Courses for Music

Unify Course Listings

Instrumental Instruction and Performance Courses

Please note: In the instrumental lessons listed below, all offered on a weekly, individual basis, a course of half-hour lessons earns 1 point of credit, and a course of one-hour lessons earns 2 points of credit. Unless otherwise indicated, information on auditions and registration is posted during the fall registration period by the director of Music Performance Program.

MUSI W 1500x Early Instruments

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.
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.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI W1500
MUSI
1500
29685
001
TBA K. Cooper 0 / 10 [ More Info ]
MUSI
1500
21431
002
TBA R. Morley 0 / 10 [ More Info ]

MUSI BC 1501x-BC1502y Voice Instruction

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

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI BC1502
MUSI
1502
04991
001
TBA G. Archer 15 [ More Info ]
Autumn 2016 :: MUSI BC1501
MUSI
1501
04505
001
TBA G. Archer 21 [ More Info ]

MUSI W 1501y Early Instruments

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.
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.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI W1501
MUSI
1501
24560
001
TBA K. Cooper 0 [ More Info ]
MUSI
1501
60568
002
TBA R. Morley 0 [ More Info ]

MUSI W 1509x Organ Instruction I

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

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI W1509
MUSI
1509
19687
001
TBA P. Maki 0 / 10 [ More Info ]

MUSI W 1510y Organ Instruction II

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

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI W1510
MUSI
1510
13937
001
TBA P. Maki 2 [ More Info ]

MUSI W 1513x Introduction To Piano I

$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.
Prerequisites: Instructor permission
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI W1513
MUSI
1513
63319
001
TBA Instructor To Be Announced 0 / 50 [ More Info ]
MUSI
1513
75261
002
TBA M. Skelly 0 / 50 [ More Info ]
MUSI
1513
65526
003
TBA D. Alexeev 0 / 50 [ More Info ]
MUSI
1513
24427
004
TBA R. Uchida 0 / 50 [ More Info ]

MUSI W 1514y Introduction To Piano II

$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.
Prerequisites: Instructor permission
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI W1514
MUSI
1514
73466
001
TBA N. Ostbye 20 [ More Info ]
MUSI
1514
18843
002
TBA M. Skelly 11 [ More Info ]
MUSI
1514
15915
003
TBA D. Alexeev 2 [ More Info ]
MUSI
1514
23963
004
TBA N. Ostbye 3 [ More Info ]

MUSI W 1515x Elementary Piano Instruction I

$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.
Prerequisites: Instructor permission
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI W1515
MUSI
1515
68716
001
TBA N. Ostbye 0 / 50 [ More Info ]
MUSI
1515
10474
002
TBA M. Skelly 0 / 50 [ More Info ]
MUSI
1515
73315
003
TBA D. Alexeev 0 / 50 [ More Info ]
MUSI
1515
29567
104
TBA R. Uchida 0 / 50 [ More Info ]

MUSI W 1516y Elementary Piano Instruction II

$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.
Prerequisites: Instructor permission
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI W1516
MUSI
1516
65627
001
TBA N. Ostbye 0 [ More Info ]
MUSI
1516
12368
002
TBA M. Skelly 4 [ More Info ]
MUSI
1516
64704
003
TBA D. Alexeev 1 [ More Info ]

MUSI W 1517x Keyboard Harmony and Musicianship

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.
Prerequisites: Instructor
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI W1517
MUSI
1517
29952
001
TBA Instructor To Be Announced 0 / 50 [ More Info ]
MUSI
1517
65943
002
TBA M. Skelly 0 / 50 [ More Info ]

MUSI W 1518y Keyboard Harmony and Musicianship

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.
Prerequisites: Instructor Permission
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI W1518
MUSI
1518
68891
001
TBA N. Ostbye 1 [ More Info ]
MUSI
1518
23830
002
TBA M. Skelly 0 [ More Info ]

MUSI W 1525x Instrumental Instruction I

$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.
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.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI W1525
MUSI
1525
61231
001
TBA M. Goldberg 0 / 25 [ More Info ]
MUSI
1525
70682
002
TBA E. Bailen 0 / 25 [ More Info ]
MUSI
1525
14850
003
TBA Y. Bond 0 / 25 [ More Info ]
MUSI
1525
73660
004
TBA J. Wilson 0 / 25 [ More Info ]
MUSI
1525
62977
005
TBA A. Blustine 0 / 25 [ More Info ]
MUSI
1525
72737
006
TBA J. Rieske 0 / 25 [ More Info ]
MUSI
1525
16582
007
TBA S. Kahn 0 / 25 [ More Info ]
MUSI
1525
70392
008
TBA S. Palma-Nidel 0 / 25 [ More Info ]
MUSI
1525
21135
009
TBA S. Rotholz 0 / 25 [ More Info ]
MUSI
1525
23635
010
TBA A. Kampela 0 / 25 [ More Info ]
MUSI
1525
10308
011
TBA M. Cappelli 0 / 25 [ More Info ]
MUSI
1525
17235
012
TBA J. Kerr 0 / 25 [ More Info ]
MUSI
1525
18002
013
TBA J. Han 0 / 25 [ More Info ]
MUSI
1525
26970
014
TBA K. Cooper 0 / 25 [ More Info ]
MUSI
1525
24374
015
TBA V. Bodner 0 / 25 [ More Info ]
MUSI
1525
64078
016
TBA M. Truesdell 0 / 25 [ More Info ]
MUSI
1525
23707
017
TBA P. Cohen 0 / 25 [ More Info ]
MUSI
1525
12167
018
TBA L. Kosma 0 / 25 [ More Info ]
MUSI
1525
73403
019
TBA M. Seltzer 0 / 25 [ More Info ]
MUSI
1525
14521
020
TBA G. Flowers 0 / 25 [ More Info ]
MUSI
1525
23073
021
TBA R. Stewart 0 / 25 [ More Info ]
MUSI
1525
24247
022
TBA S. Adams 0 / 25 [ More Info ]
MUSI
1525
75965
023
TBA A. Neu 0 / 25 [ More Info ]
MUSI
1525
20718
024
TBA J. Thompson 0 / 25 [ More Info ]
MUSI
1525
15342
025
TBA R. Morley 0 / 25 [ More Info ]
MUSI
1525
16228
026
TBA C. Beroukhim 0 / 25 [ More Info ]
MUSI
1525
72595
027
TBA D. Fulmer 0 / 25 [ More Info ]
MUSI
1525
77242
028
TBA L. Kim 0 / 25 [ More Info ]
MUSI
1525
18181
029
TBA M. Otani 0 / 25 [ More Info ]
MUSI
1525
76964
030
TBA R. Rood 0 / 25 [ More Info ]
MUSI
1525
76217
031
TBA B. Jones 0 / 25 [ More Info ]
MUSI
1525
72095
032
TBA U. Okegwo 0 / 25 [ More Info ]
MUSI
1525
10997
033
TBA L. Traversa 0 / 25 [ More Info ]
MUSI
1525
16769
034
TBA P. Bollenback 0 / 25 [ More Info ]
MUSI
1525
74884
035
TBA L. Traversa 0 / 25 [ More Info ]
MUSI
1525
28251
036
TBA A. Moreno 0 / 25 [ More Info ]
MUSI
1525
18647
037
TBA V. Cherico 0 / 25 [ More Info ]
MUSI
1525
23976
038
TBA A. dos Santos 0 / 25 [ More Info ]
MUSI
1525
13639
039
TBA A. Milne 0 / 25 [ More Info ]
MUSI
1525
71004
040
TBA B. Barth 0 / 25 [ More Info ]
MUSI
1525
64870
041
TBA V. Lin 0 / 25 [ More Info ]
MUSI
1525
25472
042
TBA H. Sung 0 / 25 [ More Info ]
MUSI
1525
72238
043
TBA O. Mathisen 0 / 25 [ More Info ]
MUSI
1525
24469
044
TBA J. Gibson 0 / 25 [ More Info ]
MUSI
1525
72094
045
TBA D. Sickler 0 / 25 [ More Info ]
MUSI
1525
21226
046
TBA C. Correa 0 / 25 [ More Info ]
MUSI
1525
71770
047
TBA O. Mathisen 0 / 25 [ More Info ]
MUSI
1525
13662
048
TBA D. Sickler 0 / 25 [ More Info ]

MUSI W 1526y Instrumental Instruction II

$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.
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.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI W1526
MUSI
1526
18062
001
TBA M. Goldberg 0 [ More Info ]
MUSI
1526
65556
002
TBA E. Bailen 2 [ More Info ]
MUSI
1526
77075
003
TBA Y. Bond 0 [ More Info ]
MUSI
1526
60678
006
TBA J. Wilson 1 [ More Info ]
MUSI
1526
17789
007
TBA A. Blustine 0 [ More Info ]
MUSI
1526
66496
009
TBA S. Kahn 2 [ More Info ]
MUSI
1526
18628
010
TBA S. Palma-Nidel 0 [ More Info ]
MUSI
1526
11617
011
TBA S. Rotholz 0 [ More Info ]
MUSI
1526
76608
012
TBA B. Gemeinhardt 0 [ More Info ]
MUSI
1526
23279
013
TBA A. Kampela 0 [ More Info ]
MUSI
1526
18633
014
TBA P. Cohen 0 [ More Info ]
MUSI
1526
26750
015
TBA J. Han 1 [ More Info ]
MUSI
1526
27550
016
TBA K. Cooper 0 [ More Info ]
MUSI
1526
60291
017
TBA V. Bodner 0 [ More Info ]
MUSI
1526
25649
018
TBA M. Truesdell 0 [ More Info ]
MUSI
1526
24265
019
TBA L. Kosma 0 [ More Info ]
MUSI
1526
27733
020
TBA M. Seltzer 0 [ More Info ]
MUSI
1526
26380
021
TBA G. Flowers 0 [ More Info ]
MUSI
1526
28954
022
TBA R. Stewart 0 [ More Info ]
MUSI
1526
26372
023
TBA S. Adams 1 [ More Info ]
MUSI
1526
74833
024
TBA A. Neu 2 [ More Info ]
MUSI
1526
61031
026
TBA C. Beroukhim 3 [ More Info ]
MUSI
1526
13203
027
TBA D. Fulmer 3 [ More Info ]
MUSI
1526
19098
028
TBA L. Kim 0 [ More Info ]
MUSI
1526
21286
029
TBA M. Otani 1 [ More Info ]
MUSI
1526
67785
030
TBA R. Rood 3 [ More Info ]
MUSI
1526
20248
031
TBA B. Jones 0 [ More Info ]
MUSI
1526
65579
032
TBA U. Okegwo 2 [ More Info ]
MUSI
1526
13682
033
TBA P. Bollenback 2 [ More Info ]
MUSI
1526
61486
034
TBA A. Moreno 0 [ More Info ]
MUSI
1526
22935
035
TBA V. Cherico 1 [ More Info ]
MUSI
1526
24624
036
TBA A. dos Santos 0 [ More Info ]
MUSI
1526
26283
037
TBA B. Barth 1 [ More Info ]
MUSI
1526
28461
038
TBA O. Mathisen 2 [ More Info ]
MUSI
1526
64858
039
TBA J. Gibson 1 [ More Info ]
MUSI
1526
14274
040
TBA D. Sickler 0 [ More Info ]
MUSI
1526
76136
041
TBA C. Correa 6 [ More Info ]
MUSI
1526
60841
042
TBA L. Traversa 1 [ More Info ]
MUSI
1526
80955
045
TBA Y. Bond 1 [ More Info ]
MUSI
1526
64535
049
TBA A. Blustine 2 [ More Info ]
MUSI
1526
89701
051
TBA S. Kahn 1 [ More Info ]
MUSI
1526
73252
055
TBA A. Kampela 1 [ More Info ]
MUSI
1526
82555
057
TBA J. Han 1 [ More Info ]
MUSI
1526
18116
058
TBA K. Cooper 0 [ More Info ]
MUSI
1526
76533
060
TBA M. Truesdell 1 [ More Info ]
MUSI
1526
80032
061
TBA L. Kosma 1 [ More Info ]
MUSI
1526
23339
070
TBA R. Rood 2 [ More Info ]
MUSI
1526
28498
071
TBA L. Traversa 1 [ More Info ]
MUSI
1526
23455
073
TBA U. Okegwo 1 [ More Info ]
MUSI
1526
63050
075
TBA P. Bollenback 5 [ More Info ]
MUSI
1526
69295
076
TBA A. Moreno 1 [ More Info ]
MUSI
1526
88106
077
TBA V. Cherico 1 [ More Info ]
MUSI
1526
90943
079
TBA B. Barth 8 [ More Info ]
MUSI
1526
69296
080
TBA O. Mathisen 4 [ More Info ]
MUSI
1526
89702
083
TBA C. Correa 4 [ More Info ]
MUSI
1526
19272
085
TBA V. Lin 2 [ More Info ]
MUSI
1526
63463
086
TBA J. Kerr 1 [ More Info ]
MUSI
1526
61298
087
TBA H. Sung 1 [ More Info ]
MUSI
1526
26799
088
TBA A. Milne 1 [ More Info ]
MUSI
1526
70798
089
TBA O. Mathisen 0 [ More Info ]
MUSI
1526
71698
090
TBA D. Sickler 0 [ More Info ]
MUSI
1526
69299
091
TBA V. Lin 1 [ More Info ]

MUSI V 1580x Collegium Musicum

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

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V1580
MUSI
1580
63084
001
W 7:30p - 10:30p
TBA
Instructor To Be Announced 0 [ More Info ]

MUSI V 1581y Collegium Musicum

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

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V1581
MUSI
1581
27799
001
MW 7:30p - 10:00p
TBA
P. Smith 3 [ More Info ]

MUSI V 1591x University Orchestra

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.
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.
2 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V1591
MUSI
1591
19714
001
Tu 6:30p - 9:30p
TBA
J. Milarsky 0 / 100 [ More Info ]

MUSI V 1592y University Orchestra

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.
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.
2 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V1592
MUSI
1592
13016
001
Tu 6:30p - 9:30p
TBA
J. Milarsky 64 / 75 [ More Info ]

MUSI V 1593x Barnard-Columbia Chorus

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.
Prerequisites: auditions by appointment made at first meeting. Contact Barnard College, Department of Music (854-5096).
1 point May be taken for Pass credit only.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V1593
MUSI
1593
07743
001
TuTh 6:05p - 8:00p
TBA
G. Archer 7 [ More Info ]

MUSI V 1594y Barnard-Columbia Chorus

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.
Prerequisites: auditions by appointment made at first meeting. Contact Barnard College, Department of Music (854-5096).
1 point May be taken for Pass credit only.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V1594
MUSI
1594
05085
001
TuTh 6:00p - 8:00p
405 MILBANK HALL
G. Archer 12 [ More Info ]

MUSI V 1595x Barnard-Columbia Chamber Singers

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.
Prerequisites: auditions by appointment made at first meeting. Contact Barnard College, Department of Music (854-5096).
1 point May be taken for Pass credit only.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V1595
MUSI
1595
07745
001
TuTh 8:00p - 9:30p
TBA
G. Archer 3 [ More Info ]

MUSI V 1596y Barnard-Columbia Chamber Singers

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.
Prerequisites: contact Barnard College, Department of Music (854-5096).
1 point May be taken for Pass credit only.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V1596
MUSI
1596
05333
001
TuTh 8:00p - 9:30p
405 MILBANK HALL
G. Archer 4 [ More Info ]

MUSI V 1598x Chamber Ensemble

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.
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.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V1598
MUSI
1598
67211
001
TBA D. Bradley-Kramer 0 / 50 [ More Info ]
MUSI
1598
64587
002
TBA A. Kampela 0 / 50 [ More Info ]
MUSI
1598
21512
003
TBA M. Cappelli 0 / 50 [ More Info ]
MUSI
1598
68446
004
TBA S. Adams 0 / 50 [ More Info ]
MUSI
1598
71086
005
TBA E. Bailen 0 / 50 [ More Info ]
MUSI
1598
77439
006
TBA A. Blustine 0 / 50 [ More Info ]
MUSI
1598
74709
007
TBA Y. Bond 0 / 50 [ More Info ]
MUSI
1598
11585
008
TBA S. Kahn 0 / 50 [ More Info ]
MUSI
1598
19086
009
TBA A. Neu 0 / 50 [ More Info ]
MUSI
1598
25013
010
TBA M. Otani 0 / 50 [ More Info ]
MUSI
1598
10129
011
TBA S. Palma-Nidel 0 / 50 [ More Info ]
MUSI
1598
19992
012
TBA R. Rood 0 / 50 [ More Info ]
MUSI
1598
65227
013
TBA S. Rotholz 0 / 50 [ More Info ]
MUSI
1598
62154
014
TBA J. Thompson 0 / 50 [ More Info ]
MUSI
1598
29496
015
TBA J. Wilson 0 / 50 [ More Info ]
MUSI
1598
63790
016
TBA J. Han 0 / 100 [ More Info ]
MUSI
1598
28651
017
TBA K. Cooper 0 / 100 [ More Info ]
MUSI
1598
69136
018
TBA V. Bodner 0 / 100 [ More Info ]
MUSI
1598
12760
019
TBA M. Cerar 0 / 100 [ More Info ]
MUSI
1598
27790
020
TBA D. Fulmer 0 / 100 [ More Info ]

MUSI V 1599y Chamber Ensemble

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.
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.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V1599
MUSI
1599
86299
001
TBA D. Bradley-Kramer 3 / 65 [ More Info ]
MUSI
1599
86500
002
TBA A. Kampela 2 / 50 [ More Info ]
MUSI
1599
86648
003
TBA M. Cappelli 0 / 50 [ More Info ]
MUSI
1599
86850
004
TBA S. Adams 2 / 50 [ More Info ]
MUSI
1599
86952
005
TBA E. Bailen 3 / 50 [ More Info ]
MUSI
1599
87053
006
TBA A. Blustine 4 / 50 [ More Info ]
MUSI
1599
87201
007
TBA Y. Bond 8 / 50 [ More Info ]
MUSI
1599
87309
008
TBA S. Kahn 3 / 50 [ More Info ]
MUSI
1599
87449
009
TBA A. Neu 4 / 50 [ More Info ]
MUSI
1599
87552
010
TBA M. Otani 15 / 50 [ More Info ]
MUSI
1599
87700
011
TBA S. Palma-Nidel 2 / 50 [ More Info ]
MUSI
1599
87802
012
TBA R. Ramakrishnan 0 / 50 [ More Info ]
MUSI
1599
87951
013
TBA R. Rood 6 / 50 [ More Info ]
MUSI
1599
88105
014
TBA S. Rotholz 5 / 50 [ More Info ]
MUSI
1599
88198
015
TBA W. Sutter 0 / 50 [ More Info ]
MUSI
1599
88302
016
TBA J. Thompson 0 / 50 [ More Info ]
MUSI
1599
88451
017
TBA J. Wilson 0 / 50 [ More Info ]
MUSI
1599
88551
018
TBA J. Han 0 / 50 [ More Info ]
MUSI
1599
88700
019
TBA K. Cooper 1 / 50 [ More Info ]
MUSI
1599
90800
020
TBA V. Bodner 0 / 50 [ More Info ]
MUSI
1599
90898
021
TBA D. Fulmer 0 / 50 [ More Info ]
MUSI
1599
91059
022
TBA M. Cerar 2 / 50 [ More Info ]

MUSI V 1618x Columbia University Jazz Ensemble

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.
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.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V1618
MUSI
1618
74376
001
TBA Instructor To Be Announced 0 / 50 [ More Info ]
MUSI
1618
62995
002
TBA V. Lin 0 / 50 [ More Info ]
MUSI
1618
70762
003
TBA O. Mathisen 0 / 50 [ More Info ]
MUSI
1618
68985
004
TBA D. Sickler 0 / 50 [ More Info ]
MUSI
1618
70874
005
TBA H. Sung 0 / 50 [ More Info ]
MUSI
1618
63643
006
TBA B. Barth 0 / 50 [ More Info ]
MUSI
1618
66511
007
TBA Instructor To Be Announced 0 / 50 [ More Info ]

MUSI V 1619y Columbia University Jazz Ensemble

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.
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.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V1619
MUSI
1619
11487
001
TBA C. Correa 13 / 50 [ More Info ]
MUSI
1619
65400
002
TBA V. Lin 8 / 50 [ More Info ]
MUSI
1619
75268
003
TBA O. Mathisen 17 / 50 [ More Info ]
MUSI
1619
23740
004
TBA D. Sickler 19 / 50 [ More Info ]
MUSI
1619
74728
005
TBA H. Sung 9 / 50 [ More Info ]
MUSI
1619
25538
006
TBA B. Barth 7 / 50 [ More Info ]

MUSI V 1625x World Music Ensemble

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

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V1625
MUSI
1625
25746
001
TBA J. Kerr 0 / 50 [ More Info ]
MUSI
1625
69639
002
TBA L. Sasaki 0 / 50 [ More Info ]
MUSI
1625
26264
003
TBA J. Warschauer 0 / 50 [ More Info ]
MUSI
1625
27065
004
TBA A. dos Santos 0 / 50 [ More Info ]
MUSI
1625
23742
005
TBA J. Schlefer 0 / 50 [ More Info ]
MUSI
1625
74895
006
TBA T. Ben-Amor 0 / 50 [ More Info ]

MUSI V 1626y World Music Ensemble

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.
Prerequisites: Instructor permission. Contact Music Performance Program at mpp@columbia.edu
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V1626
MUSI
1626
62928
001
TBA J. Kerr 6 / 50 [ More Info ]
MUSI
1626
77473
002
TBA L. Sasaki 8 / 50 [ More Info ]
MUSI
1626
26708
003
TBA J. Warschauer 3 / 50 [ More Info ]
MUSI
1626
71494
004
TBA L. Traversa
V. Cherico
7 / 50 [ More Info ]
MUSI
1626
22362
005
TBA J. Schlefer 3 / 50 [ More Info ]

MUSI W 2515x Intermediate Piano Instruction I

$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.
Prerequisites: Instructor permission
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI W2515
MUSI
2515
60063
001
TBA Instructor To Be Announced 0 / 50 [ More Info ]
MUSI
2515
61429
002
TBA M. Skelly 0 / 50 [ More Info ]
MUSI
2515
76998
003
TBA D. Alexeev 0 / 50 [ More Info ]
MUSI
2515
61497
004
TBA R. Uchida 0 / 50 [ More Info ]

MUSI W 2516y Intermediate Piano Instruction II

$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.
Prerequisites: Instructor permission.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI W2516
MUSI
2516
61574
001
TBA N. Ostbye 0 [ More Info ]
MUSI
2516
75750
002
TBA M. Skelly 11 [ More Info ]
MUSI
2516
24727
003
TBA D. Alexeev 2 [ More Info ]
MUSI
2516
23500
004
TBA M. Skelly 4 / 50 [ More Info ]

MUSI W 3515x Advanced Piano Instruction I

$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.
Prerequisites: Instructor Permission
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI W3515
MUSI
3515
65844
001
TBA Instructor To Be Announced 0 / 50 [ More Info ]
MUSI
3515
75100
002
TBA M. Skelly 0 / 50 [ More Info ]
MUSI
3515
77169
003
TBA D. Alexeev 0 / 50 [ More Info ]
MUSI
3515
70142
004
TBA R. Uchida 0 / 50 [ More Info ]

MUSI W 3516y Advanced Piano Instruction II

$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.
Prerequisites: Instructor permission.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI W3516
MUSI
3516
28930
001
TBA N. Ostbye 0 [ More Info ]
MUSI
3516
64595
002
TBA M. Skelly 2 [ More Info ]
MUSI
3516
13907
003
TBA D. Alexeev 0 [ More Info ]
MUSI
3516
20351
004
TBA R. Uchida 4 [ More Info ]

Introductory Theory and Ear-Training Courses

MUSI V 1002x Fundamentals of Music

Introduction to music, including notation, written and aural skills, and basic conceptual resources of music theory. Exploration of scale, mode, rhythm, meter, texture and form, with reference to a diverse range of musics. (Through Spring 2014, this course was entitled Fundamentals of Western Music.)
Corequisites: Introductory Ear-Training (V1312, or higher, as determined by placement exam). BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V1002
MUSI
1002
28896
001
MW 4:10p - 5:25p
622 DODGE BUILDING
O. Hilewicz 17 / 30 [ More Info ]
MUSI
1002
66890
002
TuTh 4:10p - 5:25p
622 DODGE BUILDING
G. DeGraf 12 / 30 [ More Info ]
Autumn 2016 :: MUSI V1002
MUSI
1002
62655
001
MW 4:10p - 5:25p
TBA
Instructor To Be Announced 15 / 30 [ More Info ]
MUSI
1002
71430
002
TuTh 4:10p - 5:25p
TBA
Instructor To Be Announced 7 / 30 [ More Info ]

MUSI V 1312x or y-V1312y Introductory Ear Training

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.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V1312
MUSI
1312
74283
001
MW 12:10p - 1:00p
404 DODGE BUILDING
P. Smith 15 / 12 [ More Info ]
MUSI
1312
23341
002
TuTh 3:10p - 4:00p
803 DODGE BUILDING
R. Amir Arjomand 7 / 12 [ More Info ]
Autumn 2016 :: MUSI V1312
MUSI
1312
29609
001
MW 12:10p - 1:00p
TBA
Instructor To Be Announced 12 / 12 [ More Info ]
MUSI
1312
74238
002
TuTh 3:10p - 4:00p
TBA
Instructor To Be Announced 10 / 12 [ More Info ]

Main Theory Sequence

MUSI V 2318x Music Theory I

Elementary analysis and composition in a variety of modal and tonal idioms. A one-hour weekly lab is required, to be scheduled at the beginning of the term.
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.) Lab Required. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V2318
MUSI
2318
11071
001
MW 1:10p - 2:25p
622 DODGE BUILDING
E. Adams 11 / 24 [ More Info ]
Autumn 2016 :: MUSI V2318
MUSI
2318
63360
001
MW 10:10a - 11:25a
TBA
M. Kozak 17 / 25 [ More Info ]
MUSI
2318
90896
002
TuTh 1:10p - 2:25p
TBA
P. Susser 25 / 25 [ More Info ]

MUSI V 2319y Music Theory II

Elementary analysis and composition in a variety of tonal idioms. (Through Spring 2014, this course was entitled Diatonic Harmony and Counterpoint II.) - M. Kozak, P. Susser
Prerequisites: MUSI V2318. Corequisites: one course from Ear-Training I-IV (V2314, V2315, V3316, or V3317, as determined by placement exam.)
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V2319
MUSI
2319
73549
001
TuTh 10:10a - 11:25a
622 DODGE BUILDING
M. Kozak 15 / 20 [ More Info ]
MUSI
2319
74421
002
MW 1:10p - 2:25p
405 DODGE BUILDING
J. Di Ponio 13 / 20 [ More Info ]
Autumn 2016 :: MUSI V2319
MUSI
2319
73744
001
MW 1:10p - 2:25p
TBA
Instructor To Be Announced 12 / 25 [ More Info ]

MUSI V 3321x Music Theory III

Intermediate analysis and composition in a variety of tonal idioms. (Through Spring 2014, this course was entitled Chromatic Harmony and Counterpoint I.)
Prerequisites: MUSI V2319. Corequisites: one course from Ear-training I-IV (V2314, V2315, V3316, or V3317, as determined by placement exam.) Lab Required.
3 points A one-hour weekly lab is required, to be scheduled at the beginning of the term.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V3321
MUSI
3321
10527
001
MW 1:10p - 2:25p
620 DODGE BUILDING
D. Cohen 13 / 25 [ More Info ]
Autumn 2016 :: MUSI V3321
MUSI
3321
74969
001
MW 1:10p - 2:25p
TBA
E. Hisama 10 / 25 [ More Info ]
MUSI
3321
25054
002
TuTh 1:10p - 2:25p
TBA
J. Dubiel 7 / 25 [ More Info ]

MUSI V 3322y Music Theory IV

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

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V3322
MUSI
3322
10801
001
MW 1:10p - 2:25p
814 DODGE BUILDING
R. Porterfield 11 / 25 [ More Info ]
MUSI
3322
10974
002
TuTh 1:10p - 2:25p
622 DODGE BUILDING
E. Hisama 8 / 25 [ More Info ]
Autumn 2016 :: MUSI V3322
MUSI
3322
62269
001
TuTh 1:10p - 2:25p
TBA
Instructor To Be Announced 10 / 25 [ More Info ]

Main Ear-Training Sequence

Please note: For the following ear-training labs, students must take a placement test at the beginning of the term and may not register without the permission of the ear-training coordinator.

MUSI V 2314x or y Ear Training, I

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

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V2314
MUSI
2314
22358
001
MW 12:10p - 1:00p
405 DODGE BUILDING
L. Schwartz 14 / 12 [ More Info ]
MUSI
2314
16844
002
TuTh 3:10p - 4:00p
620 DODGE BUILDING
P. Susser 7 / 12 [ More Info ]
Autumn 2016 :: MUSI V2314
MUSI
2314
75409
001
MW 12:10p - 1:00p
TBA
Instructor To Be Announced 12 / 12 [ More Info ]
MUSI
2314
63362
002
TuTh 3:10p - 4:00p
TBA
Instructor To Be Announced 4 / 12 [ More Info ]

MUSI V 2315x or y Ear Training, II

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

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V2315
MUSI
2315
72371
001
MW 3:10p - 4:00p
405 DODGE BUILDING
L. Schwartz 7 / 12 [ More Info ]
MUSI
2315
13705
002
TuTh 12:10p - 1:00p
814 DODGE BUILDING
M. Joviala 6 / 12 [ More Info ]
Autumn 2016 :: MUSI V2315
MUSI
2315
65411
001
MW 3:10p - 4:00p
TBA
Instructor To Be Announced 9 / 12 [ More Info ]
MUSI
2315
21651
002
TuTh 12:10p - 1:00p
TBA
Instructor To Be Announced 9 / 12 [ More Info ]

MUSI V 3316x or y Ear Training, III

Sight-singing techniques of modulating diatonic melodies in simple, compound, or irregular meters that involve complex rhythmic patterns. Emphasis is placed on four-part harmonic dictation of modulating phrases.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V3316
MUSI
3316
14347
001
MW 3:10p - 4:00p
814 DODGE BUILDING
R. Miller 9 / 12 [ More Info ]
MUSI
3316
63759
002
TuTh 12:10p - 1:00p
404 DODGE BUILDING
P. Susser 13 / 12 [ More Info ]
Autumn 2016 :: MUSI V3316
MUSI
3316
61950
001
MW 12:10p - 1:00p
TBA
Instructor To Be Announced 2 / 12 [ More Info ]
MUSI
3316
11918
002
TuTh 12:10p - 1:00p
803 DODGE BUILDING
P. Susser 5 / 12 [ More Info ]

MUSI V 3317x or y Ear Training, IV

Techniques of musicianship at the intermediate level, stressing the importance of musical nuances in sight-singing. Emphasis is placed on chromatically inflected four-part harmonic dictation.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V3317
MUSI
3317
61647
001
MW 4:10p - 5:00p
814 DODGE BUILDING
R. Miller 11 / 12 [ More Info ]
MUSI
3317
12064
002
TuTh 4:10p - 5:00p
814 DODGE BUILDING
R. Amir Arjomand 10 / 12 [ More Info ]
Autumn 2016 :: MUSI V3317
MUSI
3317
11840
001
MW 4:10p - 5:00p
TBA
Instructor To Be Announced 10 / 12 [ More Info ]
MUSI
3317
76155
002
TuTh 4:10p - 5:00p
TBA
Instructor To Be Announced 9 / 12 [ More Info ]

MUSI W 4318y Ear Training, V

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

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI W4318
MUSI
4318
12390
001
MW 12:10p - 1:00p
TBA
P. Susser 2 / 12 [ More Info ]

MUSI W 4319x (Section 001) Ear Training VI

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

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI W4319
MUSI
4319
26170
001
MW 12:10p - 1:00p
814 DODGE BUILDING
R. Miller 8 [ More Info ]

Music History Courses

MUSI V 3128x History of Western Music I: Middle Ages To Baroque

Topics in Western music from Antiquity through Bach and Handel, focusing on the development of musical style and thought, and analysis of selected works. - S. Boynton, W. Frisch, G. Gerbino, K. Henson, E. Sisman
Prerequisites: MUSI V2318-V2319. May be taken before or concurrently with this course.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V3128
MUSI
3128
16281
001
TuTh 2:40p - 3:55p
TBA
S. Boynton 28 / 35 [ More Info ]

MUSI V 3129y History of Western Music II: Classical To the 20th Century

Topics in Western music from the Classical era to the present day, focusing on the development of musical style and thought, and on analysis of selected works. - S. Boynton, W. Frisch, G. Gerbino, K. Henson, E. Sisman
Prerequisites: MUSI V2318-2319. May be taken before or concurrently with this course.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V3129
MUSI
3129
70094
001
TuTh 2:40p - 3:55p
622 DODGE BUILDING
J. Doe 28 / 40 [ More Info ]

Music Composition Courses

MUSI V 3239 (Section 001) Introduction to Composition

Composition in shorter forms. Basic issues of musical structure and expression are explored in traditional and contemporary repertory. - G. F. Haas
Prerequisites: The prerequisites for this course are V1002 Fundamentals of Western Music and the instructor's permission. Permission of instructor. Music majors and concentrators have priority.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V3239
MUSI
3239
62983
001
TuTh 4:10p - 5:25p
620 DODGE BUILDING
G. Haas 10 / 25 [ More Info ]

MUSI V 3241x Projects in Composition I

Composition in more extended forms. Survey of advanced techniques of contemporary composition. (Previously called Advanced Composition.)
Prerequisites: MUSI V3310 or the instructor's permission.
3 points Composition Faculty

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V3241
MUSI
3241
16638
001
MW 2:40p - 3:55p
TBA
S. Di Castri 8 [ More Info ]

MUSI V 3242y Projects in Composition II

Composition in more extended forms. Survey of advanced techniques of contemporary composition. (Previously called Advanced Composition.)
Prerequisites: MUSI V3310 or the instructor's permission.
3 points Composition Faculty

MUSI V 3244 Tonal Composition

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. - P. Susser
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.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V3244
MUSI
3244
89693
001
MW 2:40p - 3:55p
622 DODGE BUILDING
P. Susser 17 / 24 [ More Info ]

MUSI W 4241x Advanced Composition

Composition for larger ensembles, supported by study of contemporary repertoire.
Prerequisites: MUSI V3241-MUSI V3242 and the instructor's permission.
3 points Composition Faculty

MUSI W 4242y Advanced Composition

Composition for larger ensembles, supported by study of contemporary repertoire.
Prerequisites: MUSI V3241-MUSI V3242 and the instructor's permission.
3 points Composition Faculty

Asian Music Humanities

AHMM V 3320x Introduction To the Musics of East Asia and Southeast Asia

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.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: AHMM V3320
AHMM
3320
17836
001
MW 6:10p - 7:25p
622 DODGE BUILDING
S. Garland 21 / 25 [ More Info ]
AHMM
3320
72355
002
MW 6:10p - 7:25p
620 DODGE BUILDING
E. Clark 25 / 25 [ More Info ]

AHMM V 3321y Introduction to the Musics of India and West Asia

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.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: AHMM V3321
AHMM
3321
24711
001
MW 6:10p - 7:25p
TBA
A. Ciucci 25 / 25 [ More Info ]
AHMM
3321
11355
002
MW 6:10p - 7:25p
TBA
Instructor To Be Announced 25 / 25 [ More Info ]

MUSI V 3337x or y Music and Multimedia

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. - O. Hilewicz
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V3337
MUSI
3337
26397
001
Tu 10:10a - 12:00p
814 DODGE BUILDING
O. Hilewicz 2 / 15 [ More Info ]

MUSI V 3337x or y Music and Multimedia

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. - O. Hilewicz
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V3337
MUSI
3337
26397
001
Tu 10:10a - 12:00p
814 DODGE BUILDING
O. Hilewicz 2 / 15 [ More Info ]

MUSI BC 3991xy Senior Project: Music Repertoire

Working with her advisor, a student will develop a vocal or instrumental recital program with representative musical works from a variety of historical periods. In order to satsify the requirement, the student will present an hour long public performance of the recital program. Students may also satisfy this requirement by composing original vocal or instrumental works.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI BC3991
MUSI
3991
09798
001
TBA G. Archer 2 [ More Info ]
Autumn 2016 :: MUSI BC3991
MUSI
3991
02988
001
TBA G. Archer 0 [ More Info ]

Elective Courses in Music

MUSI BC 1001x An Introduction to Music I

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. - G. Archer
Prerequisites: no previous knowledge of music is required. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI BC1001
MUSI
1001
03023
001
MW 2:40p - 3:55p
TBA
G. Archer 18 [ More Info ]
MUSI
1001
07740
002
TuTh 8:40a - 9:55a
TBA
K. Barbacane 11 [ More Info ]

MUSI BC 1002y An Introduction to Music II

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. - G. Archer
Prerequisites: no previous knowledge of music is required. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI BC1002
MUSI
1002
04952
001
MW 2:40p - 3:55p
325 MILBANK HALL
G. Archer 15 [ More Info ]
MUSI
1002
04976
002
TuTh 8:40a - 9:55a
325 MILBANK HALL
K. Barbacane 8 [ More Info ]

MUSI V 2010y Rock

Historical survey of rock music from its roots in the late 1940s to the present day.
Prerequisites: HUMA W1123 or the equivalent. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART).. Not offered in 2016-2017.
3 points

MUSI V 2016y Jazz

The musical and cultural features of jazz, beginning in 1900. - C. Washburne
BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

MUSI V 2020x Salsa, Soca, and Reggae: Popular Musics of the Caribbean

A survey of the major syncretic urban popular music styles of the Caribbean, exploring their origins, development, and sociocultural context.
BC: Fulfillment of General Education Requirement: Cultures in Comparison (CUL).. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

MUSI V 2021x Popular Musics of the Americas: Music in Contemporary Native

"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. - A. Fox
BC: Fulfillment of General Education Requirement: Cultures in Comparison (CUL).. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

MUSI V 2023y Beethoven

A study of the life and works of Ludwig van Beethoven, with emphasis on selected symphonies, string quartets, and piano sonatas. Also consider the changing nature of the critical reception of Beethoven and issues of classicism and romanticism in music. - E. Sisman
Prerequisites: HUMA W1123 or the equivalent. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

MUSI V 2024x or y Mozart

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. - E. Sisman
Prerequisites: HUMA W1123 or the equivalent.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V2024
MUSI
2024
29581
001
TuTh 4:10p - 5:25p
622 DODGE BUILDING
E. Sisman 7 / 40 [ More Info ]

MUSI V 2025y The Opera

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.
Prerequisites: HUMA W1123 or the equivalent. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V2025
MUSI
2025
73645
001
TuTh 11:40a - 12:55p
405 DODGE BUILDING
J. Doe 8 [ More Info ]

MUSI V 2030x Jewish Music of New York

With the arrival of the first Jewish immigrants in New York in the mid-1600s until today, Jewish music in the City has oscillated between preserving traditions and introducing innovative ideas. This course explores the variety of ways people have used music to describe, inscribe, symbolize, and editorialize their Jewish experience. Diverse musical experiences will serve as a window to address wider questions of identity, memory, dislocation, and connections to New York's dynamic and eclectic music culture. We will experience the City's Jewish soundscape by visiting various venues and meeting key players in today's music scene, in order to engage in the ongoing dialogues that define Jewishness in New York. Although a basic familiarity with Judaism and/or music is helpful for this course, it is by no means required. You do not need to know Jewish history to take this class, nor do you need to be musically literate. All translations will be provided, and all musical analysis will be well explained. - T. Frühauf
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V2030
MUSI
2030
27227
001
TuTh 11:40a - 12:55p
TBA
T. Fruehauf 24 [ More Info ]

MUSI V 2034y Music and Myth

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. - G. Gerbino
3 points

MUSI V 2138x Music of Russia: A Survey

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. - D. Bradley-Kramer
3 points

MUSI V 2145x Russian Music from Glinka to Gubaidulina

Study of the principal musical trends and aesthetics of Russia's music from the 19th century to present which, in addition to art music, will also involve the study of opera, film, and ballet. Topics to be explored include the government's role in shaping a national music identity, the folk music that inspired much of Russia's art music, and the relationship between social realism and kitsch. Major composers studied: Glinka, Tchaikovsky, Rachmaninoff, Scriabin, Stravinsky, Shostakovich, and Prokofiev. - D. Bradley-Kramer
Prerequisites: previous coursework in music (including HUMA W1123) or the instructor's permission.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V2145
MUSI
2145
11987
001
TuTh 11:40a - 12:55p
TBA
D. Bradley-Kramer 5 [ More Info ]

MUSI V 2205x Introduction to Digital Music (Previously called MIDI Music Production Techniques)

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. - B. Garton
Prerequisites: HUMA W1123 or the equivalent, and the instructor's permission. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V2205
MUSI
2205
18314
001
TuTh 1:10p - 2:25p
TBA
B. Garton 16 / 16 [ More Info ]

MUSI V 2206y Introduction to Digital Music (Previously called MIDI Music Production Techniques)

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. - N. Young
Prerequisites: HUMA W1123 or the equivalent, and the instructor's permission.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V2206
MUSI
2206
15963
001
TuTh 1:10p - 2:25p
317 PRENTIS HALL
D. Bird 18 / 18 [ More Info ]

MUSI V 2430x Listening and Sound in Cross-Cultural Perspective

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. - A. M. Ochoa
3 points

MUSI V 2500 Women and Music

This course explores the relationship between women, music, and performance from a thematic and a cross-cultural perspective. Through the analysis of different case studies, we will investigate different topics from the perspective of ethnomusicology, cultural anthropology, and performance studies. A number of critical questions we will consider include: how does a particular gender ideology constructs and is constructed by musical aesthetics? What are some of the critical roles for women in performance? What is the significance of gender in performances? What does it mean for women to have have and to be the voice? And how is a musical performance bound up with emotions? - A. Ciucci
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V2500
MUSI
2500
68009
001
MW 1:10p - 2:25p
404 DODGE BUILDING
A. Ciucci 8 / 40 [ More Info ]

MUSI V 2582 Jazz improvisation: theory, history and practice

This course offers an introduction to jazz improvisation for instrumentalists. Through recordings, transcriptions, daily performance and selected readings, students will actively engage the history of jazz through their instruments and intellect. The idea of improvisation will be explored in an historical context, both as a musical phenomenon with its attendant theory and mechanics, and as a trope of American history and aesthetics. This class is for instrumentalists who wish to deepen their understanding of the theory, history and practice of jazz improvisation. The history of jazz will be used as a prism through which to view approaches to improvisation, from the cadences of the early Blues through the abstractions of Free Jazz and beyond. The student will be exposed to the theory and vocabularies of various jazz idioms, which they will also learn to place in their social and historical contexts.
BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART).. Not offered in 2016-2017.
3 points

MUSI V 3023x or y Late Beethoven

An examination of the visionary works of Beethoven's last dozen or so years as a composer, beginning with the revision of his only opera, Fidelio, in 1814, and continuing with the late piano sonatas, cello sonatas, string quartets, Diabelli variations, Ninth Symphony, and the Missa Solemnis. Topics will include late style, romanticism, politics, deafness, and the changing nature of the musical work and its performance. - E. Sisman
Prerequisites: MUSI V2318-V2319 or the instructor's permission.
3 points

MUSI V 3030y Asian American Music Studies

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. - E. Hisama
Prerequisites: one course in music or the instructor's permission.
3 points

MUSI V 3127 Bach Vocal Music

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. - G. Gerbino
3 points

MUSI V 3138 The music of Brahms

Survey of the music of Brahms, examining a wide range of genres as well as his historical and cultural position.
Prerequisites: HUMA W1123 or the equivalent, and the ability to read musical notation. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

MUSI BC 3139xy Introduction to Vocal Repertoire: Technique in Singing and Performance

This course is designed for developing singers. Group vocalizing, learning of songs and individual workshop performances are aimed at improving the student's technical skill and the elements necessary to create a meaningful musical and dramatic experience. Attention to text, subtext, emotional and psychological aspects of a piece and the performer's relationship to the audience are included in the work. Repertoire is predominantly in English and comes from both classical and popular traditions Individual coaching sessions are available with the class accompanist and help strengthen the students' confidence and skill. The class culminates with an in-class performance. - J. P. Bjorlin
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI BC3139
MUSI
3139
04804
001
Tu 4:15p - 6:00p
225 MILBANK HALL
F 2:00p - 3:45p
405 MILBANK HALL
J. Mongiardo 11 [ More Info ]
Autumn 2016 :: MUSI BC3139
MUSI
3139
05250
001
M 5:15p - 7:00p
TBA
F 12:00p - 1:45p
TBA
J. Bjorlin 26 [ More Info ]

MUSI BC 3140xy Vocal Repertoire, Technique and Expression

Vocal exercises and exploration of wide-ranging repertoires, styles, and languages of the Western European song tradition. The rich variety of English, French, Italian and German poetry and music from the Baroque period through the Twentieth Century allows the student to experience both the music and the cultural environment of each of these styles. Attention is given both to meaning oftext and musical interpretation. Individual coaching sessions are available with the class accompanist and help strengthen the students' confidence and skill. The class culminates with an in-class performance. - J. Mongiardo
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI BC3140
MUSI
3140
06010
001
M 5:30p - 7:15p
225 MILBANK HALL
F 12:15p - 2:00p
405 MILBANK HALL
J. Bjorlin 10 [ More Info ]
Autumn 2016 :: MUSI BC3140
MUSI
3140
04279
001
Tu 4:15p - 6:00p
TBA
F 2:00p - 3:45p
TBA
J. Mongiardo 7 [ More Info ]

MUSI V 3142x Opera and Modernism

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. - A. Schwartz
3 points

MUSI BC 3145x Worldmuse Ensemble

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. - J. McMahan
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI BC3145
MUSI
3145
03263
001
M 7:30p - 8:45p
325 MILBANK HALL
F 2:15p - 4:00p
225 MILBANK HALL
J. Bjorlin 9 [ More Info ]

MUSI V 3168x or y The American Musical

Musical theater is one of America's most vital and important art form. Several of its major creators studied at Columbia, including Richard Rodgers, Lorenz Hart, Oscar Hammerstein II, John Kander, and Fred Ebb. This course will present a historical survey of American musical theater from its origins in late nineteenth-century; through the musicals of figures like Kern, Gershwin, and Rodgers & Hammerstein; through Sondheim and the "megamusical" of Lloyd Webber. Focus will be on selected shows, through which broader cultural and musical trends will be examined. - W. Frisch
Prerequisites: reading ability of music and some theoretical knowledge is required.
3 points

MUSI V 3170y 20th Century Music

A multicultural survey of composers, improvisors, sounds, practices, and social issues in 20th century music. Engages form, genre, style, canon, media reception, constructions of gender and race, cultural nationalisms, and the impact of transnationalism and globalization. - G. Lewis
Prerequisites: HUMA W1123 or the instructor's permission.
3 points

MUSI V 3171x or y Paris for Romantics

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

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V3171
MUSI
3171
70944
001
MW 1:10p - 2:25p
404 DODGE BUILDING
J. Doe 7 / 40 [ More Info ]

MUSI V 3173x or y Music and Word in the Western Art Tradition

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. - V. Aaslid
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V3173
MUSI
3173
11532
001
MW 11:40a - 12:55p
622 DODGE BUILDING
V. Aaslid 2 / 20 [ More Info ]

MUSI V 3302y Introduction to Set Theory

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. - Feld, Marlon
Prerequisites: MUSI V3322 and either V3126 or V3379, or the instructor's permission.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V3302
MUSI
3302
11723
001
M 3:10p - 5:00p
TBA
W 3:10p - 4:00p
TBA
M. Kozak 3 [ More Info ]

MUSI V 3305x Theories of Heinrich Schenker

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." - D. Cohen
Prerequisites: MUSI V3322 or the instructor's permission. Fulfills the requirement of either the 3000-level advanced theory elective or the nontonal course.
3 points

MUSI V 3310y Techniques of 20th-Century Music

Materials, styles, and techniques of 20th-century music. Topics include scales, chords, sets, atonality, serialism, neoclassicism, and rhythm.
Prerequisites: MUSI V3322 or the instructor's permission.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V3310
MUSI
3310
23283
001
MW 2:40p - 3:55p
620 DODGE BUILDING
S. Di Castri 5 / 25 [ More Info ]
Autumn 2016 :: MUSI V3310
MUSI
3310
24790
001
MW 10:10a - 11:25a
TBA
S. Di Castri 9 [ More Info ]

MUSI V 3330 Advanced Counterpoint

The study of baroque counterpoint in the style of J. S. Bach; general aspects of voice-leading; dances, inventions; canons; expositions of fugues. - Alfred Lerdahl
Prerequisites: MUSI V3322 or the instructor's permission. Fulfills the requirement of the 3000-level advanced theory elective. Not offered in 2016-2017.
3 points

MUSI V 3335y Analysis of Alternative Music

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. - M. Feld
Corequisites: MUSI V3321 or equivalent.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V3335
MUSI
3335
60031
001
TuTh 11:40a - 12:55p
716 HAMILTON HALL
M. Feld 8 / 12 [ More Info ]

MUSI W 3351x Music and the Brain from Descartes to Helmholtz

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. - C. Raz
Prerequisites: no prerequisites required.
3 points Priority given to music majors and concentrators.

MUSI V 3395x Listening to Hip-Hop

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. - E. Hisama
3 points

MUSI V 3400xy Topics in Music and Society

This course seeks to approach the study of music and society by comparatively studying repertories from different parts of the world, how the history of ideas and methods of studying such repertoires shaped them, the practices that constitute them and the ways they are understood and used by different peoples. Central to this course is the interrelationship between the constitution of a repertoire and the history of the construction of knowledge about it. - A. M. Ochoa
3 points Music Majors and Concentrators.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V3400
MUSI
3400
18625
001
TuTh 1:10p - 2:25p
717 HAMILTON HALL
A. Fox 48 [ More Info ]
Autumn 2016 :: MUSI V3400
MUSI
3400
65053
001
TuTh 11:40a - 12:55p
404 DODGE BUILDING
Instructor To Be Announced 18 / 35 [ More Info ]

MUSI V 3420x The Social Science of Music

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.
Prerequisites: HUMA W1123 or the equivalent. BC: Fulfillment of General Education Requirement: Social Analysis (SOC I).. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART).. Not offered in 2016-2017.
3 points

MUSI V 3435 Music and Literature in Latin America

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. - A. Ochoa
Not offered in 2016-2017.
3 points

MUSI V 3462y Music, Gender and Performance

This seminar explores relationships between gender, music and performance from the perspective of ethnomusicology, cultural anthropology, critical music studies, feminist and queer theory and performance studies. We examine debates around issues of sex and gender and nature and culture through the lens of musical performance and experience. Some questions we consider include: In what ways is participation in particular music dictated by gendered conventions? What social purpose do these delineations serve? What might music tell us about the body? What is the relationship between performance and the ways in which masculinity and feminity, homosexuality and heterosexuality are shaped? How can we think about the concept of nation via gender and music? How might the gendered performances and the voices of musical celebrities come to represent or officially "speak" for the nation or particular publics? How does music shape our understanding of emotion, our experience of pleasure? - E. Gray
Prerequisites: there are no prerequisites for this course.
3 points

MUSI V 3630y Recorded Sound

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.

- T. Pender
Prerequisites: the instructor's permission. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points
Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V3630
MUSI
3630
19903
001
Th 10:00a - 12:50p
317 PRENTIS HALL
D. Adamcyk 12 / 7 [ More Info ]

MUSI V 3635y The History of Music Production Techniques

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. - T. Pender
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V3635
MUSI
3635
86536
001
MW 11:40a - 12:55p
622 DODGE BUILDING
T. Pender 16 / 20 [ More Info ]

MUSI BC 3990xy Senior Project: Senior Research

Working with her advisor, a student will expand the research project initiated in the Fall Senior Seminar for Music Majors (BC3992). In order to satisfy the requirement, the student will complete a fifty page research paper.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI BC3990
MUSI
3990
00573
001
TBA G. Archer 4 [ More Info ]
Autumn 2016 :: MUSI BC3990
MUSI
3990
00573
001
TBA G. Archer 0 [ More Info ]

MUSI BC 3991xy Senior Project: Music Repertoire

Working with her advisor, a student will develop a vocal or instrumental recital program with representative musical works from a variety of historical periods. In order to satisfy the requirement, the student will present an hour long public performance of the recital program. Students may also satisfy this requirement by composing original vocal or instrumental works.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI BC3991
MUSI
3991
09798
001
TBA G. Archer 2 [ More Info ]
Autumn 2016 :: MUSI BC3991
MUSI
3991
02988
001
TBA G. Archer 0 [ More Info ]

MUSI BC 3992y Senior Seminar for Music Majors

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. - L. Ninoshvili
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI BC3992
MUSI
3992
02342
001
Th 4:10p - 6:00p
TBA
L. Ninoshvili 3 [ More Info ]

MUSI W 3995x Honors Research

A creative/scholarly project conducted under faculty supervision, leading to completion of an honors essay, composition, or the equivalent.
Prerequisites: a formal proposal to be submitted and approved prior to registration; see the director of undergraduate studies for details.
3 points Open to honors candidates in music only.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI W3995
MUSI
3995
67470
001
TBA Instructor To Be Announced 0 / 0 [ More Info ]

MUSI W 3996y Honors Research

A creative/scholarly project conducted under faculty supervision, leading to completion of an honors essay, composition, or the equivalent.
Prerequisites: a formal proposal to be submitted and approved prior to registration; see the director of undergraduate studies for details.
3 points Open to honors candidates in music only.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI W3996
MUSI
3996
65738
001
TBA Instructor To Be Announced 1 / 0 [ More Info ]

MUSI V 3998x Supervised Independent Study

A creative/scholarly project conducted under faculty supervision.
Prerequisites: approval prior to registration; see the director of undergraduate studies for details.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI V3998
MUSI
3998
69659
001
TBA Instructor To Be Announced 0 / 0 [ More Info ]

MUSI V 3999y Supervised Independent Study

A creative/scholarly project conducted under faculty supervision.
Prerequisites: approval prior to registration; see the director of undergraduate studies for details.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI V3999
MUSI
3999
11943
001
TBA Instructor To Be Announced 0 / 0 [ More Info ]

MUSI W 4035y Animal 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. - R. Mundy
3 points

MUSI W 4102y Music and Writings of Wagner

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. - W. Frisch
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI W4102
MUSI
4102
14308
001
MW 10:10a - 11:25a
TBA
W. Frisch 8 [ More Info ]

MUSI G 4122x Songs of the Troubadours

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. - S. Boynton
Prerequisites: Music Humanities; MUSI V3128.
3 points Music Majors and Concentrators.

MUSI W 4125x Puccini and the Twentieth Century

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. - A. Schwartz
3 points

MUSI W 4126y European Music in America 1825-1950

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. - D. Ceriani
3 points

MUSI W 4332x Computational Theories of Music and Music Cognition

This course will introduce students to recent research on computational modeling of music perception and cognition. Emphasis will be placed on research that was either carried out by music theorists or has some clear and immediate relevance to music theory. We will study several computational models that simulate the perception of different aspects of musical structure, including rhythm, melody, harmony, counterpoint, texture, and key. While we must devote some time to the mathematics of these models, our primary focus will be on the larger theoretical implications for music theory and music cognition. We will also spend some time discussing computational methodologies in general and what they can tell us about music and perception. - B. Duane
Prerequisites: Masterpieces of Western Music or the instructor's permission.
3 points Music Majors and Concentrators.

MUSI G 4360y Analysis of Tonal Music

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. - D. Cohen
Prerequisites: MUSI V3321 or the equivalent.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI G4360
MUSI
4360
26281
001
W 10:10a - 12:00p
620 DODGE BUILDING
B. Steege 3 [ More Info ]
Autumn 2016 :: MUSI G4360
MUSI
4360
28937
001
TBA Instructor To Be Announced 4 / 20 [ More Info ]

MUSI G 4425y Sounding Islam

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. - A. Ciucci
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI G4425
MUSI
4425
75949
001
Tu 4:10p - 6:00p
701C DODGE BUILDING
A. Ciucci 8 / 20 [ More Info ]

MUSI W 4435 Music and Performance in the African Postcolony

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.
Not offered in 2016-2017.
3 points

MUSI G 4461x Music and Place

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. - L. E. Gray
3 points

MUSI W 4540y Histories of Post-1960's Jazz

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

MUSI W 4626y Concepts of Musical Instrument in Electronic and Computer Music

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. - J. Oliver
Prerequisites: MUSI V2205 or the instructor's permission.
3 points

MUSI G 6135y Music and the Critique of Modernity

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

MUSI G 6205y Billie Holiday: The Origins of a Style

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. - J. Szwed
Prerequisites: a course in Jazz Studies or the equivalent.
3 points

MUSI G 6305y Introduction to Schenkerian Analysis

- J. Dubiel
3 points

MUSI G 6385y Analysis of Popular Music

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. - E. Hisama
3 points

MUSI G 6427x Music, Myth and Indigeneity

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. - A.M. Ochoa
3 points

MUSI G 6601 Interactive Sound and Video (Previously Basic Electroacoustics)

In this year-long sequence students gain familiarity with the materials used in electroacoustic music and the techniques and equipment that are employed to transform and organize these materials into compositions. Individual projects are assigned. - T. Pender
Prerequisites: the instructor's permission.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI G6601
MUSI
6601
73424
001
Th 3:10p - 5:00p
TBA
T. Pender 1 [ More Info ]

MUSI G 6610x Sound: Advanced Topics I (Previously Computer Music I)

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. - B. Garton
Prerequisites: MUSI G6601-G6602 or the instructor's permission.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI G6610
MUSI
6610
73755
001
Tu 6:00p - 8:00p
TBA
B. Garton 1 [ More Info ]

MUSI G 6631x Advanced Mixed Music Composition

Advanced Mixed Music Composition explores creative uses of advanced audio production tools (i.e., various DSP plug-ins, controllers, microphones, surround speaker arrays, etc.) and techniques (audio editing, mastering, performance simulations, synchronization, etc.); and looks at their impact on the aesthetics and poetics of a musical project. A special emphasis is given to the problems arising from the transition between the precisely controlled studio environment to the live concert hall (i.e., loudspeaker distance, room liveliness, monitoring, etc.), and how this transition can influence the audience's perception of a work. importance of synchronization, notation, documentation, and portability as fundamental considerations during the compositional process. Lastly, techniques for producing simple yet high quality videos for archival purposes are shown, as a means to present yet another point of view on a musical project. - D. Adamcyk
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI G6631
MUSI
6631
71840
001
Th 10:10a - 12:00p
TBA
D. Adamcyk 1 [ More Info ]

MUSI G 8101 Seminar in Historical Musicology: the Middle Ages

- S. Boynton
3 points

MUSI G 8102 Seminar in Historical Musicology: the Middle Ages

- S. Boynton
3 points

MUSI G 8161x Music, Money, and Markets: A Socio-Economic Look at Western Music History

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. - J. Kmetz
3 points

MUSI G 8319 Seminar in Music Theory: Interdisciplinary and Humanistic Approaches

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.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI G8319
MUSI
8319
69899
001
Tu 10:10a - 12:00p
620 DODGE BUILDING
J. Dubiel 1 [ More Info ]

MUSI G 8371y Debussy and Modernism

Detailed analysis of selected works by Claude Debussy in conjunction with pertinent theoretical perspectives on modernism and modernity. - B. Steege
3 points

MUSI G 8372y Theorizing Musical Temporality

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. - M. Kozak
3 points

MUSI G 8416y Seminar in Ethnomusicology: Alan Lomax

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. - J. Szwed
3 points

MUSI G 8425 Archiving Practices

- A. Fox
3 points Ph.D. students in music and anthropology.

MUSI G 8610 Miles Davis

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. - J. Szwed
Prerequisites: a course or its equivalent in Jazz Studies. Not offered in 2016-2017.
3 points

MUSI G 9401x or y Advanced Seminar in Ethnomusicology I: The Caribbean

Recent trends in musicological studies have included a greater emphasis on the study of translocal cultural formations, social processes, and musical idioms, as well as on the processes of globalization and intercultural exchange, and less emphasis on geographical specificity. This graduate seminar will explore the implications of this shift by examining how various scholars have approached "the Caribbean" through locally situated research and how they have engaged with locality, transnationalism, and the conditions of coloniality and post-coloniality? We will consider what value "area studies" still holds in musicological research? How does one identify an "area" in globalized spaces? And more generally, how and where do we locate "the Caribbean"? - Ch. Washburne
3 points

MUSI G 9402xy Advanced Seminar in Ethnomusicology II: Theory, Music & Ethnography

- A. M. Ochoa
3 points

MUSI G 9403x Popular Music Aesthetics

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. - K. Fellezs
3 points

Graduate/Undergraduate Courses

MUSI G 4030y Sound, The Secular, The Sacred

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. - A. M. Ochoa
Prerequisites: None.
3 points

MUSI W 4035y Animal 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. - R. Mundy
3 points

MUSI G 4122 (Section 01) Songs of the Troubadours

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. - S. Boynton
Prerequisites: HUMA W1123, MUSI V3128.
4 points

MUSI G 4125 Jewish Music: Uniqueness and Diversity

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. - M. Kligman
Not offered in 2016-2017.
3 points

MUSI W 4125x Puccini and the Twentieth Century

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. - A. Schwartz
3 points

MUSI W 4127x Music and Word in the Western Music Tradition

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. - V. Aaslid
3 points

MUSI G 4130y Music and Childhood

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. - S. Boynton
Prerequisites: None.
4 points

MUSI W 4150x Music and Politics in Pre-Revolutionary France

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. - J. Doe
3 points

MUSI W 4151x New York Avant-Gardes: Music and Performance Since 1950

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. - D. Gutkin
3 points Priority given to music majors and concentrators, and Music Department graduate students.

MUSI W 4241x Advanced Projects in Composition

Composition for larger ensembles, supported by study of contemporary repertoire. - T. Murail
Prerequisites: grades obtained in V3241-V3242; compositions written in V3242; the instructor's permission.
3 points

MUSI W 4242y Advanced Projects in Composition

Composition for larger ensembles, supported by study of contemporary repertoire. - T. Murail
Prerequisites: grades obtained in V3241-V3242; compositions written in V3242; the instructor's permission.
3 points

MUSI W 4256y Off the Grid: Notation in New Music

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. - A. Fure
Prerequisites: the instructor's permission.
3 points

MUSI W 4330y Recent Approaches to Classical Form

Introduction to William Caplin's theory of formal functions and James Hepokoski and Waren Darcy's Sonata Theory through analysis of works by Haydn, Mozart, and Beethoven.
Prerequisites: HUMA W1123 and V2318-19 or equivalent, or the instructor's permission.
3 points

MUSI G 4374y Modal Counterpoint

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. - P. Schubert
Prerequisites: two semesters of ear training.
3 points

MUSI G 4401x Field Methods and Techniques in Ethnomusicology

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. - Ch. Washburne
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI G4401
MUSI
4401
17297
001
Th 4:10p - 6:00p
701C DODGE BUILDING
Instructor To Be Announced 1 / 25 [ More Info ]

MUSI W 4420 Music and Property

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. - A. Fox
Prerequisites: the instructor's permission. Not offered in 2016-2017.

MUSI W 4463x Silence

In our daily lives, we hear concomitant fluxes and negotiations of frequencies, of noises, of aural spaces, some seemingly organized, others seemingly chaotic. How do we become attuned to processing the myriad of acoustic information that envelops us? What remains inaudible to us? How are attempts made to make the inaudible audible? What might it mean to "hear without listening," and what are the consequences? Throughout this course, we address these questions and others that arise by thinking through the relationship of silence and its "other." Often, silence is defined in the negative sense-by its assumed opposites such as sound, noise, music, and voice. Decentering the notion of silence as absence, our discussions will draw from interdisciplinary sources and thus be framed by theories of silence and the presence of silence as sensible, historical, philosophical, aesthetic, stylistic, political, and ethical. Theorizing silence in these ways, we will work to understand silence not as the binary opposite of audible expressions, but rather as regulations of them, at times being the impetus for their emergence(s). - J. Schwartz
3 points

MUSI G 4505 Jazz Arranging and Composition

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.

- D. Sickler
Prerequisites: V2318-19 Diatonic Harmony or equivalent.
3 points
Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI G4505
MUSI
4505
64700
001
M 10:10a - 12:00p
620 DODGE BUILDING
D. Sickler 7 [ More Info ]

MUSI W 4507y The New Thing: Jazz 1955-1980

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. - J. Szwed
Prerequisites: the instructor's permission. Not offered in 2016-2017.

MUSI W 4525x Instrumentation

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. - J. Milarsky
Prerequisites: extensive musical background.
3 points Open to both graduate and advanced music major undergraduate students.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI W4525
MUSI
4525
14112
001
TuTh 1:10p - 2:25p
TBA
J. Milarsky 14 [ More Info ]

MUSI W 4526y Orchestration

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. - F. Levy
Prerequisites: MUSI W4525(Instrumentation), or the instructor's permission.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI W4526
MUSI
4526
69266
001
TuTh 10:10a - 11:25a
814 DODGE BUILDING
C. Bettendorf 3 [ More Info ]

MUSI W 4540y Histories of Post-1960's Jazz

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.
Prerequisites: HUMA W1123 or the equivalent. Not offered in 2016-2017.
3 points

MUSI G 4601 Musical Interactivity

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. - G. Lewis
Prerequisites: basic computer operating system knowledge. Not offered in 2016-2017.

MUSI W 4625 Timbre and Technology

The role of timbre, or tone color, in music of the last century combined with an introduction to recent computer tools for composition, analysis, and performance. Through close listening, we will examine 20th century composers' approaches to complex sounds, including Mahler, Debussy, Ravel, Schoenberg, Varese, Stockhausen, Grisey, Lachenmann and Leroux, as well as examples from popular and non-Western musics. Listening will be accompanied by writings on and by composers as well as background from the literature on music perception. Computer programs including AudioSculpt, OpenMusic, and Max/MSP will be used for lectures and exercises. Students are invited to apply the concepts explored in the course to their own fields of expertise in a final project and presentation. - A. Einbond
Prerequisites: HUMA W1123 or the instructor's permission. Not offered in 2016-2017.
3 points

MUSI G 6000y Professional Strategies and Skills

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. - Susan Boynton
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI G6000
MUSI
6000
98148
001
F 12:10p - 2:00p
TBA
E. Sisman 4 [ More Info ]

MUSI G 6135y Music and the Critique of Modernity

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

MUSI G 6302x Introduction to Set Theory

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

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI G6302
MUSI
6302
13786
001
M 3:10p - 5:00p
TBA
M. Kozak 1 / 12 [ More Info ]

MUSI G 6333x Proseminar in Music Theory

Overview of current work in Music Theory, an analysis, perception, and philosophy. Major areas of research and methodological challenges. - J. Dubiel
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI G6333
MUSI
6333
26028
001
M 10:10a - 12:00p
701A DODGE BUILDING
E. Hisama 5 / 12 [ More Info ]

MUSI G 6413y Research Design Seminar

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. - Ana Maria Ochoa
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI G6413
MUSI
6413
74647
001
W 1:10p - 3:00p
701C DODGE BUILDING
A. Ochoa 4 [ More Info ]

MUSI G 6425x The Politics of Desire in Latin America

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. - A.M. Ochoa
Prerequisites: reading Spanish and the instructor's permission.
3 points

MUSI G 8231 Seminar in Music Composition I

Individual projects in composition.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI G8231
MUSI
8231
10705
001
W 4:10p - 6:00p
TBA
G. Haas
G. Lewis
2 [ More Info ]

MUSI G 8232 Seminar in Music Composition II

Individual projects in composition.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI G8232
MUSI
8232
63626
001
W 4:10p - 6:00p
620 DODGE BUILDING
A. Lerdahl 6 [ More Info ]

MUSI G 8255x Composition and Cognition

The study and evaluation of contemporary compositional organization from the perspective of the cognitive science of music. - A. Lerdahl
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI G8255
MUSI
8255
14400
001
Th 10:10a - 12:00p
620 DODGE BUILDING
A. Lerdahl 13 [ More Info ]

MUSI G 8370 Ruth Crawford Seeger Modernism and Tradition in 20th-c. American Music

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. - E. Hisama
Not offered in 2016-2017.
3 points

MUSI G 8412 Seminar in Ethnomusicology: Field Methods and Techniques I

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. - A. Fox
Not offered in 2016-2017.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2016 :: MUSI G8412
MUSI
8412
27236
001
Th 10:10a - 12:00p
TBA
C. Washburne 1 / 15 [ More Info ]

MUSI G 8500xy M.Phil. Seminar

Individual work with an adviser to develope a topic and proposal for the Ph.D. dissertation. - Faculty
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2016 :: MUSI G8500
MUSI
8500
17656
001
TBA S. Boynton 1 [ More Info ]
MUSI
8500
14837
002
TBA A. Ciucci 0 [ More Info ]
MUSI
8500
21552
003
TBA S. Di Castri 0 [ More Info ]
MUSI
8500
18215
004
TBA J. Doe 0 [ More Info ]
MUSI
8500
70192
005
TBA A. Fox 0 [ More Info ]
MUSI
8500
72894
006
TBA B. Garton 0 [ More Info ]
MUSI
8500
22443
007
TBA G. Gerbino 0 [ More Info ]
MUSI
8500
21952
008
TBA G. Haas 0 [ More Info ]
MUSI
8500
26722
009
TBA E. Hisama 0 [ More Info ]
MUSI
8500
71165
010
TBA M. Kozak 0 [ More Info ]
MUSI
8500
28674
011
TBA A. Lerdahl 0 [ More Info ]
MUSI
8500
61074
012
TBA G. Lewis 0 [ More Info ]
MUSI
8500
60181
013
TBA A. Ochoa 0 [ More Info ]
MUSI
8500
68390
014
TBA B. Steege 0 [ More Info ]
Autumn 2016 :: MUSI G8500
MUSI
8500
17195
001
TBA S. Boynton 0 [ More Info ]
MUSI
8500
11506
002
TBA A. Ciucci 0 [ More Info ]
MUSI
8500
25100
003
TBA S. Di Castri 0 [ More Info ]
MUSI
8500
20569
004
TBA J. Doe 0 [ More Info ]
MUSI
8500
73141
005
TBA J. Dubiel 0 [ More Info ]
MUSI
8500
14935
006
TBA K. Fellezs 0 [ More Info ]
MUSI
8500
15455
007
TBA A. Fox 0 [ More Info ]
MUSI
8500
73218
008
TBA W. Frisch 0 [ More Info ]
MUSI
8500
76589
009
TBA B. Garton 0 [ More Info ]
MUSI
8500
68663
010
TBA G. Gerbino 0 [ More Info ]
MUSI
8500
70129
011
TBA G. Haas 0 [ More Info ]
MUSI
8500
60803
012
TBA E. Hisama 0 [ More Info ]
MUSI
8500
12203
013
TBA M. Kozak 0 [ More Info ]
MUSI
8500
67449
014
TBA G. Lewis 0 [ More Info ]
MUSI
8500
21840
015
TBA E. Sisman 0 [ More Info ]
MUSI
8500
65735
016
TBA C. Washburne 0 [ More Info ]

There are currently no cross-listed courses for your department.