Music

For questions about specific courses, contact the department:

Departmental Office:
Department of Music
621 Dodge Hall
212-854-3825

Web: music.columbia.edu


Directory of Classes

The course information displayed on this page relies on an external system and may be incomplete. Please visit Music on the Directory of Classes for complete course information.

After finding your course in the Directory of Classes, click on the section number to open an expanded view. The "Open To" field will indicate whether the course is open to School of Professional Studies students. If School of Professional Studies is not included in the field, students may still be able to cross-register for the course by obtaining permission after being admitted to an academic program.

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MUSI BC1001 An Introduction to Music I. 3 points.

BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART).

Prerequisites: no previous knowledge of music is required.

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.

Fall 2017: MUSI BC1001
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 1001 001/03023 M W 2:40pm - 3:55pm
325 Milbank Hall
Gail Archer 3 18
MUSI 1001 002/07740 T Th 5:40pm - 6:55pm
325 Milbank Hall
Marilyn McCoy 3 10

MUSI BC1002 An Introduction to Music II. 3 points.

BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART).

Prerequisites: no previous knowledge of music is required.

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.

Spring 2017: MUSI BC1002
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 1002 001/04952 M W 2:40pm - 3:55pm
325 Milbank Hall
Gail Archer 3 12
MUSI 1002 002/04976 T Th 8:40am - 9:55am
325 Milbank Hall
Kristy Barbacane 3 6

MUSI BC1501 Voice Instruction. 2 points.

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

Fall 2017: MUSI BC1501
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 1501 001/04505  
Gail Archer 2 34

MUSI BC1502 Voice Instruction. 2 points.

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

Spring 2017: MUSI BC1502
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 1502 001/04991  
Gail Archer 2 13
MUSI 1502 002/03776  
Gail Archer 2 29

MUSI BC3145 Worldmuse Ensemble. 3 points.

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.

Spring 2017: MUSI BC3145
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 3145 001/03263 F 2:15pm - 4:00pm
225 Milbank Hall
Jean-Paul Bjorlin 3 6
MUSI 3145 001/03263 M 7:30pm - 8:45pm
325 Milbank Hall
Jean-Paul Bjorlin 3 6

MUSI BC3992 Senior Seminar for Music Majors. 3 points.

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.

Fall 2017: MUSI BC3992
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 3992 001/02342 Th 4:10pm - 6:00pm
227 Milbank Hall
Lauren Ninoshvili 3 4

MUSI G4024 Opera and Society. 3 points.

Not offered during 2017-18 academic year.

Prerequisites: the instructor's permission.

Investigation of how the composition, libretti, and production of operas are connected to their cultural, social, and political contexts.

MUSI G4030 Sound, The Secular, The Sacred. 3 points.

Prerequisites: None.

This course seeks to explore the significance of sound for understanding the negotiation the relation between the sacred and the secular, in light of recent work in critical religious studies. It seeks to explore the acoustic dimensions of the 'turn to religion' by exploring the uses of sound in mediating the relationship between the sacred and the secular in different cultures.

MUSI G4060 Medieval Music Drama. 3 points.

Not offered during 2017-18 academic year.

Interdisciplinary study of sacred dramas from the 12th and 13th centuries, including the Play of Daniel, Hildegard of Bingen’s Ordo Virtutum, and plays from the Fleury Playbook and Carmina Burana collections. Emphasis on the historical and cultural contexts of the plays.

MUSI G4122 Songs of the Troubadours. 4 points.

Prerequisites: HUMA W1123, MUSI V3128.

This interdisciplinary seminar approaches the songs of the troubadours as poetic and musical traditions. Together we will develop methods for analysis and interpretation, situate the songs within literary and social history, and address broad issues such as the nature of performance, the interplay between orality and writing, the origins of troubadour poetry, fin’amor, and gender. Students will learn to analyze the poetic and musical structure of the songs and to transcribe and edit them from medieval manuscripts. Weekly assignments in Paden’s Introduction to Old Occitan will familiarize students with the language of the texts; one hour a week will be devoted to going over texts in the original language using Paden’s book. Individually designed paper assignments will take students’ backgrounds into account; students from all departments are welcome.

MUSI G4125 Jewish Music: Uniqueness and Diversity. 3 points.

Not offered during 2017-18 academic year.

Jewish Music is rich and diverse.  We known more about the contexts and uses of Jewish music than the music itself.  Prior to recordings of music, musical notation is the most accurate record of the “actual” music.  Notation of Western music develops and grows from the year 1000.  For Jewish music the date of notation of music is 1750.  Ashkenazic European liturgical music traditions are the first to be notated in the Jewish traditions.  Secular and art music does not begin for well over one years, it begins in the late 1800s.  Many liturgical traditions remain in the oral tradition.  There are many challenges to understand the history of Jewish music.  Investigating the role of culture and contexts of Jewish music opens the door for a productive inquiry.  Topics for discussion include: tradition and innovation, nationalism, culture contact, responses to modernity, and music and identity.

MUSI G4130 Music and Childhood. 4 points.

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. 

MUSI G4360 Analysis of Tonal Music. 3 points.

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.

MUSI G4374 Modal Counterpoint. 3 points.

Prerequisites: two semesters of ear training.

This course provides training in writing, improvising, singing, and analyzing 16th-c. modal counterpoint. Students will be introduced to theoretical ideas found in Renaissance treatises, which they will apply to repertoire examples and to their own compositions.

MUSI G4425 Sounding Islam. 3 points.

The objective of this course is to explore the relationship between sound, music and Islam and, in doing so, to focus on a philosophy of listening (sama‘) which is deeply embedded in the experiential. The course aims to analyze how sound and music directly or indirectly associated with Islam are produced, circulated, and listened to by a wide variety of audiences in local and transnational settings; to explore the ways in which multiple sonic dimensions of Islam have affected the public sphere in different historical moments and contexts (particular in relation to ideas about nationalism, secularism and modernity); and to examine the effect of these sonic dimensions on Muslim and non-Muslim listeners in a local and a transnational perspective.

MUSI G4461 Music and Place. 3 points.

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.

MUSI G4500 Jazz Transcription and Analysis. 3 points.

Prerequisites: the instructor's permission.

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

MUSI G4505 Jazz Arranging and Composition. 3 points.

Prerequisites: V2318-19 Diatonic Harmony or equivalent.

Course designed to train students to arrange and compose in a variety of historical jazz styles, including swing, bebop, hard bop, modal, fusion, Latin, and free jazz.

MUSI G4601 Musical Interactivity. 0 points.

Not offered during 2017-18 academic year.

Prerequisites: basic computer operating system knowledge.

The course explores programming techniques and concepts in computer music interactivity, or the creation of compositions that incorporate software that responds to live musical performance, environmental activity, and other real-world contingencies. The Max/MSP programming platform is sued for MIDI, digital audio, and other interfacing techniques. Interactive works from the worlds of music, visual art, and performance are also presented. Basic knowledge of computer operation is required; basic knowledge of MIDI, Max/MSP, and/or digital audio is recommended.

MUSI G6000 Professional Strategies and Skills. 3 points.

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.

MUSI G6135 Music and the Critique of Modernity. 3 points.

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

MUSI G6175 Historical Survey of the Cultural Theory of Music. 3 points.

Not offered during 2017-18 academic year.

Introduction to the main bodies of modern cultural theory, how these theories help to understand the music, and how to formulate new questions.

MUSI G6205 Billie Holiday: The Origins of a Style. 4 points.

Prerequisites: a course in Jazz Studies or the equivalent.

This seminar will introduce students to the life and music of Billie Holiday. Because Holiday's style and repertoire drew on many sources and shifted radically several times throughout her life, attention will be paid to her sources among women singers in European, American, and African-American cabaret, Broadway musical theater, African American folk music, and Tin Pan Alley popular music. The nature of song itself will be considered, especially in terms of its social functions and how singers and audiences understand sung performances. We will also examine Holiday's autobiography, as well as films and documentaries of her life.

MUSI G6240 The Social Science of Music. 3 points.

Not offered during 2017-18 academic year.

An introduction to the intellectual history of Ethnomusicology in the context of the history of musical scholarship in the 20th-century.

MUSI G6244 Tonal Composition. 3 points.

Not offered during 2017-18 academic year.

Prerequisites: basic music theory sequence or its equivalent.

Training in composing in tonal styles, including: Baroque fugues; Classical minuets, variations, and sonata-form movements; Romantic songs and preludes.

MUSI G6250 Introduction to Music Cognition. 3 points.

The study of music cognition from the perspective of music theory with interdisciplinary connections to psychoacoustics, theoretical linguistics, and especially cognitive psychology.

MUSI G6302 Introduction to Set Theory. 3 points.

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

MUSI G6305 Introduction to Schenkerian Analysis. 3 points.

MUSI G6330 18th-Century Counterpoint. 3 points.

Study of 18th-century counterpoint through compositional exercises, including: fughettas (after Fux); invertible counterpoint and canon; and inventions and fugues (in the style of Bach).

MUSI G6345 Theories of Rhythm and Meter. 3 points.

Not offered during 2017-18 academic year.

Analysis of rhythm and meter in selected tonal compositions. Study of recent theories of rhythm and meter by such writers as Cooper and Meyer, Cone, Berry, Epstein, Lerdahl and Jackendoff, Lester, and Kramer.

MUSI G6348 Theories of Music and Prosody. 3 points.

Not offered during 2017-18 academic year.

The grouping, stress, meter, and contour of lines of poetry treated in terms of their music counterparts, drawing on recent linguistic and music theories.

MUSI G6370 Advanced Orchestration. 3 points.

Analysis of techniques in successful works from the past and explorations into the deeper understanding of orchestrational principles that our current knowledge of acoustics and our techniques of sonic and analysis offer. Empirical and theoretical knowledge are combined in an effort both to understand the masterworks of the past and to provide a framework of each composer's future personal explorations.

MUSI G6380 Music since 1900 II. 3 points.

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.)

MUSI G6385 Analysis of Popular Music. 3 points.

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.

MUSI G6412 Proseminar in Ethnomusicology II. 3 points.

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.

MUSI G6413 Research Design Seminar. 3 points.

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.

MUSI G6425 The Politics of Desire in Latin America. 3 points.

Prerequisites: reading Spanish and the instructor's permission.

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.  

MUSI G6427 Music, Myth and Indigeneity. 3 points.

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.

MUSI G6460 Music and the Post-Socialist state. 3 points.

This course analyzes changes in music traditions in the post-socialist context since the fall of the Soviet Union.  The focus is on the relationship between music and politics, socialist/post-socialist cultural policy, the rise of popular music genres, new conceptualizations of "folk" music, and the influence of technologies, media, and privatization on music

MUSI G8101 Seminar in Historical Musicology: the Middle Ages. 3 points.

MUSI G8102 Seminar in Historical Musicology: the Middle Ages. 3 points.

MUSI G8107 MUSIC, SOCIABILITY, AND THE SALON. 3 points.

This course examines the role of music in salon culture in the eighteenth and nineteenth centuries, with particular emphasis on the cities of Paris, Vienna, and Berlin. Topics include: theories of conversation and musical rhetoric; gender and the salonnières; the growth of the publishing industry/music for popular consumption; virtuosity and connoisseurship; the reception of “sociable” and serious genres in the emerging Romantic age. Final projects may be either research oriented or historiographic in nature.

MUSI G8160 Topics in Musicology: Sonic Discourses in New Media. 3 points.

Prerequisites: the instructor's permission.

The course examines the role of music/sound in new media theory, history, and practice. Topics include definitions, histories, and framings of sound art, the poetics of sound-inflected intermedia and computer interactivity, the sociality of the soundscape, discourses of listening, technologies of presence and synaesthesia, and intersections between new media and ethno/musicology.

MUSI G8161 Music, Money, and Markets: A Socio-Economic Look at Western Music History. 3 points.

The seminar will explore how the rise of capitalism, commerce, merchant banking and a burgeoning merchant class affected the makers, consumers, and patrons of western music alike from 1450 to the present.  Emerging markets in the history of music will be identified, and several publishers, composers, performers, institutions, and financiers who exploited them will be singled out.

MUSI G8237 Seminar: Research Projects. 3 points.

Prerequisites: the adviser's permission.

MUSI G8255 Composition and Cognition. 3 points.

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

MUSI G8319 Seminar in Music Theory: Interdisciplinary and Humanistic Approaches. 3 points.

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.

MUSI G8371 Debussy and Modernism. 3 points.

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

MUSI G8372 Theorizing Musical Temporality. 3 points.

This course addresses theoretical issues in musical temporality from a variety of angles, including studies in rhythm and meter, as well as philosophical, historical, and cross-cultural perspectives.

MUSI G8374 New Currents in Hip-Hop Studies: Theory and Analysis. 3 points.

This seminar examines hip hop from a music-theoretical perspective, focusing on close readings of music analyzed alongside recent scholarly work on hip-hop.  We will explore the some of the key texts that have presented theoretical and analytical work on hip hop music, and students will prepare their own listening-based analyses of selected works throughout the term, culminating with a final presentation and paper. Throughout the course, we will track key words in hip hop studies such as race, ethnicity, gender, sexuality, politics, society, class, representation, and diaspora, focusing on recordings, performances, videos, and films. While our roots will remain firmly in music, the seminar will consider hip hop through multiple lenses by examining the current hip hop literature by authors situated in music theory, ethnomusicology, musicology, music theory, anthropology, linguistics, cultural studies, American Studies, ethnic studies, women's/gender/sexuality studies, sociology, and English. Readings will help to locate music, artists, and genres within their various contexts, which in tum will assist us in our analysis of specific works. Critical reflection upon hip hop performance is an integral part of the course.

MUSI G8416 Seminar in Ethnomusicology: Alan Lomax. 3 points.

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.

MUSI G8610 Miles Davis. 3 points.

Not offered during 2017-18 academic year.

Prerequisites: a course or its equivalent in Jazz Studies.

A survey of the life and music of Miles Davis, examining the social history and musical traditions that shaped his work, and exploring his influence on music, performance, literature and other arts.

MUSI G9403 Popular Music Aesthetics. 3 points.

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.

MUSI G9405 Sexuality in Music and Dance Cultures: An Ethnographic Perspective. 4 points.

The objective of this seminar is to explore sexuality in music and dance cultures through an ethnographic perspective. We will examine relevant literature in ethnomusicology, anthropology, performance studies, and in other disciplines in which ethnography is an important component of methodology. A critical concern of this seminar is to analyze the influence that the globalization of sexuality has had on academic theories and writings on the subject. To this end, we will also look at the role played by works that challenge a universalization of sexuality.

MUSI GR6105 Proseminar in Historical Musicology. 3 points.

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

Fall 2017: MUSI GR6105
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 6105 001/23679 W 2:10pm - 4:00pm
701a Dodge Building
Elaine Sisman 3 7/15

MUSI GR6333 Proseminar in Music Theory. 3 points.

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

Spring 2017: MUSI GR6333
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 6333 001/20423 W 10:10am - 12:00pm
620 Dodge Building
Joseph Dubiel 3 9/12

MUSI GR6379 Music since 1900 I. 3 points.

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.)

Fall 2017: MUSI GR6379
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 6379 001/76310 T 10:10am - 12:00pm
620 Dodge Building
George Lewis 3 14/15

MUSI GR6411 Proseminar in Ethnomusicology I. 3 points.

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.

Fall 2017: MUSI GR6411
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 6411 001/72823 T 4:10pm - 6:00pm
701c Dodge Building
Ana Maria Ochoa 3 7/20

MUSI GR6601 Interactive Sound and Video (Previously Basic Electroacoustics). 3 points.

Prerequisites: the instructor's 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.

Fall 2017: MUSI GR6601
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 6601 001/66201 M 1:10pm - 3:00pm
317h Prentis Hall
Terence Pender 3 9/15

MUSI GR6610 Sound: Advanced Topics I (Previously Computer Music I). 3 points.

Prerequisites: MUSI G6601-G6602 or the instructor's permission.

This year-long sequence 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, and computer analysis of digital audio.  Some familiarity with computer music hardware/software is expected.

Fall 2017: MUSI GR6610
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 6610 001/75678 T 6:10pm - 8:00pm
317h Prentis Hall
Bradford Garton 3 8/15

MUSI GR6630 Recorded Sound. 3 points.

Prerequisites: the instructor's permission.

Strategies for the creation, manipulation, and dissemination of the recorded sound object. Students learn to use the recording studio as an instrument to write, record, and refine musical compositions.

Spring 2017: MUSI GR6630
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 6630 001/61089 M 1:10pm - 4:00pm
317 Prentis Hall
Terence Pender 3 3/10

MUSI GR8111 American Popular Song from 1900 to 1960. 3 points.

Prerequisites: the instructor's permission.

Fall 2017: MUSI GR8111
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 8111 001/16216 T 2:10pm - 4:00pm
701a Dodge Building
Walter Frisch 3 7/15

MUSI GR8112 American Popular Song from 1900 to 1960. 3 points.

Prerequisites: the instructor's permission.

MUSI GR8231 Seminar in Music Composition I. 3 points.

Individual projects in composition.

Fall 2017: MUSI GR8231
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 8231 001/17542 W 3:10pm - 5:00pm
620 Dodge Building
George Lewis, Georg Friedrich Haas 3 10/15

MUSI GR8232 Seminar in Music Composition II. 3 points.

Individual projects in composition.

Spring 2017: MUSI GR8232
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 8232 001/17383 W 4:10pm - 6:00pm
620 Dodge Building
Alfred Lerdahl 3 7/15

MUSI GR8370 Ruth Crawford Seeger Modernism and Tradition in 20th-c. American Music. 3 points.

Not offered during 2017-18 academic year.

Interdisciplinary exploration of the music and life of composer and folk music advocate Ruth Crawford Seeger (1901-1953). Considers her prescient contributions to modernism and American traditional music through analytical study of her compositions and recent Crawford scholarship. 

Fall 2017: MUSI GR8370
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 8370 001/23043 M 12:10pm - 2:00pm
701a Dodge Building
Ellie Hisama 3 5/15

MUSI GR8412 Seminar in Ethnomusicology: Field Methods and Techniques I. 3 points.

Not offered during 2017-18 academic year.

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.

Fall 2017: MUSI GR8412
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 8412 001/24998 W 10:10am - 12:00pm
701c Dodge Building
Christopher Washburne 3 4/15

MUSI GR8425 Archiving Practices. 3 points.

Ph.D. students in music and anthropology.

Fall 2017: MUSI GR8425
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 8425 001/68964 Th 4:10pm - 6:00pm
701c Dodge Building
Aaron Fox 3 4/15

MUSI GU4318 Ear Training, V. 1 point.

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

Fall 2017: MUSI GU4318
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 4318 001/17108 M W 12:10pm - 1:00pm
814 Dodge Building
Peter Susser 1 6/12

MUSI GU4401 Field Methods and Techniques in Ethnomusicology. 3 points.

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.

Fall 2017: MUSI GU4401
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 4401 001/60890 T 2:10pm - 4:00pm
701c Dodge Building
Aaron Fox 3 5/25

MUSI GU4525 Instrumentation. 3 points.

Open to both graduate and advanced music major undergraduate students.

Prerequisites: extensive musical background.

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

Fall 2017: MUSI GU4525
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 4525 001/19051 T Th 1:10pm - 2:25pm
814 Dodge Building
Jeffrey Milarsky 3 9/15

MUSI UN1002 Fundamentals of Music. 3 points.

BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART).

Corequisites: Introductory Ear-Training (V1312, or higher, as determined by placement exam).

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. (Through Spring 2014, this course was entitled Fundamentals of Western Music.)

Spring 2017: MUSI UN1002
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 1002 001/62928 M W 4:10pm - 5:25pm
622 Dodge Building
Orit Hilewicz 3 11/30
MUSI 1002 002/63777 T Th 4:10pm - 5:25pm
814 Dodge Building
Anthony Fort 3 11/30
Fall 2017: MUSI UN1002
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 1002 001/77616 M W 4:10pm - 5:25pm
622 Dodge Building
Michael Weinstein-Reiman 3 12/30
MUSI 1002 002/28789 T Th 4:10pm - 5:25pm
814 Dodge Building
Andrew Goldman 3 8/30

MUSI UN1312 Introductory Ear Training. 1 point.

Lab Required

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.

Spring 2017: MUSI UN1312
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 1312 001/77473 M W 12:10pm - 1:00pm
404 Dodge Building
Michelle Painter 1 13/12
MUSI 1312 002/26708 T Th 3:10pm - 4:00pm
814 Dodge Building
Barami Waspe 1 8/12
Fall 2017: MUSI UN1312
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 1312 001/63922 M W 12:10pm - 1:00pm
404 Dodge Building
Michelle Painter 1 12/12
MUSI 1312 002/19260 T Th 3:10pm - 4:00pm
814 Dodge Building
Barami Waspe 1 9/12

MUSI UN1581 Collegium Musicum. 1 point.

May be taken for Pass credit only.

Prerequisites: 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.

Spring 2017: MUSI UN1581
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 1581 001/13111 M 7:00pm - 9:00pm
405 Milbank Hall
Evelyn DeGraf 1 5/50

MUSI UN1593 Barnard-Columbia Chorus. 1 point.

May be taken for Pass credit only.

Prerequisites: auditions by appointment made at first meeting. Contact Barnard College, Department of Music (854-5096).

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.

Fall 2017: MUSI UN1593
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 1593 001/07743 T Th 6:05pm - 8:00pm
405 Milbank Hall
Gail Archer 1 27

MUSI UN1594 Barnard-Columbia Chorus. 1 point.

May be taken for Pass credit only.

Prerequisites: auditions by appointment made at first meeting. Contact Barnard College, Department of Music (854-5096).

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.

Spring 2017: MUSI UN1594
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 1594 001/05085 T Th 6:00pm - 8:00pm
405 Milbank Hall
Gail Archer 1 23

MUSI UN1595 Barnard-Columbia Chamber Singers. 1 point.

May be taken for Pass credit only.

Prerequisites: auditions by appointment made at first meeting. Contact Barnard College, Department of Music (854-5096).

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.

Fall 2017: MUSI UN1595
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 1595 001/07745 T Th 8:00pm - 9:30pm
405 Milbank Hall
Gail Archer 1 6

MUSI UN1596 Barnard-Columbia Chamber Singers. 1 point.

May be taken for Pass credit only.

Prerequisites: contact Barnard College, Department of Music (854-5096).

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.

Spring 2017: MUSI UN1596
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 1596 001/05333 T Th 8:00pm - 9:30pm
405 Milbank Hall
Gail Archer 1 7

MUSI UN2016 Jazz. 3 points.

BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART).

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

Fall 2017: MUSI UN2016
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 2016 001/29829 T Th 1:10pm - 2:25pm
417 International Affairs Bldg
Christopher Washburne 3 87/200

MUSI UN2205 Introduction to Digital Music (Previously called MIDI Music Production Techniques). 3 points.

BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART).

Prerequisites: HUMA W1123 or the equivalent, and the instructor's permission.

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.

Fall 2017: MUSI UN2205
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 2205 001/20626 T Th 1:10pm - 2:25pm
320h Prentis Hall
Bradford Garton 3 15/16

MUSI UN2314 Ear Training, I. 1 point.

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

Spring 2017: MUSI UN2314
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 2314 001/61713 M W 12:10pm - 1:00pm
405 Dodge Building
Michael Joviala 1 8/12
MUSI 2314 002/12396 T Th 3:10pm - 4:00pm
803 Dodge Building
Ramin Amir Arjomand 1 11/12
Fall 2017: MUSI UN2314
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 2314 001/68480 M W 12:10pm - 1:00pm
405 Dodge Building
Michael Joviala 1 12/12
MUSI 2314 002/62814 T Th 3:10pm - 4:00pm
803 Dodge Building
Ramin Amir Arjomand 1 8/12

MUSI UN2315 Ear Training, II. 1 point.

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

Spring 2017: MUSI UN2315
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 2315 001/24560 M W 3:10pm - 4:00pm
814 Dodge Building
Michael Joviala 1 9/12
MUSI 2315 002/60568 T Th 12:10pm - 1:00pm
814 Dodge Building
Barami Waspe 1 9/12
Fall 2017: MUSI UN2315
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 2315 001/16495 M W 3:10pm - 4:00pm
814 Dodge Building
Michael Joviala 1 6/12
MUSI 2315 002/62590 T Th 12:10pm - 1:00pm
814 Dodge Building
Barami Waspe 1 4/12

MUSI UN2318 Music Theory I. 3 points.

BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)., Lab Required

Prerequisites: MUSI V1002 or the equivalent, as well as placement exam administered in the first class meeting every semester the course is offered. (Through Spring 2014, this course was entitled Diatonic Harmony and Counterpoint I.)
Corequisites: one course from Ear-Training I-IV (V2314, V2315, V3316, or V3317, as determined by placement exam.)

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.

Spring 2017: MUSI UN2318
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 2318 001/68588 M W 1:10pm - 2:25pm
405 Dodge Building
Benjamin Steege 3 24/24
Fall 2017: MUSI UN2318
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 2318 001/69684 M W 1:10pm - 2:25pm
404 Dodge Building
Maeve Sterbenz 3 10/18
MUSI 2318 002/29620 T Th 1:10pm - 2:25pm
404 Dodge Building
Maeve Sterbenz 3 7/18

MUSI UN2319 Music Theory II. 3 points.

Prerequisites: MUSI V2318.
Corequisites: one course from Ear-Training I-IV (V2314, V2315, V3316, or V3317, as determined by placement exam.)

Elementary analysis and composition in a variety of tonal idioms. (Through Spring 2014, this course was entitled Diatonic Harmony and Counterpoint II.)

Spring 2017: MUSI UN2319
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 2319 001/13937 M W 10:10am - 11:25am
814 Dodge Building
Carl Bettendorf 3 4/20
MUSI 2319 002/76606 T Th 1:10pm - 2:25pm
622 Dodge Building
Peter Susser 3 13/20
Fall 2017: MUSI UN2319
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 2319 001/73240 M W 1:10pm - 2:25pm
814 Dodge Building
Peter Susser 3 18/18

MUSI UN3128 History of Western Music I: Middle Ages To Baroque. 3 points.

Prerequisites: MUSI V2318-V2319. May be taken before or concurrently with this course.

Topics in Western music from Antiquity through Bach and Handel, focusing on the development of musical style and thought, and analysis of selected works.

Fall 2017: MUSI UN3128
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 3128 001/71484 T Th 2:40pm - 3:55pm
622 Dodge Building
Giuseppe Gerbino 3 29/35

MUSI UN3241 Projects in Composition I. 3 points.

Composition Faculty

Prerequisites: MUSI V3310 or the instructor's permission.

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

Fall 2017: MUSI UN3241
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 3241 001/15803 M W 1:10pm - 2:25pm
620 Dodge Building
Sophia Di Castri 3 10/15

MUSI UN3310 Techniques of 20th-Century Music. 3 points.

Prerequisites: MUSI V3322 or the instructor's permission.

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

Fall 2017: MUSI UN3310
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 3310 001/25341 T Th 10:10am - 11:25am
814 Dodge Building
Sophia Di Castri 3 8/15

MUSI UN3316 Ear Training, III. 1 point.

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.

Spring 2017: MUSI UN3316
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 3316 001/23963 M W 12:10pm - 1:00pm
622 Dodge Building
Peter Susser 1 15/12
MUSI 3316 002/65627 T Th 12:10pm - 1:00pm
620 Dodge Building
Richard Miller 1 6/12
Fall 2017: MUSI UN3316
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 3316 001/74204 M W 12:10pm - 1:00pm
622 Dodge Building
Richard Miller 1 10/12
MUSI 3316 002/11243 T Th 12:10pm - 1:00pm
620 Dodge Building
Richard Miller 1 4/12

MUSI UN3317 Ear Training, IV. 1 point.

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.

Spring 2017: MUSI UN3317
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 3317 001/12368 M W 3:10pm - 4:00pm
803 Dodge Building
Peter Susser 1 3/12
MUSI 3317 002/64704 T Th 4:10pm - 5:00pm
803 Dodge Building
Ramin Amir Arjomand 1 6/12
Fall 2017: MUSI UN3317
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 3317 001/14574 M W 3:10pm - 4:00pm
803 Dodge Building
Peter Susser 1 8/12
MUSI 3317 002/70365 T Th 4:10pm - 5:00pm
803 Dodge Building
Ramin Amir Arjomand 1 3/12

MUSI UN3321 Music Theory III. 3 points.

Lab Required
A one-hour weekly lab is required, to be scheduled at the beginning of the term.

Prerequisites: MUSI V2319.
Corequisites: one course from Ear-training I-IV (V2314, V2315, V3316, or V3317, as determined by placement exam.)

Intermediate analysis and composition in a variety of tonal idioms. (Through Spring 2014, this course was entitled Chromatic Harmony and Counterpoint I.)

Spring 2017: MUSI UN3321
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 3321 001/16908 M W 1:10pm - 2:25pm
814 Dodge Building
Elizabeth Adams 3 7/25
Fall 2017: MUSI UN3321
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 3321 001/62135 M W 1:10pm - 2:25pm
404 Dodge Building
Scott Gleason 3 8/18
MUSI 3321 002/24946 T Th 1:10pm - 2:25pm
620 Dodge Building
Joseph Dubiel 3 7/18

MUSI UN3322 Music Theory IV. 3 points.

Prerequisites: MUSI V3321.
Corequisites: one course from Ear-Training I-IV (V2314, V2315, V3316, or V3317, as determined by placement exam.)

Intermediate analysis and composition in a variety of tonal and extended tonal idioms. (Through Spring 2014, this course was entitled Chromatic Harmony and Counterpoint II.) A one-hour weekly lab is required, to be scheduled at the beginning of the term.

Spring 2017: MUSI UN3322
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 3322 001/68891 M W 1:10pm - 2:25pm
620 Dodge Building
Ellie Hisama 3 9/25
MUSI 3322 002/23830 T Th 1:10pm - 2:25pm
620 Dodge Building
Joseph Dubiel 3 10/25
Fall 2017: MUSI UN3322
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 3322 001/64633 T Th 1:10pm - 2:25pm
622 Dodge Building
Rowland Moseley 3 5/18

MUSI UN3395 Listening to Hip-Hop. 3 points.

An interdisciplinary exploration of hip-hop music and culture from its beginnings to the present through historical, analytical, and critical perspectives. The course’s primary focus will be on critical listening.

Fall 2017: MUSI UN3395
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 3395 001/11669 T Th 11:40am - 12:55pm
405 Dodge Building
Ellie Hisama 3 24/35

MUSI UN3400 Topics in Music and Society. 3 points.

Music Majors and Concentrators.

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.

Spring 2017: MUSI UN3400
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 3400 001/18062 T Th 11:40am - 12:55pm
404 Dodge Building
Martha Newland 3 24/25
Fall 2017: MUSI UN3400
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 3400 001/25338 T Th 11:40am - 12:55pm
404 Dodge Building
Ana Maria Ochoa 3 15/35

MUSI UN3630 Recorded Sound. 3 points.

BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART).

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.

Spring 2017: MUSI UN3630
Course Number Section/Call Number Times/Location Instructor Points Enrollment
MUSI 3630 001/65556 M 1:10pm - 4:00pm
317 Prentis Hall
Terence Pender 3 8/18

MUSI V1591 University Orchestra. 2 points.

Prerequisites: Audition required during first week of classes in FALL semester ONLY. Online audition sign up is available in August, two weeks prior to auditions, at mpp.music.columbia.edu. Questions can be directed to the Music Performance Program at mpp@columbia.edu or 212-854-1257.

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.

MUSI V1598 Chamber Ensemble. 1 point.

Prerequisites: Audition required during first week of classes in FALL semester ONLY. Online audition sign up is available in August, two weeks prior to auditions, at mpp.music.columbia.edu. Questions can be directed to the Music Performance Program at mpp@columbia.edu or 212-854-1257.

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.music.columbia.edu for current list of Music Performance Associates.

MUSI V1618 Columbia University Jazz Ensemble. 1 point.

Prerequisites: Audition required during first week of classes in FALL semester ONLY. Online audition sign up is available in August, two weeks prior to auditions, at mpp.music.columbia.edu. Questions can be directed to the Music Performance Program at mpp@columbia.edu or 212-854-1257.

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. Visit mpp.music.columbia.edu for more information. 

MUSI V1625 World Music Ensemble. 1 point.

Prerequisites: Instructor Permission. Contact Music Performance Program at mpp@columbia.edu

Introduce students to specific non-western and non-classical styles and cultures through active participation in group lessons and rehearsal, culminating each semester in at least one public performance. Ensembles offered are: Arab Music; Bluegrass; Japanese Gagaku; Japanese Hogaku; Klezmer; Latin Music. Visit mpp.music.columbia.edu for more information.

MUSI V2010 Rock. 3 points.

BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART).
Not offered during 2017-18 academic year.

Prerequisites: HUMA W1123 or the equivalent.

Historical survey of rock music from its roots in the late 1940s to the present day.

MUSI V2020 Salsa, Soca, and Reggae: Popular Musics of the Caribbean. 3 points.

BC: Fulfillment of General Education Requirement: Cultures in Comparison (CUL)., BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)., CC/GS/SEAS: Partial Fulfillment of Global Core Requirement

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

MUSI V2021 Popular Musics of the Americas: Music in Contemporary Native. 3 points.

BC: Fulfillment of General Education Requirement: Cultures in Comparison (CUL)., BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART).

"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.

MUSI V2024 Mozart. 3 points.

Prerequisites: HUMA W1123 or the equivalent.

In this course we will study major works by Wolfgang Amadeus Mozart (1756-1791) in the context of Viennese classicism and its multiple audiences, the cultures of the Enlightenment, and the connections between biography and art. We will also consider Mozart’s impact on later composers and publics, the changing approaches to performing his music, and his role in popular culture. Reading knowledge of music is NOT required in this course, nor is a background beyond Music Humanities.

MUSI V2138 Music of Russia: A Survey. 3 points.

This course is detailed survey of Russian national and international composers from Glinka to Shostakovich, and will also address Russian realism, orientalism, the relationship between composers and poets of the Russian Symbolist era, the Ballets Russes, Soviet film music, and musical aesthetics. A knowledge of Russian is not required.

MUSI V2170 Music and dance from Romanticism to Mark Morris. 3 points.

An exploration of the music-dance relationship from Romanticism to Mark Morris. Specific topics to include Romanticism, Tchaikovsky, the Ballets Russes, Copland-Graham, Stravinsky-Balanchine, jazz/African-American traditions, Cage-Cunningham, and Mark Morris. Special attention will be paid to composer-choreographer collaboration; the interdependence of the musical and choreographic arts; and the role each art has played in the formal and aesthetic/historical development of the other

MUSI V2430 Listening and Sound in Cross-Cultural Perspective. 3 points.

CC/GS/SEAS: Partial Fulfillment of Global Core Requirement

The objective of this course is to explore the relationship between listening, sound, and music across different cultures and in different historical moments and contexts. This will be explored by studying the historical formation of the sound archive of different parts of the world and the emergence of new technologies in the early twentieth century, and how different cultures consider the relation between natural and musical sounds.

MUSI V3030 Asian American Music Studies. 3 points.

Prerequisites: one course in music or the instructor's permission.

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.

MUSI V3127 Bach Vocal Music. 3 points.

Analysis of the vocal music of Johann Sebastian Bach in its historical and cultural context with particular focus on the sacred cantatas, the St. Matthew Passion and the B minor Mass.

MUSI V3138 The music of Brahms. 3 points.

BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART).

Prerequisites: HUMA W1123 or the equivalent, and the ability to read musical notation.

Survey of the music of Brahms, examining a wide range of genres as well as his historical and cultural position.

MUSI V3142 Opera and Modernism. 3 points.

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.

MUSI V3171 Paris for Romantics. 3 points.

Prerequisites: Completion of Music Humanities (or the consent of the instructor) is a pre-requisite for this course.

This course explores Parisian musical life during the long nineteenth century, situating musical discourses, institutions, and forms within the broader landscapes of literary and artistic Romanticism. Topics to be considered include: the musical echoes of the Revolution; operatic genres and theaters; the music of the salons; cultures of consumerism and domestic performance; and issues of nationalism and historicism after 1870. Composers to be considered include: Berlioz, Chopin, Liszt, Gounod, Saint-Saëns, Franck, Massenet, and Debussy. Completion of Music Humanities (or the consent of the instructor) is a pre-requisite for this course.

MUSI V3173 Music and Word in the Western Art Tradition. 3 points.

The combination of music and word in song and other genres has led to some of the most contentious debates in Western musical thought. This course surveys these major debates, with close examination of select works and their historical contexts. Working with methods from poetry analysis, music analysis, semiotics, and historical musicology we will consider how composers and poets have negotiated the combinations of their arts, and how cultural and political forces have influenced their decisions. Students will complete a semester-long project on a song of their choosing.

MUSI V3242 Projects in Composition II. 3 points.

Composition Faculty

Prerequisites: MUSI V3310 or the instructor's permission.

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

MUSI V3244 Tonal Composition. 3 points.

Prerequisites: Students must have taken Theory III or by permission of the instructor. Students proficient on any instrument will be invited to perform their own or other student pieces. It is not however, a requirement of enrollment.

An exploration of tonal rhythmic, melodic and harmonic practice expressed in model compositions. Projects will be based on a variety of genre, techniques and idioms to include Baroque fugues, Classical minuets, variations, and sonata-form movements; Romantic songs and preludes. Analyses of compositions by, among others, Bach, Handel, Mozart, Beethoven, Schubert and Schumann will serve as models.

MUSI V3302 Introduction to Set Theory. 3 points.

Prerequisites: MUSI V3322 and either V3126 or V3379, or the 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.

MUSI V3305 Theories of Heinrich Schenker. 3 points.

Prerequisites: MUSI V3322 or the 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.

MUSI V3330 Advanced Counterpoint. 3 points.

Not offered during 2017-18 academic year.

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

The study of baroque counterpoint in the style of J. S. Bach; general aspects of voice-leading; dances, inventions; canons; expositions of fugues.

MUSI V3335 Analysis of Alternative Music. 3 points.

Corequisites: MUSI V3321 or equivalent.

In this highly participatory music theory seminar, we will analyze in depth some unusal patterns of harmony and melody across a range of alternative music: tracks by the alt-rock bands Radiohead and Portishead, the singer-songwriters Bjork and Sufjan Stevens, the "alt-classical" composer Max Richetr, and the alternative electronic artists Aphex Twin, Boards of Canada, and Autechre. Student work will include weekly model compositions, and a final presentation and paper.

MUSI V3337 Music and Multimedia. 3 points.

In this course, we explore the reciprocal relationships created between music and other artistic media such as text, images, dance, and film when combined in multimedia works. “Multimedia” is defined broadly here, encompassing artworks that involve multiple artistic dimensions, including songs and program music as well as dance and film. Readings about music in songs and musical drama, dance, film, video games, and cartoons will facilitate class discussions in a seminar setting, involving compositional techniques and approaches, as well as issues of aesthetics, interpretation and analysis, and politics of race, gender, and society as demonstrated in the numerous multimedia works we will discuss. This course is open to all majors.

MUSI V3420 The Social Science of Music. 3 points.

BC: Fulfillment of General Education Requirement: Social Analysis (SOC I)., BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART).
Not offered during 2017-18 academic year.

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.

MUSI V3435 Music and Literature in Latin America. 3 points.

Not offered during 2017-18 academic year.

This course is about the relationship between popular music and literature in Latin America. It covers such topics as the relationship between the lettered city and popular culture as well as orality and the written word. In the course we will read novels and poetry by authors who have also been composers and/or musicologists and explore the production of composers who have also been recognized as important literary figures.

MUSI V3635 The History of Music Production Techniques. 3 points.

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. How does one learn to understand what they hear, re-create what they like and develop their own style? This class, “The History and Techniques of Music Production,” 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.

MUSI W1500 Early Instruments. 1 point.

Prerequisites: Audition required during first week of classes in FALL semester ONLY. Online audition sign up is available in August, two weeks prior to auditions, at mpp.music.columbia.edu. Questions can be directed to the Music Performance Program at mpp@columbia.edu or 212-854-1257.

Keyboards: K. Cooper. Strings: R. Morley. Wind instruments:  TBA.   $500 MUSIC LESSON FEE FOR NON-MAJORS/CONCENTRATORS.  â€‹All freshmen and sophomore students wishing to​ ​major/minor/concentrate in music, and thereby get their lesson fees​ ​waived, are required to make an appointment with​ Prof. Brad Garton (*Special ​j​azz concentrators will ​meet with​ Prof. ​Chris​ ​Washburne), Dean of Undergraduate Studies, EVERY SEMESTER​ â€‹â€‹during the​ ​registration period, in order to register for appropriate courses.  â€‹Fees will not be waived without meeting this requirement.  â€‹All accepted MPP ​students must register for lessons and ensembles ​by the change-of-program​ deadline​ in order to ​be allowed to attend lessons that semester.  Petitioning students must notify MPP staff prior to this deadline.

MUSI W1501 Early Instruments. 1 point.

Prerequisites: Audition required during first week of classes in FALL semester ONLY. Online audition sign up is available in August, two weeks prior to auditions, at mpp.music.columbia.edu. Questions can be directed to the Music Performance Program at mpp@columbia.edu or 212-854-1257.

Keyboards: K. Cooper. Strings: R. Morley. Wind instruments:  TBA.  $500 MUSIC LESSON FEE FOR NON-MAJORS/CONCENTRATORS. All freshmen and sophomore students wishing to major/minor/concentrate in music, and thereby get their lesson fees waived, are required to make an appointment with Prof. Brad Garton ( *Special j azz concentrators will meet with Prof. Chris Washburne), Dean of Undergraduate Studies, EVERY SEMESTER during the registration period , in order to register for appropriate courses . Fees will not be waived without meeting this requirement. All accepted MPP students must register for lessons and ensembles by the change-of-program deadline in order to be allowed to attend lessons that semester. Petitioning students must notify MPP staff prior to this deadline.  

MUSI W1509 Organ Instruction I. 1 point.

Prerequisites: Accepting NEW STUDENTS in FALL semester ONLY. Contact Music Performance Program at mpp@columbia.edu

$500 MUSIC LESSON FEE FOR NON-MAJORS/CONCENTRATORS. All freshmen and sophomore students wishing to major/minor/concentrate in music, and thereby get their lesson fees waived, are required to make an appointment with Prof. Brad Garton ( *Special j azz concentrators will meet with Prof. Chris Washburne), Dean of Undergraduate Studies, EVERY SEMESTER during the registration period , in order to register for appropriate courses . Fees will not be waived without meeting this requirement. All accepted MPP students must register for lessons and ensembles by the change-of-program deadline in order to be allowed to attend lessons that semester. Petitioning students must notify MPP staff prior to this deadline.

MUSI W1513 Introduction To Piano I. 1 point.

Prerequisites: Instructor permission

$500 MUSIC LESSON FEE FOR NON-MAJORS/CONCENTRATORS. All freshmen and sophomore students wishing to major/minor/concentrate in music, and thereby get their lesson fees waived, are required to make an appointment with Prof. Brad Garton ( *Special j azz concentrators will meet with Prof. Chris Washburne), Dean of Undergraduate Studies, EVERY SEMESTER during the registration period , in order to register for appropriate courses . Fees will not be waived without meeting this requirement. All accepted MPP students must register for lessons and ensembles by the change-of-program deadline in order to be allowed to attend lessons that semester. Petitioning students must notify MPP staff prior to this deadline.  

MUSI W1515 Elementary Piano Instruction I. 1 point.

Prerequisites: Instructor permission

$500 MUSIC LESSON FEE FOR NON-MAJORS/CONCENTRATORS. All freshmen and sophomore students wishing to major/minor/concentrate in music, and thereby get their lesson fees waived, are required to make an appointment with Prof. Brad Garton ( *Special j azz concentrators will meet with Prof. Chris Washburne), Dean of Undergraduate Studies, EVERY SEMESTER during the registration period , in order to register for appropriate courses . Fees will not be waived without meeting this requirement. All accepted MPP students must register for lessons and ensembles by the change-of-program deadline in order to be allowed to attend lessons that semester. Petitioning students must notify MPP staff prior to this deadline.  

MUSI W1517 Keyboard Harmony and Musicianship. 1 point.

Prerequisites: Instructor

Lessons emphasize the progressive development of a harmonic vocabulary representative of the techniques of the central tradition of 18th- and 19th-century music.   $500 MUSIC LESSON FEE FOR NON-MAJORS/CONCENTRATORS. All freshmen and sophomore students wishing to major/minor/concentrate in music, and thereby get their lesson fees waived, are required to make an appointment with Prof. Brad Garton ( *Special j azz concentrators will meet with Prof. Chris Washburne), Dean of Undergraduate Studies, EVERY SEMESTER during the registration period , in order to register for appropriate courses . Fees will not be waived without meeting this requirement. All accepted MPP students must register for lessons and ensembles by the change-of-program deadline in order to be allowed to attend lessons that semester. Petitioning students must notify MPP staff prior to this deadline.

MUSI W1525 Instrumental Instruction I. 1 point.

Prerequisites: Audition required during first week of classes in FALL semester ONLY. Online audition sign up is available in August, two weeks prior to auditions, at mpp.music.columbia.edu. Questions can be directed to the Music Performance Program at mpp@columbia.edu or 212-854-1257.

$500 MUSIC LESSON FEE FOR NON-MAJORS/CONCENTRATORS. All freshmen and sophomore students wishing to major/minor/concentrate in music, and thereby get their lesson fees waived, are required to make an appointment with Prof. Brad Garton ( *Special j azz concentrators will meet with Prof. Chris Washburne), Dean of Undergraduate Studies, EVERY SEMESTER during the registration period , in order to register for appropriate courses . Fees will not be waived without meeting this requirement. All accepted MPP students must register for lessons and ensembles by the change-of-program deadline in order to be allowed to attend lessons that semester. Petitioning students must notify MPP staff prior to this deadline.  

MUSI W2515 Intermediate Piano Instruction I. 1 point.

Prerequisites: Instructor permission

$500 MUSIC LESSON FEE FOR NON-MAJORS/CONCENTRATORS. All freshmen and sophomore students wishing to major/minor/concentrate in music, and thereby get their lesson fees waived, are required to make an appointment with Prof. Brad Garton ( *Special j azz concentrators will meet with Prof. Chris Washburne), Dean of Undergraduate Studies, EVERY SEMESTER during the registration period , in order to register for appropriate courses . Fees will not be waived without meeting this requirement. All accepted MPP students must register for lessons and ensembles by the change-of-program deadline in order to be allowed to attend lessons that semester. Petitioning students must notify MPP staff prior to this deadline.  

MUSI W3351 Music and the Brain from Descartes to Helmholtz. 3 points.

Priority given to music majors and concentrators.

Prerequisites: no prerequisites required.

This undergraduate seminar offers historical and critical perspectives on music and the brain between approximately 1660 and 1870. Through engaging with scholarship and primary sources from disciplines including musicology, philosophy, and the history of science and medicine, we will focus on the role of music in shifting understandings of mental states, aesthetic ideals, methods of treatment, and questions of sensation, attention, and cognition. We will examine the role of resonance and vibration in various models of mental activity, conceptualizations of music as a healing or destabilizing medium, as well as the role of musical instruments and sounds in different philosophical and physiological theories of the body. Based on our readings and investigations, students will develop new strategies for engaging with music from analytical, historical, and scientific perspectives. The course is intended to foster interdisciplinary engagement between musicology, the history of science and medicine, and disability studies, providing students with critical tools to examine constructions of music and the brain in various contexts.

MUSI W3515 Advanced Piano Instruction I. 1 point.

Prerequisites: Instructor Permission

$500 MUSIC LESSON FEE FOR NON-MAJORS/CONCENTRATORS. All freshmen and sophomore students wishing to major/minor/concentrate in music, and thereby get their lesson fees waived, are required to make an appointment with Prof. Brad Garton ( *Special j azz concentrators will meet with Prof. Chris Washburne), Dean of Undergraduate Studies, EVERY SEMESTER during the registration period , in order to register for appropriate courses . Fees will not be waived without meeting this requirement. All accepted MPP students must register for lessons and ensembles by the change-of-program deadline in order to be allowed to attend lessons that semester. Petitioning students must notify MPP staff prior to this deadline.  

MUSI W4035 Animal Music. 3 points.

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.

MUSI W4102 Music and Writings of Wagner. 3 points.

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.

MUSI W4125 Puccini and the Twentieth Century. 3 points.

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.

MUSI W4126 European Music in America 1825-1950. 3 points.

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.

MUSI W4127 Music and Word in the Western Music Tradition. 3 points.

The combination of music and word in song and other genres has led to some of the most contentious debates in Western musical thought. This course surveys these major debates, with close examination of select works and their historical contexts. Working with methods from poetry analysis, music analysis, semiotics, and historical musicology we will consider how composers and poets have negotiated the combinations of their arts, and how cultural and political forces have influenced their decisions. Students will complete a semester-long project on a song of their choosing.

MUSI W4150 Music and Politics in Pre-Revolutionary France. 3 points.

This course examines the relationship between musical and political institutions in France, from the reign of Louis XIV through the fall of the monarchy. We will 1) survey the development of musical style through listening and analysis; and 2) investigate how representative works reflected broad changes in the production and consumption of music during the grand siècle and age of Enlightenment. Topics will include: systems of court patronage and theatrical privilege; the rise of music criticism in the public sphere; the influence of the philosophes; salon culture; and the role of the arts in the historiography of the Revolution.

MUSI W4151 New York Avant-Gardes: Music and Performance Since 1950. 3 points.

Priority given to music majors and concentrators, and Music Department graduate students.

This course explores New York's avant-garde music scenes and networks since 1950. Examples are drawn from a wide range of music, including "downtown" minimalism, "uptown" serialism, free jazz, and punk rock. In addition to investigating the aesthetic and conceptual underpinnings of these genres, we will study their entwinement with venues and institutions such as the Columbia-Princeton Electronic Music Center, the Harlem Cultural Council, the Kitchen, the Black Arts Repertory Theatre and School, the Brooklyn Academy of Music, and CBGB. We will have the chance to visit a number of these spaces. Although music will be our primary lens through which to study New York's postwar cultural life, we will also explore interconnections between music, visual art, and theater in Fluxus, intermedia, and performance art movements. As such, this course is heavily interdisciplinary, and we will read widely in musicology, art history, literary theory, media studies, sociology, and performance studies. Each week's discussion will be guided by these readings, as well as by in-class and out-of-class listening. Musicians/composers/artists to be studied include John Cage, Meredith Monk, Ornette Coleman, Milton Babbitt, Laurie Anderson, the Afro-American Singing Theater, La Monte Young, Robert Ashley, Philip Glass, the Velvet Underground, Joan La Barbara, Anthony Braxton, Elliott Carter, the Talking Heads, John Zorn, Richard Foreman, Robert Wilson, and Julius Eastman.

MUSI W4241 Advanced Projects in Composition. 3 points.

Prerequisites: grades obtained in V3241-V3242; compositions written in V3242; the instructor's permission.

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

MUSI W4242 Advanced Projects in Composition. 3 points.

Prerequisites: grades obtained in V3241-V3242; compositions written in V3242; the instructor's permission.

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

MUSI W4256 Off the Grid: Notation in New Music. 3 points.

Prerequisites: the instructor's permission.

Notation is a creative act, neither neutral nor self-evident. Our compositional ideas are inextricably bound up with the symbols we use to represent them. The weight of history bears heavily on these choices, delivering through the ages a conventional system deeply embedded with the priorities and assumptions of the tradition it serves. Yet innovations arise out of crises, and where convention fails new methods of communication are developed. The past century is replete with composers who have adapted and broken with common-practice notation in search of novel modes of music making. In this course we will consider the pragmatic and aesthetic consequences of expanded notation -- scores that to varying degrees of extremity stretch the boundaries of conventional music representation. We will approach these works as composers, as performers, and as analysts.

MUSI W4405 Music and Language. 3 points.

Prerequisite: music major or instructor's permission. A survey of 20th-century literatures on the music/language relationship. Emphasis on semiotic and social-scientific paradigms.

MUSI W4420 Music and Property. 0 points.

Not offered during 2017-18 academic year.

Prerequisites: the instructor's permission.

This courses raises the questions: 1) What does it mean to "own" music?, 2) In what senses can music be conceptualized as "property?"; and 3) 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.

MUSI W4435 Music and Performance in the African Postcolony. 3 points.

Not offered during 2017-18 academic year.

This course examines music and performance in various African contexts, focusing on the postcolonial period.  It will explore the complex interactions between music, politics, nation, race, and mediation through case studies from Ghana, Nigeria, DRC, Kenya, Tanzania, Zimbabwe, Namibia, and South Africa. In addition, discussions will involve what is meant to speak about "African music," and class will theorize about the conditions of musical production in the context of postcolonialism.

MUSI W4507 The New Thing: Jazz 1955-1980. 0 points.

Not offered during 2017-18 academic year.

Prerequisites: the instructor's permission.

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.

MUSI W4526 Orchestration. 3 points.

Prerequisites: MUSI W4525 (Instrumentation), or the 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.

MUSI W4540 Histories of Post-1960's Jazz. 3 points.

Not offered during 2017-18 academic year.

Prerequisites: HUMA W1123 or the equivalent.

Historiographical issues surrounding the performance of jazz and improvised musics after 1960. Topics include genre and canon formation, gender, race, and cultural nationalisms, economics and infrastructure, debates around art and the vernacular, globalization, and media reception. Reading knowledge of music is not required.

MUSI W4626 Concepts of Musical Instrument in Electronic and Computer Music. 3 points.

Prerequisites: MUSI V2205 or the instructor's permission.

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.

The University reserves the right to withdraw or modify the courses of instruction or to change the instructors as may become necessary.