Music

MUSI BC1001x-BC1002y An Introduction to Music 3 pts. Prerequisites: No previous knowledge of music is required. x: A survey of the development of Western music from 6th-century Gregorian Chant to Bach and Handel, with emphasis upon important composers and forms. Extensive listening required. y: A survey of the development of Western music from the first Viennese Classical school at the end of the 18th century to the present, with emphasis upon composers and forms. Extensive listening required.

MUSI V1002x Fundamentals of Western Music 3 pts. Corequisite: MUSI V1312. A student may place out of V1002 with a score of 5 on the Theory Placement Examination given on the first day of class. Similarly, a student may place into a higher level of the co-requisite by passing the Ear Training Placement Test, offered on the first day of the V1312 class. The basic elements of music to be studied in the Fundamentals of Western Music course with the aim of developing musicianship include: notation, dictation, sight-singing, transposition, aural recognition of the simpler forms, triad identification, cadence types, and voice-leading in two parts. Undergraduate Theory Faculty.

HUMA W1123x or y Masterpieces of Western Music. 3 pts. Analysis and discussion of representative works from the Middle Ages to the present.

MUSI V1312x or y-V1312y Introductory Ear Training 1 pt. 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.

MUSI W1500x-W1501y Early Instruments 1-2 pts.Keyboards: K. Cooper.Strings: R. Morley.Wind instruments: TBA. Prerequisite: an audition to be held during registration period in 618 Dodge. Contact the Music Performance Program for further details (854-1257) or access the Music Performance Program from the Music Department web page: www.music.columbia.edu.

MUSI BC1501x-BC1502y Voice Instruction 1 pt. Entrance by audition only. Call Barnard College, Department of Music during registration for time and place of audition (854-5096).

MUSI W1509x-W1510y Organ Instruction 1-2 pts. Prerequisite: the instructor's permission.

MUSI W1513x-W1514y Introduction To Piano 1 pt. Prerequisite: the instructor's permission.

MUSI W1515x-W1516y Elementary Piano Instruction 1-2 pts. Prerequisites: MUSI W1513-W1514 or the equivalent, and the instructor's permission.

MUSI W1517x-W1518y Keyboard Harmony and Musicianship 1 pt. Prerequisite: the instructor's permission. Lessons emphasize the progressive development of a harmonic vocabulary representative of the techniques of the central tradition of 18th- and 19th-century music.

MUSI W1525x-W1526y Instrumental Instruction 1-2 pts. Prerequisite: an audition to be held during the registration period in 618 Dodge. Contact the Music Performance Program for further details (212-854-1257) and Music Performance Program from the Music Dept web page at music.columbia.edu. Students participating in the orchestra are given preference when applying for private instrumental instruction.

MUSI V1580x-V1581y Collegium Musicum 1 pt. May be taken for Pass credit only. Prerequisite: an audition to be held during the registration period. Contact the department for further details (854-3825). Performance of vocal and instrumental music from the medieval, Renaissance, and baroque periods. The Collegium usually gives one public concert each term.

MUSI V1591x-V1592y University Orchestra 1 pt. Prerequisite: an audition to be held during registration period, by appointment at 618 Dodge. Contact the department for further details (854-5409). Students should bring two short works, or movements of longer works, of different stylistic periods; they will also be asked to read brief orchestral or chamber music excerpts at sight. The orchestra performs throughout the academic year in works spanning all periods of music including contemporary compositions. Distinguished guest soloists sometimes perform with the orchestra, and qualified student soloists may also have the opportunity either to perform or read concertos with the orchestra. Staff positions: a few persons interested in managerial work may gain experience as orchestra librarian and personnel manager.

MUSI V1593x-V1594y Barnard-Columbia Chorus 1 pt. Prerequisite: auditions by appointment made at first meeting. Contact Barnard College, Department of Music (854-5096). May be taken for Pass credit only. Membership in the chorus is open to all men and women in the University community. The chorus gives several public concerts each season, both on and off campus, often with other performing organizations. Sight-singing sessions offered. The repertory includes works from all periods of music literature. Students who register for chorus will receive a maximum of 4 points for four or more semesters.

MUSI V1595x-V1596y Barnard-Columbia Chamber Singers 1 pt. Prerequisite: auditions by appointment made at first meeting. Contact Barnard College, Department of Music (854-5096). May be taken for Pass credit only. Membership in the chorus is open to all men and women in the University community. The chorus gives several public concerts each season, both on and off campus, often with other performing organizations. Sight-singing sessions offered. The repertory includes works from all periods of music literature.

MUSI V1598x-V1599y Chamber Ensemble 1-2 pts. Prerequisite: an audition to be held during the registration period, by appointment at 618 Dodge. Contact the Music Performance Program for further details (854-1257). Students registering for chamber music receive ensemble training with the performance associates. Student chamber ensembles perform a recital at the conclusion of each semester and are given other opportunities to perform throughout the academic year. See further mpp.columbia.edu for current list of Music Performance Associates.

MUSI V1618x-V1619y Columbia University Jazz Ensemble 1-2 pts. Prerequisites: An audition to be held during the registration period, by appointment at 618 Dodge. Contact the Music Performance Program for further details (854-1257) A small advanced jazz band. The repertoire will cover 1950's hard bop to more adventurous contemporary Avant Garde styles. Students will be required to compose and arrange for the group under the instructor's supervision.

MUSI V1625x-V1626y World Music Ensemble 1 pt. Prerequisites: Permission of the instructor. 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: Bluegrass; Japanese Gagaku; Klezmer; Latin Music.

MUSI V2010y Rock 3 pts. Prerequisite: HUMA W1123 or the equivalent. Historical survey of rock music from its roots in the late 1940s to the present day.

MUSI V2016y Jazz 3 pts. The musical and cultural features of jazz, beginning in 1900.

MUSI V2020x Salsa, Soca, and Reggae: Popular Musics of the Caribbean 3 pts. A survey of the major syncretic urban popular music styles of the Caribbean, exploring their origins, development, and sociocultural context.

MUSI V2021x (Section 001) Popular Musics of the Americas: Music in Contemporary Native 3 pts."Music in Contemporary Native America" is a historical, ethnographic, and topical examination of contemporary Native American musical practices and ideologies. The course emphasizes popular, vernacular, and mass mediated musics, and calls into question the simple distinction between "traditional" and "modern" aspects of Native American cultures. Our readings and class guests (several of whom will be Native American scholars) emphasize the importance of understanding Native 2 American perspectives on these topics. Three short papers and one substantial final project are required. Approximately 100-150 pages of reading per week.

MUSI V2023y Beethoven 3 pts. Prerequisites: HUMA W1123 or the equivalent. 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 recption of Beethoven and issues of classicism and romanticism in music.

MUSI V2024x (Section 001) Mozart 3 pts. Prerequisites: HUMA W1123 or the equivalent. The life, works, and cultural milieu of Wolfgang Amadeus Mozart, with emphasis on selected symphonies, string quartets, piano concertos, and operas.

MUSI V2025y The Opera 3 pts. Prerequisites: HUMA W1123 or the equivalent. The development of opera from Monteverdi to the present. IN FALL 2011, THE OPERA WILL BE OFFERED MON/WED 2:40-3:55 in 622 DODGE.

MUSI V2030y Jewish Music of New York 3 pts. This course will look at musical life of Jews in three broad contexts: art music, popular music, and non-European traditions. This will include liturgical, para-liturgical, folk, pop, rock and the growing practices that synthesizes styles and genres. From the mid 1600s until today Jews immigrated from Europe, South America, the middle East and Asia to America, New York City is the focal point of this migration. The music of Jews in New York is diverse, dynamic and eclectic. During the semester there will be visits to various venues to meet composers and performers and to investigate the ongoing dialogue of preserving tradition and innovating new ideas to express and encounter Jewishness in New York today.

MUSI V2034y (Section 001) Music and Myth 3 pts. 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.

MUSI V2145x Russian Music from Glinka to Gubaidulina 3 pts. Prerequisites: Previous coursework in music (including HUMA W1123) or permission of the instructor. 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.

MUSI V2205x Midi Music Production Techniques 3 pts. Prerequisites: HUMA W1123 or the equivalent. Permission of the instructor required. An introduction to the potential of digital synthesis by means of the MIDI (Musical Instrument Digital Interface). Teaches proficiency in elementary and advanced MIDI techniques. Challenges some of the assumptions about music built into the MIDI specifications and fosters a creative approach to using MIDI machines.

MUSI V2314x or y Ear Training, I 1 pt. Designed to improve the student's basic skills in sight-singing, and rhythmic and melodic dictation with an introduction to four-part harmonic dictation.

MUSI V2315x or y Ear Training, II 1 pt. Techniques of sight-singing and dictation of diatonic melodies in simple and compound meter with strong emphasis on harmonic dictation.

MUSI V2318x-V2319y Diatonic Harmony and Counterpoint, I and II 3 pts. Prerequisites: MUSI V1002 or the equivalent. All students, without exception, who wish to take Diatonic must pass an entrance examination given on the first day of class in each section. For a detailed description of the Diatonic entrance exam, and advice on preparing for it, contact the Director of Undergraduate Theory Instruction. Corequisites: An ear-training class (MUSI V1312, V2314-V2315, V3316-V3317, or W4318-W4319). "Diatonic" is a two-semester course that constitutes the first year of the two-year sequence of courses in music theory required of all music majors and concentrators (the "main theory sequence," of which the second year is MUSI V3321-V3322). Assigned readings, musical analysis, and compositional exercises, designed to teach the following: (1) analysis and composition of melodies; (2) strict (species) counterpoint in two voices; (3) the idiomatic use of all diatonic chords in major and minor keys, and tonicizations of secondary key areas; (4) principles of figured bass; (5) four-part writing; (6) harmonization of melodies, e.g., chorales; (7) basic principles of musical form. Each semester includes some work in tonal composition, e.g., minuets for piano modeled on examples by Haydn and Mozart. Lab Required.

MUSI W2515x-W2516y Intermediate Piano Instruction 1-2 pts. Prerequisites: MUSI W2515-W2516 or the equivalent, and the instructor's permission.

MUSI V2582 Jazz improvisation: theory, history and practice 3 pts.Not offered in 2013-2014. 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.

MUSI V3023 Late Beethoven 3 pts.Not offered in 2013-2014. Prerequisites: Music V2318-V2319 or permission of the instructor. 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.

MUSI V3030y Asian American Music Studies 3 pts. Prerequisites: One course in music or permission of instructor. This course will examine the diverse ways in which Asian Americans have understood and shaped their musical practices. We will explore the ways in which Asians have been represented via sound, text, and image, and will consider Asian Americans' participation in composed music traditions, jazz, traditional/folk music, diasporic music, improvised music, and popular musics. The course will reflect on readings from musicology, ethnomusicology, and music theory as well as fields outside of music in order to consider gender/sexuality, polyculturalism, and political activism.

MUSI V3127 Bach Vocal Music 3 pts.Not offered in 2013-2014. Analysis of the vocal music of Johann Sebastian Bach in its historical and cultural context with particular focus on the sacred cantatas, the St. Matthew Passion and the B minor Mass.

MUSI V3128x History of Western Music I: Middle Ages To Baroque 3 pts. Pre- or co requisite: V2318-V2319. Topics in Western music from Antiquity through Bach and Handel, focusing on the development of musical style and thought, and analysis of selected works.

MUSI V3129y History of Western Music II: Classical To the 20th Century 3 pts. Pre- or co requisite: V2318-2319. 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.

MUSI V3138 The music of Brahms 3 pts.Not offered in 2013-2014. Prerequisites: HUMA W1123 or the equivalent, and the ability to read musical notation. Survey of the music of Brahms, examining a wide range of genres as well as his historical and cultural position.

MUSI V3142x Opera and Modernism 3 pts. This course approaches the history of musical modernism through the lens of opera. Although we'll be consi dering many of the major stylistic movements of the twentieth century, we'll also be discussing how the sheer stubbornness of operatic tradition complicates narratives of development and progress. We'll be listening to six operas in their entirety: Claude Debussy's Pélleas et Mélisande, Alban Berg's Wozzeck, Igor Stravinsky's Oedipus Rex and The Rake's Progress, Benjamin Britten's The Turn of the Screw, and John Adams' Nixon in China.

MUSI BC3145x (Section 001) Worldmuse Ensemble 3 pts. 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.

MUSI V3170y (Section 001) 20th Century Music 3 pts. Prerequisites: HUMA W1123 or Instructor Permission 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.

MUSI V3241x-V3242y Projects in Composition 3 pts. Composition Faculty Prerequisites: MUSI V3310 or instructor's permission. Composition in more extended forms. Survey of advanced techniques of contemporary composition. (Previously called Advanced Composition.)

MUSI V3302y (Section 001) Introduction to Set Theory 3 pts. Prerequisites: MUSI V3322 and either V3126 or V3379, or instructor's permission. Fulfills the requirement of either the 3000-level advanced theory elective or the nontonal course. A study of the basic principles of set theory through the writings of Schoenberg, Babbitt, Forte, Martino, Lewin, et al. Concepts illustrated with examples from late 19th- and early 20th-century repertory.

MUSI V3305x Theories of Heinrich Schenker 3 pts. Prerequisites: Prerequisite: MUSI V3322 or instructor's permission. Fulfills the requirement of either the 3000-level advanced theory elective or the nontonal course. An examination of Schenker's concepts of the relation between strict counterpoint and free writing; "prolongation"; the "composing-out" of harmonies; the parallels and distinctions between "foreground," "middle ground," and "background"; and the interaction between composing-out and thematic processes to create "form."

MUSI V3310y Techniques of 20th-Century Music 3 pts. Prerequisites: MUSI V3322 or instructor's permission. Materials, styles, and techniques of 20th-century music. Topics include scales, chords, sets, atonality, serialism, neoclassicism, and rhythm.

MUSI V3316x or y Ear Training, III 1 pt. 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.

MUSI V3317x or y Ear Training, IV 1 pt. 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.

AHMM V3320x Introduction To the Musics of East Asia and Southeast Asia 3 pts. 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.

AHMM V3321y Introduction to the Musics of India and West Asia 3 pts. 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.

MUSI V3321x-V3322y Chromatic Harmony and Counterpoint, I and II 3 pts. Prerequisites: MUSI V2318-V2319 and satisfactory completion of any two terms of ear training. Corequisites: An ear-training class (MUSI V2314-V2315, V3316-V3317,or W4318-W4319. Continuation of MUSI V2318-V2319. Placement in this class is determined by an exam given in the first class meeting of MUSI V2318-V2319. "Chromatic" is a two-semester course that follows on from MUSI V2319 and constitutes the second year of the two-year sequence of courses in music theory required of all music majors and concentrators (the "main theory sequence," of which the first year is MUSI V2318-V2319). Assigned readings, musical analysis, and compositional assignments, designed to teach the following: (1) tonal counterpoint in the style of Bach, in selected contrapuntal forms (e.g., chorale prelude, invention, fugue); (2) more advanced harmonic and voice-leading techniques, including sequences and "chromatic harmony"; (3) forms and genres associated with the Classical and Romantic periods (e.g., sonata-allegro form; Lied). Lab Required.

MUSI V3330 Advanced Counterpoint 3 pts.Not offered in 2013-2014. Prerequisites: MUSI V3322 or instructor's permission. Fulfills the requirement of the 3000-level advanced theory elective. The study of baroque counterpoint in the style of J. S. Bach; general aspects of voice-leading; dances, inventions; canons; expositions of fugues.

MUSI V3400x (Section 001) Topics in Music and Society 3 pts. Music Majors and Concentrators. This course seeks to approach the study of music and society by comparatively studying repertories from different parts of the world, how the history of ideas and methods of studying such repertoires shaped them, the practices that constitute them and the ways they are understood and used by different peoples. Central to this course is the interrelationship between the constitution of a repertoire and the history of the construction of knowledge about it.

MUSI V3420x The Social Science of Music 3 pts. Prerequisites: HUMA W1123 or the equivalent. An introduction to the field of ethnomusicology in the context of the intellectual history of music scholarship. IN FALL 2011, THIS COURSE WILL BE OFFERED TR 6:10-7:25 IN RM 622 DODGE.

MUSI V3435 Music and literature in Latin America 3 pts.Not offered in 2013-2014. This course is about the relationship between popular music and literature in Latin America. It covers such topics as the relationship between the lettered city and popular culture as well as orality and the written word. In the course we will read novels and poetry by authors who have also been composers and/or musicologists and explore the production of composers who have also been recognized as important literary figures.

MUSI V3440 Survivors' Music Not offered in 2013-2014. This course will examine the role of music in the lives of survivors of traumatic experiences and discover why music is a special expressive resource for such people. Examples from survivors' music about the nature of traumatic events that other expressive and documentary resources do not yield will be utilized. Course is interdisciplinary and the use of these examples to explore these issues is from a social, cultural, psychological and musicological perspective. Geared towards advanced undergraduates and graduate students from all disciplines.

MUSI V3462y Music, Gender and Performance 3 pts. Prerequisites: There are no prerequisites for this course. 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?

MUSI W3515x-W3516y Advanced Piano Instruction 2 pts. Prerequisites: MUSI W2515-W2516 or the equivalent, and the instructor's permission.

MUSI V3630y Recorded Sound 3 pts. Prerequisites: the instructor's permission. Main objective is to gain a familiarity with and understanding of recording, editing, mixing, and mastering of recorded music and sounds using Pro Tools software. Discusses the history of recorded production, microphone technique, and the idea of using the studio as an instrument for the production and manipulation of sound.

MUSI BC3992y Senior Seminar for Music Majors 3 pts. 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.

MUSI V3995x-3996y Honors Research 3 pts. Open only to honors candidates in music. A creative/scholarly project conducted under faculty supervision, leading to completion of an honors essay, composition, or the equivalent. A formal proposal is required to be submitted and approved prior to registration; see the director of undergraduate studies for details.

MUSI V3998x-V3999y Supervised Independent Study 3 pts. A creative/scholarly project conducted under faculty supervision. Approval prior to registration; see the director of undergraduate studies for details.

MUSI G4024 Opera and Society 3 pts.Not offered in 2013-2014.Prerequisite: instructor�s permission. Investigation of how the composition, libretti, and production of operas are connected to their cultural, social, and political contexts.

MUSI G4030 (Section 001) Sound, The Secular, The Sacred 3 pts.Not offered in 2013-2014. Prerequisites: None. This course seeks to explore the significance of sound for understanding the negotiation the relation between the sacred and the secular, in light of recent work in critical religious studies. It seeks to explore the acoustic dimensions of the 'turn to religion' by exploring the uses of sound in mediating the relationship between the sacred and the secular in different cultures.

MUSI W4035y (Section 001) Animal Music 3 pts. Explores and compares the various listening traditions that have been applied from the late nineteenth century to the present to the songs of birds, whales, dogs, and other nonhuman animals.

MUSI W4035y (Section 001) Animal Music 3 pts. Explores and compares the various listening traditions that have been applied from the late nineteenth century to the present to the songs of birds, whales, dogs, and other nonhuman animals.

MUSI G4060 Medieval Music Drama 3 pts.Not offered in 2013-2014. Interdisciplinary study of sacred dramas from the 12th and 13th centuries, including the Play of Daniel, Hildegard of Bingen's Ordo Virtutum, and plays from the Fleury Playbook and Carmina Burana collections. Emphasis on the historical and cultural contexts of the plays.

MUSI W4102y (Section 001) Music and Writings of Wagner 3 pts. The development of Wagner's musical-dramatic style and critical thought, with special reference to The Flying Dutchman, Lohengrin, Die Walküre, Tristan und Isolde, and Parsifal, as well as selected prose writings in translation.

MUSI W4117y Music and the Cold War Prerequisites: Previous coursework in Music (including W1123) or permission of the instructor. Study of the principal musical trends and aesthetic debates of the Cold War. Hoe did music respond to and reinforce the political divisions of the Cold War? We will move through a series of chronological units that integrate primary source readings from Adorno to Zhdanov, musical case studies (including works by Shostakovich, Eisler, Lutoslawski, Babbitt, Boulez, Kagel, Schnittke, Rochberg, Copland, Nono, Henze) and recent scholarly writings. Themes will include socialist realism, American influence in Western Europe, nationalism, postmodernism, and historiography.

MUSI G4122x (Section 001) Songs of the Troubadours 3 pts. Music Majors and Concentrators. Prerequisites: Music Humanities; Music V3128. This interdisciplinary seminar approaches the songs of the troubadours as poetic and musical traditions. Together we will develop methods for analysis and interpretation, situate the songs within literary and social history, and address broad issues such as the nature of performance, the interplay between orality and writing, the origins of troubadour poetry, fin'amor, and gender. Students will learn to analyze the poetic and musical structure of the songs and to transcribe and edit them from medieval manuscripts. Weekly assignments in Paden's Introduction to Old Occitan will familiarize students with the language of the texts; one hour a week will be devoted to going over texts in the original language using Paden's book. Individually designed paper assignments will take students' backgrounds into account;; students from all departments are welcome.

MUSI G4125 Jewish Music: Uniqueness and Diversity 3 pts.Not offered in 2013-2014. Jewish Music is rich and diverse. We known more about the contexts and uses of Jewish music than the music itself. Prior to recordings of music, musical notation is the most accurate record of the "actual" music. Notation of Western music develops and grows from the year 1000. For Jewish music the date of notation of music is 1750. Ashkenazic European liturgical music traditions are the first to be notated in the Jewish traditions. Secular and art music does not begin for well over one years, it begins in the late 1800s. Many liturgical traditions remain in the oral tradition. There are many challenges to understand the history of Jewish music. Investigating the role of culture and contexts of Jewish music opens the door for a productive inquiry. Topics for discussion include: tradition and innovation, nationalism, culture contact, responses to modernity, and music and identity.

MUSI W4125x (Section 001) Puccini and the Twentieth Century 3 pts. The popular and academic reputations of Giacomo Puccini have diverged more sharply than those of any other classical composer. This course aims less to "rehabilitate" Puccini than to imagine an alternate history of modernism in which his music plays a central role. Discussions will be centered around six operas, which we will be listening to in their entirety, as well as a variety of films, stage productions, and works by other composers. Major themes will include: sound studies and the history of technology; performance studies; theories of realism and modernism; and the relationship between Italian cultural politics and larger cosmopolitan and imperial formations.

MUSI W4125x (Section 001) Puccini and the Twentieth Century 3 pts. The popular and academic reputations of Giacomo Puccini have diverged more sharply than those of any other classical composer. This course aims less to "rehabilitate" Puccini than to imagine an alternate history of modernism in which his music plays a central role. Discussions will be centered around six operas, which we will be listening to in their entirety, as well as a variety of films, stage productions, and works by other composers. Major themes will include: sound studies and the history of technology; performance studies; theories of realism and modernism; and the relationship between Italian cultural politics and larger cosmopolitan and imperial formations.

MUSI W4126y (Section 001) European Music in America 1825-1950 3 pts. The aim of this course is to provide a deeper understanding of the musical interactions between Europe and the United States from the first performance of an Italian opera sung in its original language in America (Gioachino Rossini's Il barbiere di Siviglia, 1825) until Arnold Schoenberg's death in Los Angeles in 1951. The course will address issues such as identity and cultural pride through music, the concept of a musical canon in America, and reception of European culture in the United States.

MUSI G4130y (Section 001) Music and Childhood 4 pts. Prerequisites: None. This seminar addresses the relationship between music and childhood through a focus on the following areas: child musicians, music written for or about children, the role of music in the creation of "childhood" as a modern cultural construct, and the history of musical education, and the shaping of identity through music. We will address a variety of themes using both diachronic and synchronic analyses. Students will pursue research projects in their own areas of interest that may overlap with or complement the course content.

MUSI W4241x-W4242y Advanced Composition 3 pts. Composition Faculty Prerequisites: MUSI V3241-3242 and instructor's permission. Composition for larger ensembles, supported by study of contemporary repertoire.

MUSI W4241x-W4242y Advanced Projects in Composition 3 pts. Prerequisites: Grades obtained in V3241-3242; compositions written in V3242; instructor's permission. Composition for larger ensembles, supported by study of contemporary repertoire.

MUSI V4318y Ear Training, V 1 pt. Advanced dictation, sight singing, and musicianship, with emphasis on 20th-century music.

MUSI W4330y (Section 001) Recent Approaches to Classical Form 3 pts. Prerequisites: HUMA W1123 and V2318-19 or equivalent, or instructor permission. 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.

MUSI W4332x (Section 001) Computational Theories of Music and Music Cognition 3 pts. Music Majors and Concentrators. Prerequisites: Masterpieces of Western Music or Instructor's Permission. 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.

MUSI G4360y Analysis of Tonal Music 3 pts. Prerequisites: MUSI V3321 or the equivalent. Fulfills the requirement of the 3000-level advanced theory elective. This course was previously offered as V3360, Pre-Tonal and Tonal Analysis. Detailed analysis of selected tonal compositions. This course, for advanced undergraduates and beginning graduates, is intended to develop understanding of tonal compositions and of theoretical concepts that apply to them, through study of specific works in various forms and styles.

MUSI G4401x (Section 001) Field Methods and Techniques in Ethnomusicology 3 pts. 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.

MUSI W4420 Music and Property Prerequisites: Approval of the instructor. This courses raises the questions 1) What does it mean to "own" music? 1) In what senses can music be conceptualized as "property?" How do divergent understandings of music's status as "property" shape contemporary debates and discourses in the particular areas of disputes over "illegal downloading" of copyrighted music and the "repatriation" of Native American musical recordings as "cultural property?" Several relevant major recent statements will be considered and responses discussed. Case studies from ethnomusicological, anthropological, media studies and legal literatures engage issues of appropriation, the role of new technologies in shifting the terrain of musical ownership will be studied. Hands-on look at the Columbia Center for Ethnomusicology's ongoing projects to repatriate historic recordings of Native American music (currently 'owned' by Columbia University) to the Navajo and Iñupiat tribes.

MUSI W4430x (Section 001) Listening and Sound in Cross-Cultural Perspective 3 pts. 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 through recent histories of listening, through anthropological work on hearing and sound in different cultures and through the field of acoustic ecology. The course will seek to compare these three scholarly perspectives and their contributions to a historical and contextual understanding of listening practices.

MUSI W4435 Music and Performance in the African Postcolony 3 pts.Not offered in 2013-2014. This course examines music and performance in various African contexts, focusing on the postcolonial period. It will explore the complex interactions between music, politics, nation, race, and mediation through case studies from Ghana, Nigeria, DRC, Kenya, Tanzania, Zimbabwe, Namibia, and South Africa. In addition, discussions will involve what is meant to speak about "African music," and class will theorize about the conditions of musical production in the context of postcolonialism.

MUSI W4440y Music Exoticisms of the Former Soviet Union 4 pts. In this course, we explore musical discourses of "civilization" and "barbarism" with a focus on examples from Ukraine, Russia, and Central Asia. The historical scope of the class includes key moments since the 18th century through the present day: from Catherine II's southward expansion into the territories of the Ukrainian Kozaks and the Crimean Khanate, through the era of romantic nationalism on the eastern borders of Austro-Hungary, through Soviet discourses of musical "progress," to the changing social and political landscapes of music in the post-Soviet era, to modern political discourses of indigenous rights.

MUSI G4461x Music and Place 3 pts. This course provides an introduction to contemporary work on music and place from an ethnomusicological perspective. It situates ethnomusicological work and specific musical case studies from multiple geographical regions within an interdisciplinary theoretical framework that draws from the fields of cultural anthropology, cultural, media, and sound studies.

MUSI W4463x (Section 001) Silence 3 pts. 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).

MUSI G4500y Jazz Transcription and Analysis 3 pts. Prerequisites: Permission of the instructor. A progressive course in transcribing, proceeding from single lines to full scale sections and ensembles. Stylistic analysis based on new and previously published transcriptions.

MUSI G4505 Jazz Arranging and Composition 3 pts. Prerequisites: V2318-19 Diatonic Harmony or equivalent. Course designed to train students to arrange and compose in a variety of historical jazz styles, including swing, bebop, hard bop, modal, fusion, Latin, and free jazz.

MUSI W4507y "The New Thing": Jazz 1955-1980 Prerequisites: Permission of the instructor. An examination of the new jazz that emerged shortly after the middle of the 20th century. The seminar will include the work of musicians such as Ornette Coleman, Cecil Taylor, Don Cherry, Anthony Braxton, Carla Cley, Albert Ayler, and the Arts Ensemble of Chicago; the economics and politics of the period; parallel developments in other arts; the rise of new performance spaces, recording companies, and collectives; and the accomplishments of the music and the problems it raised for jazz performance and criticism.

MUSI W4508 Sound and Phonography Not offered in 2013-2014. Prerequisites: Permission of the instructor. Graduate students and seniors given priority. An historical overview of the nature of sound and the technologies of its transmission, modification, and recording; the social and artistic consequences of recording, including questions of originality and ownership. Topics may include the art of noise; the soundscape; field recording; and audio-terrorism.

MUSI W4515y Conducting Music 3 pts.Prerequisites: advanced music major and extensive contemporary music background. Analysis of the modern repertory of contemporary music with directional emphasis on actual conducting preparation, beating patterns, rhythmic notational problems, irregular meters, communication, and transference of musical ideas. Topics will include theoretical writing on 20th-century conducting, orchestration, and phrasing.

MUSI W4525x Instrumentation 3 pts. Prerequisites: Extensive musical background; open to both graduate and advanced music major undergraduate students. Analysis of instrumentation, with directional emphasis on usage, ranges, playing techniques, tone colors, characteristics, interactions and tendencies, all derived from the classic orchestral repertoire. Topics will include theoretical writings on the classical repertory as well as 20th century instrumentation and its advancement. Additional sessions with live orchestral demonstrations are included as part of the course.

MUSI W4526y Orchestration 3 pts. Prerequisites: MUSI W4525 (Instrumentation), or instructor's permission. The study of "functional" orchestration in works of the eighteenth and nineteenth centuries. Students will analyze scores by Haydn, Beethoven, Schubert, Brahms, Wagner, Mahler, and other, and will write exercises in the style of these composers.

MUSI W4540y Histories of Post-1960's Jazz 3 pts. 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.

MUSI W4540y Histories of Post-1960's Jazz 3 pts.Not offered in 2013-2014. Prerequisites: HUMA W1123 or the equivalent. Historiographical issues surrounding the performance of jazz and improvised musics after 1960. Topics include genre and canon formation, gender, race, and cultural nationalisms, economics and infrastructure, debates around art and the vernacular, globalization, and media reception. Reading knowledge of music is not required.

MUSI G4601 Musical Interactivity Not offered in 2013-2014. Prerequisites: Basic computer operating system knowledge. The course explores programming techniques and concepts in computer music interactivity, or the creation of compositions that incorporate software that responds to live musical performance, environmental activity, and other real-world contingencies. The Max/MSP programming platform is sued for MIDI, digital audio, and other interfacing techniques. Interactive works from the worlds of music, visual art, and performance are also presented. Basic knowledge of computer operation is required; basic knowledge of MIDI, Max/MSP, and/or digital audio is recommended.

MUSI W4625 Timbre and Technology 3 pts.Not offered in 2013-2014. Prerequisites: Music Hum W1123 or permission of the instructor. 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.

MUSI W4626y (Section 001) Concepts of Musical Instrument in Electronic and Computer Music 3 pts. Prerequisites: MUSI V2205 or Consent of the Instructor. A central aspect of composing with computer media is designing the software system with which we will work; in other words, the composer, performer and/or improviser is often responsible for designing and assembling his own instrument. Electronic and Computer Music practices challenge our views of what a musical instrument is and how it is expected to behave. Through the analysis of various documents by a wide range of musicians as diverse as Theremin, Schaeffer, Stockhausen, Mathews, Moore, Tenney, Risset, Buchla, Moog, Mumma, Martirano, Waisvisz, Rowe, and Puckette amongst others, we will attempt to understand what new conceptions of musical instrument may have emerged with electric and digital media, and explore software implementations of some of their designs towards a final paper or computer system.

MUSI G6000y (Section 001) Professional Strategies and Skills 3 pts. This course consolidates two components of the systematic professional training and pedagogical formation of graduate students in the Department of Music. G6000 is taught by the chair of the Core Curriculum course, Masterpieces of Western Music (Music Humanities). The course streamlines the process by which students in the four different doctoral degree programs (historical musicology, ethnomusicology, theory, and composition) are trained to teach their own sections of Music Humanities. Students also learn about applying for academic positions, preparing curriculum vitae, submitting journal articles, preparing book proposals, and other professional skills.

MUSI G6135y (Section 001) Music and the Critique of Modernity 3 pts. This course explores through the prism of Beethoven's music the relationship between musical practice and philosophical discourse in the aesthetic critique of modernity.

MUSI G6135y (Section 001) Music and the Critique of Modernity 3 pts. This course explores through the prism of Beethoven's music the relationship between musical practice and philosophical discourse in the aesthetic critique of modernity.

MUSI G6300x (Section 001) Introduction to the History of Music Theory 3 pts. Survey of the theoretical issues underlying musical practice from the Middle Ages to the present day and of the body of theoretical writings about music from Boethius to contemporary theorists.

MUSI G6302x (Section 001) Introduction to Set Theory 3 pts. A study of the basic principles of set theory. Concepts illustrated with examples from the atonal and twelve-tone repertory.

MUSI G6305y Introduction to Schenkerian Analysis 3 pts. A study of the basic principles of Schenkerian theory: the Halics; principles of composing-out; middleground and foreground prolongation through arpeggiation, unfolding, linear progressions, register transfers, voice exchange, coupling; diminutions. Concepts illustrated with examples from the tonal literature.

MUSI G6333x Proseminar in Music Theory 3 pts. Overview of current work in Music Theory, an analysis, perception, and philosophy. Major areas of research and methodological challenges.

MUSI G6385y (Section 001) Analysis of Popular Music 3 pts. Analysis of Western Popular music including pop, rock, soul, electronic dance music, and hip hop through recent approaches. Topics will include the applicability of analytical techniques designed for Western art music, the role of notation, relationship of text and context, and the roles of popular music in identity formation.

MUSI G6413y (Section 001) Research Design Seminar 3 pts. The purpose of this project is to teach the student how to write a research proposal. This research proposal is to be used both as the formal dissertation research proposal and to apply for grants.

MUSI G6425x The Politics of Desire in Latin America 3 pts. Prerequisites: Approval from the Instructor. The course explores the politics of desire through three main contrastive and complementary arenas: the politics of desire as mediated by the state; the politics of desire as mediated by music and, the politics of desire as mediated by literature and film. The course will be simultaneously announced at NYU, CUNY and Columbia, programmed at the same time in all campuses. Four classes will be taught in each of the campuses. All professors are present at all lectures and contribute to all lectures. Students register through their home institution. READING SPANISH IS REQUIRED. Enrollment is by permission of the instructor.

MUSI G6427x (Section 001) Music, Myth and Indigeneity 3 pts. This course explores the relation between music, myth and indigeneity with particular emphasis on the work of Lévi-Strauss and musical ethnographies from indigenous South America.

MUSI G6440 Suvivors' Music Not offered in 2013-2014. Prerequisites: Permission of the instructor. This course will examine the role of music in the lives of survivors of traumatic experiences and discover why music is a special expressive resource for such people. Examples from survivors' music about the nature of traumatic events that other expressive and documentary resources do not yield will be utilized. Course is interdisciplinary and the use of these examples to explore these issues is from a social, cultural, psychological and musicological perspective. Geared towards advanced undergraduates and graduate students from all disciplines.

MUSI G6631x (Section 001) Advanced Mixed Music Composition 3 pts. This course creatively examines advanced and unorthodox uses of electronic tools, devices, and techniques in the creation of compositions for live instruments and electronic devices of all types (i.e., fixed "tape," live processing, electric instruments, MIDI controllers, etc.).

MUSI G8101-G8102 Seminar in Historical Musicology: the Middle Ages 3 pts. Topic for Fall 2013: Sound and Image.

MUSI G8231-G8232 Seminar in Music Composition I 3 pts. Individual projects in composition.

MUSI G8255x (Section 001) Composition and Cognition 3 pts. The study and evaluation of contemporary compositional organization from the perspective of the cognitive science of music.

MUSI G8319 Seminar in Music Theory: Interdisciplinary and Humanistic Approaches 3 pts. A study of the meanings and cultural significance of music and music theory; integration of music theory with areas outside of music, such as aesthetics, literary criticism, cognitive psychology, sociology of music, semiotics, phenomenology, theories of narrative, hierarchy theory, and linguistics.

MUSI G8370 Ruth Crawford Seeger Modernism and Tradition in 20th-c. American Music 3 pts.Not offered in 2013-2014. 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.

MUSI G8371y (Section 001) Debussy and Modernism 3 pts. Detailed analysis of selected works by Claude Debussy in conjunction with pertinent theoretical perspectives on modernism and modernity.

MUSI G8412 Seminar in Ethnomusicology: Field Methods and Techniques I 3 pts.Not offered in 2013-2014. 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.

MUSI G8416y Seminar in Ethnomusicology: Alan Lomax 3 pts. This seminar will explore the role that Alan Lomax and his family played in creating a distinctively American approach to folklore and ethnomusicology. Topics will include the history of Anglo- and African American folk song collecting; the Archive of American Folk Song; the popularization of folk song (Lead Belly, Woody Guthrie, Carl Sandburg, Pete Seeger, Zora Neal Hurston, Mary Elizabeth Barnicle, the recording business and radio, the second folk revival, and folk festivals.); Lomax's stay in the UK, Spain and Italy; the mapping of the world's song styles; the use of micro-cultural studies of the body in song, dance, and speech; and new approaches to the use of film, video, and the computer.

MUSI G8500xy M.Phil. Seminar 3 pts. Individual work with an adviser to develope a topic and proposal for the Ph.D. dissertation.

MUSI G8610 Miles Davis 3 pts.Not offered in 2013-2014. Prerequisites: A course or its equivalent in Jazz Studies A survey of the life and music of Miles Davis, examining the social history and musical traditions that shaped his work, and exploring his influence on music, performance,literature and other arts.

MUSI G9401y (Section 001) Advanced Topics in Ethnomusicology: Archiving Practices 3 pts. This is a project-based seminar on current standards for managing sound archives as cultural heritage resources.

MUSI G9402y (Section 001) Advanced Topics in Ethnomusicology: Music, Affect, and Public Culture 3 pts. Musical anthropology and ethnomusicology have tentatively begun to work with "affect" as a keyword for understanding how contemporary cultures of musical circulation and listening shape publics and mobilize sentiment. But what is "affect"? How does it differ from "emotion"? How might one go about ethnographically studying affect when sound/music/aesthetics are the object of inquiry? This seminar places two contemporary interdisciplinary "turns" in the social sciences and humanities (the "acoustic turn" and the "affective turn") in productive alignment. We track genealogies of the following keywords and terms through relevant theoretical and ethnographic literatures: "listening"; "voice"; "emotion"; "structures of feeling"; "affect"; "public feeling" and "publics" while thinking through the possibilities of "affect" for anthropologies of sound and music.

MUSI G9403x (Section 001) Popular Music Aesthetics 3 pts. 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.