, hierarchy theory, and linguistics.

This course will focus on the question of aesthetics in popular music. When scholars tackle popular music as an object of analysis or critique, it is usually thought of in terms of its use as a space of productive if often muted political agency, as active participant in its own commodification or as the able expression of subaltern or aggrieved communities. In this course, however, while touching on those themes, we will think through the aesthetics - both as a theory of beauty as well as a philosophy of art - of popular music. The majority of the readings deal with Anglophone popular music; however, there will be an effort to include English-language texts that deal with popular music from across the globe.

The popular and academic reputations of Giacomo Puccini have diverged more sharply than those of any other classical composer. This course aims less to "rehabilitate" Puccini than to imagine an alternate history of modernism in which his music plays a central role. Discussions will be centered around six operas, which we will be listening to in their entirety, as well as a variety of films, stage productions, and works by other composers. Major themes will include: sound studies and the history of technology; performance studies; theories of realism and modernism; and the relationship between Italian cultural politics and larger cosmopolitan and imperial formations.

Prerequisites: Grades obtained in V3241-3242; compositions written in V3242; instructor's permission.

Composition for larger ensembles, supported by study of contemporary repertoire.

The goals of this course are practice-oriented. The end result will be short fieldwork-based project of approxiamtely 20 pages in length. In order to complete the paper, students will conduct fieldwork, read and synthesize relevant literatures, and think carefully about the questions in which they are interested and methods of addressing them through ethnographic inquiry.

Prerequisites: Permission of the instructor.

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

Prerequisites: advanced music major and extensive music 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 section will be provided with live orchestral demonstrations.

Prerequisites: Extensive musical background; open to both graduate and advanced music major undergraduate students.

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.

This course consolidates two components of the systematic professional training and pedagogical formation of graduate students in the Department of Music. G6000 is taught by the chair of the Core Curriculum course, Masterpieces of Western Music (Music Humanities). The course streamlines the process by which students in the four different doctoral degree programs (historical musicology, ethnomusicology, theory, and composition) are trained to teach their own sections of Music Humanities. Students also learn about applying for academic positions, preparing curriculum vitae, submitting journal articles, preparing book proposals, and other professional skills.

Survey of the theoretical issues underlying musical practice from the Middle Ages to the present day and of the body of theoretical writings about music from Boethius to contemporary theorists.

A study of the basic principles of set theory. Concepts illustrated with examples from the atonal and twelve-tone repertory.

Overview of current work in Music Theory, an analysis, perception, and philosophy. Major areas of research and methodological challenges.

Prerequisites: Approval from the Instructor.

The course explores the politics of desire through three main contrastive and complementary arenas: the politics of desire as mediated by the state; the politics of desire as mediated by music and, the politics of desire as mediated by literature and film. The course will be simultaneously announced at NYU, CUNY and Columbia, programmed at the same time in all campuses. Four classes will be taught in each of the campuses. All professors are present at all lectures and contribute to all lectures. Students register through their home institution. READING SPANISH IS REQUIRED. Enrollment is by permission of the instructor.

Individual projects in composition.

The study and evaluation of contemporary compositional organization from the perspective of the cognitive science of music.

Analysis and discussion of representative works from the Middle Ages to the present.

Keyboards: K. Cooper.Strings: R. Morley.Wind instruments: TBA. Prerequisite: an audition to be held during registration period in 618 Dodge. Contact the Music Performance Program for further details (854-1257) or access the Music Performance Program from the Music Department web page: www.music.columbia.edu.

Entrance by audition only. Call Barnard College, Department of Music during registration for time and place of audition (854-5096).

Prerequisite: the instructor's permission.

Prerequisite: the instructor's permission.

Prerequisites: MUSI W1513-W1514 or the equivalent, and the instructor's permission.

Prerequisite: the instructor's permission. Lessons emphasize the progressive development of a harmonic vocabulary representative of the techniques of the central tradition of 18th- and 19th-century music.

Prerequisite: an audition to be held during the registration period in 618 Dodge. Contact the Music Performance Program for further details (212-854-1257) and Music Performance Program from the Music Dept web page at music.columbia.edu. Students participating in the orchestra are given preference when applying for private instrumental instruction.

May be taken for Pass credit only. Prerequisite: an audition to be held during the registration period. Contact the department for further details (854-3825). Performance of vocal and instrumental music from the medieval, Renaissance, and baroque periods. The Collegium usually gives one public concert each term.

Prerequisite: an audition to be held during registration period, by appointment at 618 Dodge. Contact the department for further details (854-5409). Students should bring two short works, or movements of longer works, of different stylistic periods; they will also be asked to read brief orchestral or chamber music excerpts at sight. The orchestra performs throughout the academic year in works spanning all periods of music including contemporary compositions. Distinguished guest soloists sometimes perform with the orchestra, and qualified student soloists may also have the opportunity either to perform or read concertos with the orchestra. Staff positions: a few persons interested in managerial work may gain experience as orchestra librarian and personnel manager.

Prerequisite: auditions by appointment made at first meeting. Contact Barnard College, Department of Music (854-5096). May be taken for Pass credit only. Membership in the chorus is open to all men and women in the University community. The chorus gives several public concerts each season, both on and off campus, often with other performing organizations. Sight-singing sessions offered. The repertory includes works from all periods of music literature. Students who register for chorus will receive a maximum of 4 points for four or more semesters.

Prerequisite: auditions by appointment made at first meeting. Contact Barnard College, Department of Music (854-5096). May be taken for Pass credit only. Membership in the chorus is open to all men and women in the University community. The chorus gives several public concerts each season, both on and off campus, often with other performing organizations. Sight-singing sessions offered. The repertory includes works from all periods of music literature.

Prerequisite: an audition to be held during the registration period, by appointment at 618 Dodge. Contact the Music Performance Program for further details (854-1257). Students registering for chamber music receive ensemble training with the performance associates. Student chamber ensembles perform a recital at the conclusion of each semester and are given other opportunities to perform throughout the academic year. See further mpp.columbia.edu for current list of Music Performance Associates.

Prerequisites: An audition to be held during the registration period, by appointment at 618 Dodge. Contact the Music Performance Program for further details (854-1257)

A small advanced jazz band. The repertoire will cover 1950's hard bop to more adventurous contemporary Avant Garde styles. Students will be required to compose and arrange for the group under the instructor's supervision.

Prerequisites: MUSI W2515-W2516 or the equivalent, and the instructor's permission.

Prerequisites: MUSI W2515-W2516 or the equivalent, and the instructor's permission.

Corequisite: MUSI V1312. A student may place out of V1002 with a score of 5 on the Theory Placement Examination given on the first day of class. Similarly, a student may place into a higher level of the co-requisite by passing the Ear Training Placement Test, offered on the first day of the V1312 class. The basic elements of music to be studied in the Fundamentals of Western Music course with the aim of developing musicianship include: notation, dictation, sight-singing, transposition, aural recognition of the simpler forms, triad identification, cadence types, and voice-leading in two parts. Undergraduate Theory Faculty.

A student may place into a higher level of this course by passing an examination given on the first day of the class. V1312 is an introduction to basic skills in sight reading. Instruction includes reading rhythms in simple meter, solfege recitation, and sight-singing simple melodies.

Lab Required.

Prerequisites: MUSI V1002 or the equivalent. All students, without exception, who wish to take Diatonic must pass an entrance examination given on the first day of class in each section. For a detailed description of the Diatonic entrance exam, and advice on preparing for it, contact the Director of Undergraduate Theory Instruction.
Corequisites: An ear-training class (MUSI V1312, V2314-V2315, V3316-V3317, or W4318-W4319).

"Diatonic" is a two-semester course that constitutes the first year of the two-year sequence of courses in music theory required of all music majors and concentrators (the "main theory sequence," of which the second year is MUSI V3321-V3322). Assigned readings, musical analysis, and compositional exercises, designed to teach the following: (1) analysis and composition of melodies; (2) strict (species) counterpoint in two voices; (3) the idiomatic use of all diatonic chords in major and minor keys, and tonicizations of secondary key areas; (4) principles of figured bass; (5) four-part writing; (6) harmonization of melodies, e.g., chorales; (7) basic principles of musical form. Each semester includes some work in tonal composition, e.g., minuets for piano modeled on examples by Haydn and Mozart.Lab Required.

Prerequisites: MUSI V2318-V2319 and satisfactory completion of any two terms of ear training.
Corequisites: An ear-training class (MUSI V2314-V2315, V3316-V3317,or W4318-W4319.

Continuation of MUSI V2318-V2319. Placement in this class is determined by an exam given in the first class meeting of MUSI V2318-V2319. "Chromatic" is a two-semester course that follows on from MUSI V2319 and constitutes the second year of the two-year sequence of courses in music theory required of all music majors and concentrators (the "main theory sequence," of which the first year is MUSI V2318-V2319). Assigned readings, musical analysis, and compositional assignments, designed to teach the following: (1) tonal counterpoint in the style of Bach, in selected contrapuntal forms (e.g., chorale prelude, invention, fugue); (2) more advanced harmonic and voice-leading techniques, including sequences and "chromatic harmony"; (3) forms and genres associated with the Classical and Romantic periods (e.g., sonata-allegro form; Lied).Lab Required.

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

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

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.

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.

Advanced dictation, sight singing, and musicianship, with emphasis on 20th-century music.

Prerequisites: MUSI V3310 or instructor's permission.

Composition in more extended forms. Survey of advanced techniques of contemporary composition. (Previously called Advanced Composition.)

Prerequisites: MUSI V3241-3242 and instructor's permission.

Composition for larger ensembles, supported by study of contemporary repertoire.

Fulfills the requirement of a nontonal course for music majors. A topical approach to concepts and practices of music in relation to other arts in the development of Asian civilizations.

Fulfills the requirement of a nontonal course for music majors. A topical approach to concepts and practices of music in relation to other arts in the development of Asian civilizations.

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<!-- /* Font Definitions */ @font-face {font-family:"Cambria Math"; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} @font-face {font-family:SimSun; mso-font-alt:宋体; mso-font-charset:134; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 680460288 22 0 262145 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman"; mso-bidi-font-family:"Times New Roman";} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-size:10.0pt; mso-ansi-font-size:10.0pt; mso-bidi-font-size:10.0pt; mso-fareast-font-family:SimSun;} @page WordSection1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.WordSection1 {page:WordSection1;} --> In this course, we explore musical discourses of "civilization" and "barbarism" with a focus on examples from Ukraine, Russia, and Central Asia. The historical scope of the class includes key moments since the 18th century through the present day: from Catherine II's southward expansion into the territories of the Ukrainian Kozaks and the Crimean Khanate, through the era of romantic nationalism on the eastern borders of Austro-Hungary, through Soviet discourses of musical "progress," to the changing social and political landscapes of music in the post-Soviet era, to modern political discourses of indigenous rights.

Prerequisites: No previous knowledge of music is required.

x: A survey of the development of Western music from 6th-century Gregorian Chant to Bach and Handel, with emphasis upon important composers and forms. Extensive listening required. y: A survey of the development of Western music from the first Viennese Classical school at the end of the 18th century to the present, with emphasis upon composers and forms. Extensive listening required.

Prerequisite: HUMA W1123 or the equivalent. Historical survey of rock music from its roots in the late 1940s to the present day.

Prerequisites: HUMA W1123 or the equivalent.

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

Prerequisites: HUMA W1123 or the equivalent.

The development of opera from Monteverdi to the present. IN FALL 2011, THE OPERA WILL BE OFFERED MON/WED 2:40-3:55 in 622 DODGE.

This course will look at musical life of Jews in three broad contexts: art music, popular music, and non-European traditions. This will include liturgical, para-liturgical, folk, pop, rock and the growing practices that synthesizes styles and genres. From the mid 1600s until today Jews immigrated from Europe, South America, the middle East and Asia to America, New York City is the focal point of this migration. The music of Jews in New York is diverse, dynamic and eclectic. During the semester there will be visits to various venues to meet composers and performers and to investigate the ongoing dialogue of preserving tradition and innovating new ideas to express and encounter Jewishness in New York today.

The course explores the relationship between music and myth in Western culture, from ancient Greek cosmogony to 20th-century opera. Special emphasis is placed on the way the West, in the footsteps of the ancients, strove to create ritualized images of itself and of its worldview. Specific topics include works by Monteverdi, Gluck, Beethoven, Schubert, Liszt, Offenbach, Wagner, Strauss, and Stravinsky.

Prerequisites: One course in music or permission of instructor.

This course will examine the diverse ways in which Asian Americans have understood and shaped their musical practices. We will explore the ways in which Asians have been represented via sound, text, and image, and will consider Asian Americans' participation in composed music traditions, jazz, traditional/folk music, diasporic music, improvised music, and popular musics. The course will reflect on readings from musicology, ethnomusicology, and music theory as well as fields outside of music in order to consider gender/sexuality, polyculturalism, and political activism.

Worldmuse Ensemble delves into compelling music from many genres such as world music, gospel, classical--old and new. We perform without a conductor, increasing awareness and interaction among ourselves and our audience. We collaboratively integrate music, dance, and theatre traditions (masks etc.). For experienced singers, and instrumentalists and dancers who sing.

Prerequisites: MUSI V3322 and either V3126 or V3379, or instructor's permission.

Fulfills the requirement of either the 3000-level advanced theory elective or the nontonal course. A study of the basic principles of set theory through the writings of Schoenberg, Babbitt, Forte, Martino, Lewin, et al. Concepts illustrated with examples from late 19th- and early 20th-century repertory.

Prerequisites: MUSI V3322 or instructor's permission.

Materials, styles, and techniques of 20th-century music. Topics include scales, chords, sets, atonality, serialism, neoclassicism, and rhythm.

Prerequisites: the instructor's permission.

Main objective is to gain a familiarity with and understanding of recording, editing, mixing, and mastering of recorded music and sounds using Pro Tools software. Discusses the history of recorded production, microphone technique, and the idea of using the studio as an instrument for the production and manipulation of sound.

The goals of this seminar are a) to introduce senior music majors to ethnographic, bibliographic, and archival research methods in music and b) to help the same students develop, focus, implement, draft, revise, and polish a substantive, original piece of research (25-30 pages) which will serve as the senior project. The course will begin with a survey of academic literature on key problems in musicological research and writing, and will progress to a workshop/discussion format in which each week a different student is responsible for assigning readings and leading the discussion on a topic which s/he has formulated and deemed to be of relevance to her own research.

Explores and compares the various listening traditions that have been applied from the late nineteenth century to the present to the songs of birds, whales, dogs, and other nonhuman animals.

The development of Wagner's musical-dramatic style and critical thought, with special reference to The Flying Dutchman, Lohengrin, Die Walküre, Tristan und Isolde, and Parsifal, as well as selected prose writings in translation.

The aim of this course is to provide a deeper understanding of the musical interactions between Europe and the United States from the first performance of an Italian opera sung in its original language in America (Gioachino Rossini's Il barbiere di Siviglia, 1825) until Arnold Schoenberg's death in Los Angeles in 1951. The course will address issues such as identity and cultural pride through music, the concept of a musical canon in America, and reception of European culture in the United States.

Prerequisites: MUSI V3321 or the equivalent.

Fulfills the requirement of the 3000-level advanced theory elective. This course was previously offered as V3360, Pre-Tonal and Tonal Analysis. 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.

Prerequisites: MUSI V2205 or Consent of the Instructor.

A central aspect of composing with computer media is designing the software system with which we will work; in other words, the composer, performer and/or improviser is often responsible for designing and assembling his own instrument. Electronic and Computer Music practices challenge our views of what a musical instrument is and how it is expected to behave. Through the analysis of various documents by a wide range of musicians as diverse as Theremin, Schaeffer, Stockhausen, Mathews, Moore, Tenney, Risset, Buchla, Moog, Mumma, Martirano, Waisvisz, Rowe, and Puckette amongst others, we will attempt to understand what new conceptions of musical instrument may have emerged with electric and digital media, and explore software implementations of some of their designs towards a final paper or computer system.

This course explores through the prism of Beethoven's music the relationship between musical practice and philosophical discourse in the aesthetic critique of modernity.

A study of the basic principles of Schenkerian theory: the Halics; principles of composing-out; middleground and foreground prolongation through arpeggiation, unfolding, linear progressions, register transfers, voice exchange, coupling; diminutions. Concepts illustrated with examples from the tonal literature.

Analysis of Western Popular music including pop, rock, soul, electronic dance music, and hip hop through recent approaches. Topics will include the applicability of analytical techniques designed for Western art music, the role of notation, relationship of text and context, and the roles of popular music in identity formation.

Detailed analysis of selected works by Claude Debussy in conjunction with pertinent theoretical perspectives on modernism and modernity.

This seminar will explore the role that Alan Lomax and his family played in creating a distinctively American approach to folklore and ethnomusicology. Topics will include the history of Anglo- and African American folk song collecting; the Archive of American Folk Song; the popularization of folk song (Lead Belly, Woody Guthrie, Carl Sandburg, Pete Seeger, Zora Neal Hurston, Mary Elizabeth Barnicle, the recording business and radio, the second folk revival, and folk festivals.); Lomax's stay in the UK, Spain and Italy; the mapping of the world's song styles; the use of micro-cultural studies of the body in song, dance, and speech; and new approaches to the use of film, video, and the computer.

This is a project-based seminar on current standards for managing sound archives as cultural heritage resources.

Musical anthropology and ethnomusicology have tentatively begun to work with "affect" as a keyword for understanding how contemporary cultures of musical circulation and listening shape publics and mobilize sentiment. But what is "affect"? How does it differ from "emotion"? How might one go about ethnographically studying affect when sound/music/aesthetics are the object of inquiry? This seminar places two contemporary interdisciplinary "turns" in the social sciences and humanities (the "acoustic turn" and the "affective turn") in productive alignment. We track genealogies of the following keywords and terms through relevant theoretical and ethnographic literatures: "listening"; "voice"; "emotion"; "structures of feeling"; "affect"; "public feeling" and "publics" while thinking through the possibilities of "affect" for anthropologies of sound and music.

Explores and compares the various listening traditions that have been applied from the late nineteenth century to the present to the songs of birds, whales, dogs, and other nonhuman animals.

Prerequisites: Previous coursework in Music (including W1123) or permission of the instructor.

Study of the principal musical trends and aesthetic debates of the Cold War. Hoe did music respond to and reinforce the political divisions of the Cold War? We will move through a series of chronological units that integrate primary source readings from Adorno to Zhdanov, musical case studies (including works by Shostakovich, Eisler, Lutoslawski, Babbitt, Boulez, Kagel, Schnittke, Rochberg, Copland, Nono, Henze) and recent scholarly writings. Themes will include socialist realism, American influence in Western Europe, nationalism, postmodernism, and historiography.

Prerequisites: None.

This seminar addresses the relationship between music and childhood through a focus on the following areas: child musicians, music written for or about children, the role of music in the creation of "childhood" as a modern cultural construct, and the history of musical education, and the shaping of identity through music. We will address a variety of themes using both diachronic and synchronic analyses. Students will pursue research projects in their own areas of interest that may overlap with or complement the course content.

Prerequisites: Grades obtained in V3241-3242; compositions written in V3242; instructor's permission.

Composition for larger ensembles, supported by study of contemporary repertoire.

Prerequisites: Approval of the instructor.

This courses raises the questions 1) What does it mean to "own" music? 1) In what senses can music be conceptualized as "property?" How do divergent understandings of music's status as "property" shape contemporary debates and discourses in the particular areas of disputes over "illegal downloading" of copyrighted music and the "repatriation" of Native American musical recordings as "cultural property?" Several relevant major recent statements will be considered and responses discussed. Case studies from ethnomusicological, anthropological, media studies and legal literatures engage issues of appropriation, the role of new technologies in shifting the terrain of musical ownership will be studied. Hands-on look at the Columbia Center for Ethnomusicology's ongoing projects to repatriate historic recordings of Native American music (currently 'owned' by Columbia University) to the Navajo and Iñupiat tribes.

Prerequisites: Permission of the instructor.

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

Prerequisites: Permission of the instructor.

An examination of the new jazz that emerged shortly after the middle of the 20th century. The seminar will include the work of musicians such as Ornette Coleman, Cecil Taylor, Don Cherry, Anthony Braxton, Carla Cley, Albert Ayler, and the Arts Ensemble of Chicago; the economics and politics of the period; parallel developments in other arts; the rise of new performance spaces, recording companies, and collectives; and the accomplishments of the music and the problems it raised for jazz performance and criticism.

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.

Prerequisites: MUSI W4525 (Instrumentation), or instructor's permission.

The study of "functional" orchestration in works of the eighteenth and nineteenth centuries. Students will analyze scores by Haydn, Beethoven, Schubert, Brahms, Wagner, Mahler, and other, and will write exercises in the style of these composers.

This course consolidates two components of the systematic professional training and pedagogical formation of graduate students in the Department of Music. G6000 is taught by the chair of the Core Curriculum course, Masterpieces of Western Music (Music Humanities). The course streamlines the process by which students in the four different doctoral degree programs (historical musicology, ethnomusicology, theory, and composition) are trained to teach their own sections of Music Humanities. Students also learn about applying for academic positions, preparing curriculum vitae, submitting journal articles, preparing book proposals, and other professional skills.

This course explores through the prism of Beethoven's music the relationship between musical practice and philosophical discourse in the aesthetic critique of modernity.

Overview of current work in Music Theory, an analysis, perception, and philosophy. Major areas of research and methodological challenges.

The purpose of this project is to teach the student how to write a research proposal. This research proposal is to be used both as the formal dissertation research proposal and to apply for grants.

Individual projects in composition.