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Home , Christy Chung, Computer Music Center, Music of Morocco, The Walden School

Newsletter Department of Fall 2016 From the Chair Photo by Ad Meskens Ad by Photo

s 2016 draws to an end, the campus exudes exhaustion and exhil-

iration. The undergraduate major and performance program have

A grown, and our classrooms are scheduled every minute of the day and

night, showing the large number of classes we offer and the even larger

number of Columbia students involved in the study and performance

of music. We have long since run out of space in Dodge Hall, and

two intrepid undergraduates, Timothy Diovanni and Cindy Liu, have

circulated a petition to increase campus spaces for musical perfor-

mance, invoking our peer institutions’ superior facilities. We need

more places in which to highlight the inspiring dedication and energy Susan Boynton at the Cloisters with two of her students from the Summer 2015 of our undergraduates and graduate students. In this 120th year of our Art and Music Humanities Program in Paris, Christy and Ben Libman Department, we are aware of our increasing excellence but still striving

to do even better.

Please send me your news. You can follow the Department on

Facebook and Twitter, and see your alumni profile on our website.

Yours sincerely, Susan Boynton Department Chair Email: [email protected] Twitter: @departmentchair

Music.Columbia.edu Facebook.com/ColumbiaUniversityMusic Twitter.com/Columbia_Music (@Columbia_Music)

2 New Faculty

enjoyed in the Indian state of West Bengal. Ë New Mellon His research has been supported by fellow- Lucie Vágnerová Visiting Assistant Postdoctoral Fellows ships from the American Institute of Indian defended her Professor, Weatherhead Studies, the South Asia Institute at the East Asian Institute Elise Bonner is dissertation in University of Texas at Austin, and the Yale completing her Historical Musicol- Miki Kaneda Institute of Sacred Music, where he was a Ph.D. in musicol- ogy in 2016 and (Assistant Professor, Postdoctoral Fellow and Lecturer (2015–16). ogy at Princeton was appointed a Boston University) He is also an active performer in a range of University and will Core Lecturer in will be Visiting styles and instruments from South Asia, with join the Department Music Humanities. Assistant Professor an emphasis on the Bengali khol. as a postdoctoral She presented “Black Box, White Box: at the Weatherhead fellow in January. Electronics Assembly and the Factory East Asian Institute Her research focuses on eighteenth-century New Core Lecturers Museum” at Sound Limits: Music and its in 2017. As a music, with an emphasis on music and in Music Humanities Borders—the Yale Graduate Music Sympo- scholar and teacher, Kaneda aims to increase aesthetics in the Russian Enlightenment and sium in March, and defended her disserta- meaningful conversations between research- Alexander K. Rothe the political and intellectual history of opera tion “Sirens/Cyborgs: Sound Technologies ers and practitioners of sonic and visual arts (Ph.D., Historical at the court of Catherine the Great. Bonner’s and the Musical Body” in May. She pre- in order to address the relationship between , 2015) research has been supported by fellowships sented the paper “Blackness, Telepresence, politics, culture, and the arts in ways that was appointed a and grants from the American Council of and the Carceral State” for AMS Vancouver reach beyond institutional boundaries. Core Lecturer in Learned Societies, the Mellon Foundation, in November, and has written a review of Trained in musicology and , 2016. He spoke on the Council on Library and Information Nina Eidsheim’s Sensing Sound: Singing and her research interests and publication topics “Ruth Berghaus’s Resources, and the American Musicological Listening as Vibrational Practice (2015) for include the transnational flows of experimen- Vision of Wagner in Society. She has an essay on Russian the special issue of Current Musicology. tal music, graphic scores, art and the everyday, the Frankfurt Ring Cycle” at the AMS-GNY theatrical politics and public opera forthcom- and media ecologies in postwar Japan. Her Winter 2016 chapter meeting. On December ing in Eighteenth-Century Music in Context. current book project, The Unexpected 4, he will give a talk on “Revisiting Chéreau’s Collectives: Intermedia Art in Postwar Japan, is Ë Bayreuth Centennial Ring Cycle Forty Years an ethnographic and historical study that Eben Graves has a Later” at the Wagner Society of New York. uses intermedia (a kind of multimedia art) as Ph.D. in ethnomu- Alexander will present on “Visions of a vehicle to examine collaborative artistic and sicology from the Wagner and Memories of May 1968 in the social processes in postwar Japan. Kaneda University of Texas Bayreuth Centennial Ring Cycle” at the will teach two courses in the Department of at Austin (2014). Modern Language Association Annual Music: Sound and Image in Modern East Using ethnographic Conference in Philadelphia in January 2017. Asian Music (spring 2017) and Transpacific and historical Musicology (fall 2017). methods, his current book project studies intersections between musical time and the temporal dimensions of devotional religion, cultural nationalism, and economic exchange in padavali kirtan, a genre of Hindu devotional and storytelling widely performed and

3 Faculty Highlights

Gail Archer (Barnard) played fifteen concerts Zosha Di Castri’s piece Near Mute Force was and the French Institute/Alliance Française. ponist?” held in Leipzig, Germany on the in Europe in summer 2016 in the Czech premièred in Toronto in April as part of vio- Her 2015 article “Opéra-comique on the Eve 100th anniversary of the ’s death. Republic, the Ukraine, Russia, Denmark, list Steven Dann’s concert “Dannthology.” Di of Revolution: Dalayrac’s Sargines and the His 2015 article “Arlen’s Tapeworms: The Germany and Italy. She also played at the Castri won the 2016 Yvar Mikhashoff Trust Development of ‘Heroic’ Comedy” won the Tunes That Got Away” in The Musical Quar- Cathedral of Barcelona and in the Odessa Competition, with pianist Julia Den Boer. In 2016 Alfred Einstein award from the Ameri- terly won the inaugural Roland Jackson Award Music Festival. In the , high- June, Patina, commissioned by Jenny Koh, can Musicological Society. of the American Musicological Society. lights include Walla Walla University, Christ was performed by the violinist in her concert Ë Ë Church at Dartmouth College, St. Augus- Shared Madness at National Sawdust. Di Joe Dubiel gave one of the Ron Alexander Brad Garton collaborated with Susan tine Cathedral, Kalamazoo, MI, the Roman Castri’s Lineage had its Japanese première at Memorial Lectures in Musicology at Boynton on the application of music visu- Catholic Cathedral of Denver, CO, and an Suntory Hall and her String Quartet No. 1 Stanford University, speaking on “Our alization tools in Music Humanities with a organ series honoring the life and work of was premièred as the Canadian Commission Kind of Empiricism.” Hybrid Learning grant from the Provost of Reger presented in at Round of the Banff International String . four churches in New York. Quartet Competition. Di Castri was awarded Ë Ë Ë a commission by the Serge Koussevitzky Kevin Fellezs was awarded a Lenfest Faculty Music Foundation. Di Castri’s music will Development Grant. He published “Shadows Giuseppe Gerbino taught Music Humanities Susan Boynton received a 2016 Lenfest be featured in a Miller Theater Composer and Light: Gender, Race, and the Ma(s)king at in Paris in fall 2016. While in Distinguished Faculty Award and won a Portrait concert in December. of ‘Joni Mitchell’” in The Cambridge Com- Europe, he was invited to present his research three-year grant from the Partner University panion to the Singer-Songwriter and “Vora- on music, mind, and soul in the Renaissance Fund (FACE Foundation) with co-investiga- Ë cious Souls: Race and Place in the Formation at the École des Hautes Études en Sciences tor Frédéric Billiet of Paris IV-Sorbonne Alessandra Ciucci presented “Performing of the San Francisco Bay Area Thrash Scene,” Sociales and at the University of Cambridge. University for the digital humanities project Rurality: Music and Migration across the in Global Metal Music and Culture: Current “FAB- Musiconis: French-American Bridge Mediterranean (-Italy)” at the Ë Directions in Metal Studies. for Medieval Musical Iconography.” Columbia University Seminar on Georg Friedrich Haas’ opera Morgen und Boynton’s volume Resounding Images: Studies and was the chair and session orga- Ë Abend was performed at the Deutsche Oper Medieval Intersections of Art, Music, and nizer of the panel “Sonic Journeys, Spiritual In April 2016, Aaron Fox discussed the Cen- Berlin; his opera KOMA, at the SWR- Sound, edited with Diane J. Reilly (Brepols, Boundaries, and Musical Circulation in the ter for Ethnomusicology’s indigenous music Festspiele Schwetzingen (Germany), was 2015), won the 2016 Ruth A. Solie Award ,” at the Annual Meeting of the repatriation projects for BBC Radio 3’s Sun- named the best first performance of the year of the American Musicological Society. In Society for Ethnomusicology. day Feature, “Taking It All Back Home.” at the “Kritikerumfrage” in Opernwelt. Haas the summer of 2016 Boynton taught in the Ë Ë was guest composer and lecturer at the summer program in Paris combining Art Atlantic Center for the Arts, Guest Professor Julia Doe conducted research at the Biblio- Walter Frisch taught Music Humanities to and Music Humanities. at the Salzburger Sommerakademie, and thèque-Musée de l’Opéra in Paris as a Hettle- Columbia undergraduates at the Reid Hall composer in residence at the AFEKT festival Ë man Summer Fellow, and gave a colloquium program in Paris during Spring 2016. He in Tallinn. He will be composer in residence Deborah Bradley-Kramer toured Poland lecture at Case Western Reserve University also delivered a lecture at Reid Hall’s Colum- for the Huddersfield Contemporary Music with SPEAKmusic in March. In April, she on “The King, the Queen, and the Farmer: bia Global Focus series in February, “Getting Festival in November. performed in the concert “Echoes of the Pastoral Politics at the Bourbon Court.” Her ‘Over the Rainbow’,” about the history and Russian Jewish Folk Music Society” with commentary appears in the booklet of the reception of the most famous song from Ë SPEAKmusic and the Daedalus Quartet at world-premiere CD recording of Grétry’s MGM film The Wizard of Oz. In May he Ellie Hisama directed the Women, Music, the 92nd Street Y. L’épreuve villageoise [Naxos]. Doe assisted delivered a paper on “Reger and Historicist Power Symposium in December 2015 with this production by Opera Lafayette, Modernism” at the conference “Max Reger— celebrating Suzanne G. Cusick and the which was performed at the Kennedy Center ein nationaler oder ein universaler Kom- special issue of Women & Music: A Journal

4 of Gender and Culture; Hisama is Editor Ë the Labyrinth of Melancholy” appeared in French label Paraty in September. Baczewska in Chief of the Journal. She was the 2016 Jeffrey Milarsky conducted an all-Reich the Oxford Handbook of Music and Disabil- performed at Columbia’s Italian Academy speaker in the Judy Tsou ’75 Music Scholars concert at Alice Tully Hall with Axiom to ity Studies. In April she gave a colloquium in November. Series at Skidmore College. Hisama pub- celebrate the composer’s 80th birthday. At lecture at Case Western Reserve University Ë lished “Improvisation as Freestyle Rap” in the entitled “Tripping the Late Fantastic,” and Juilliard in December he will lead Axiom in Peter Susser was commissioned by Laura Oxford Handbook of Critical Improvisation in November will give a preconcert lecture a program of music by Kaija Saariaho, and in Usiskin (Columbia/Juilliard ‘08) to write a Studies. She chaired an IRWGS panel on entitled “Mozart’s Thunderbolts” for the Sal- January will conduct the LA Philharmonic suite of cello pieces for a recording project sexual violence on stage and Don Giovanni zburg Mozarteum Orchestra’s performance at New Music Group in an all-Reich concert. funded by the Alabama Council on the (October) and was an invited speaker at the Alice Tully Hall. Ë Arts. He taught Music Humanities in Paris annual AMS/SMT meeting on the sessions Ë Ana Maria Ochoa for the Art and Music Humanities Summer “Race, Ethnicity and the Profession” and ’s book Aurality: Listen- Magdalena Stern-Baczewska gave a lecture Program. Susser also curated the “Hearing “Sexual Violence on Stage: How Musicolo- ing and Knowledge in Nineteenth-Century recital, “The Goldberg Variations in Con- is Believing” exhibition in the Music & Arts gists Promote Resistance in the Twenty-First Colombia (Duke University Press, 2014) text,” at Quest University in Squamish, Library in spring 2016, which displayed Century” (November). was co-recipient of the 2015 Alan Merriam Prize from the Society for Ethnomusicology. British Columbia and performed at the original student and faculty work, as well as Ë In 2016 she published “Voice in Fernando University of Connecticut’s Jorgensen Center textbooks, training manuals, and composi- was composer in residence at Ortiz: Tools for Rethinking the Notion of for Performing Arts, in a recital with violinist tions from around the world that are used to Boston University in September. His piece Scene,” in Made in Latin America: Studies in Solomiya Ivakhiv. In May she performed enhance and inspire the musical imagination. Waltzes was performed by members of the Popular, Christian Spencer and Julio Mendívil Tan Dun’s piano concerto The Banquet in Ë Berlin Philharmonic at an Orchard Circle at the Shenzhen PolyTheater and the and “Acoustic multinaturalism: the value of Chris Washburne participated in a dialogue concert at the DiMenna Center, NYC; Give Guangzhou Opera House with the Macao nature and the nature of music in ecomusi- on “Jazz and Thought” with Columbia and Take had its UK première in London; Orchestra, conducted by maestro Tan Dun. cology” in Boundary 2. neuroscientists as a part of Jazz at Lincoln and Time after Time was performed in During the summer, she performed at Reid Ë Center’s Science of Jazz lecture series. He November by the Da Capo Chamber Players Hall as a part of the Columbia Sounds Series, Terence Pender gave the keynote address for the Annual at Merkin Hall. Music of Fred Lerdahl, vol. was interviewed by the in a program that included the European Meeting of the National Association of 5 will be released by Bridge Records in Columbia Spectator, resulting in an article premiere of Peter Susser’s “Toys.” The new Independent Schools speaking on “Jazz and 2017. On April 22, 2017, Sotto Voce for praising his skills as a and as an “Magdalena Baczewska Plays Chopin Leadership.” He gave the keynote address cello and piano be given its world première educator. Thanks to a grant from the Provost and Szymanowski” was released under the for the Annual Meeting of the IEEE Future by Anssi Karttunen and Nicolas Hodges in awarded to the Center, Leaders Forum speaking on “Jazz and the Columbia Sounds concert series at the Pender developed a Massive Open Online Creativity” and the keynote for the Winter Columbia Global Center in Paris. Course, “ Production Tech- niques,” with the educational technology Retreat of Columbia’s Alumni Relations and Ë company Kadenze. Development Officers speaking on “Jazz George Lewis was elected a Corresponding Ë and Innovation.” Washburne’s compositions Fellow of the British Academy and an Hon- were featured as part of the “Music and the Elaine Sisman orary Member of the American Musicologi- represented the American Sky: An Exhibition of Art and Music” at the cal Society. He coedited (with alumnus Ben Academy of Arts and Sciences as delegate Silverstein Gallery along with the music of Piekut) the two-volume Oxford Handbook of to the ACLS at the annual meeting in May, Ernest Bloch, , Arnold Schoen- Critical Improvisation Studies. and now as member of the IMS Direktorium berg, and Henry Cowell. represents that society on the Grove Online Advisory Committee. Her essay “Music and

5 Alumni Achievements

Nimoy Thalia at Symphony Space. In July, Ë News from our Bryan’s “Yet Unheard” premiered in the Natacha Diels completed her DMA in Doctoral Alumni “Say Her Name” concert at Cooper Union December 2015. Ensemble Pamplemousse benefiting the Black Lives Matter movement. Carl Bettendorf’s String Quartet No. 2, performed her Child of Chimera (2015) in its In September she took up a tenure-track Yggdrasil, was premiered this June at Miller Columbia Sounds concert at the Columbia position as Assistant Professor of Music (Jazz Theater by the Mivos Quartet. Global Center in Paris in March 2016. The Studies) at Tulane University. Ë Talea Ensemble gave her Princess Nightmare he was featured as a composer in Manifeste Ë Moon its US première in October at the 2016’s Chamber Music Composition Work- Tyler Bickford received the ACLS Fellow- Edmund Campion was awarded a 2016 Italian Academy for Advanced Studies at shop concert in Paris. ship from the American Council of Learned Guggenheim Fellowship. Columbia. Diels is Assistant Professor in Ë Societies for his second book, Tween Pop: Composition and Computer Music at the Ë Bryan Jacobs was awarded a 2016 Gug- Children’s Music and Public Culture. His first University of California, San Diego. book, Schooling New Media: Music, Lan- Maja Cerar genheim Fellowship. His Dialogue II was was a featured performer in Ë guage, and Technology in Children’s Culture, the New York City performed by Anssi Karttunen (cello) at the will be published by Oxford University Press Festival/New York Philharmonic Biennial at Laura Dolp edited the forthcoming volume Columbia Global Center in Paris, where he in Spring 2017. National Sawdust in June. She performed Arvo Pärt’s White Light: Media, Culture, later performed his Organic Synthesis Vol. 1 Politics (Cambridge University Press, 2017). (2015) with Ensemble Pamplemousse. Ë Tania León’s Axon, Ken Ueno’s Vedananupas- sana, Elizabeth Hoffman’sFastenings (world With Evelijn Ferraro she wrote “ of Ë Courtney Bryan performed in “Relation: A Passage and Sacrifice: Gabriella Ghermandi’s premiere), Liubo Borissov/Maja Cerar’s Steve Lehman released a new album, Performance Residency” by Vijay Iyer in the Stories in Performance,” in Artistic Citizen- Autopoiesis and Paolo Gatti’s Poltergeist. Sélébéyone, in collaboration with French Met Breuer Gallery in March. In April, she ship: Artistry, Social Responsibility, and Ethical Ë saxophonist Maciek Lasserre. performed her piece A Presence at Harvard in Praxis (Oxford University Press, 2016). the concert “Creative Music Convergences.” Anthony Cheung Ë was awarded a 2016 Gug- Ë Bryan’s “His Love Endures Forever” had its genheim Fellowship. Harald Kisiedu was appointed post-doctoral Luke Dubois gave a TED Talk about his world première in May as part of After Col- Ë fellow at Memorial University-Newfound- trane, a suite for jazz orchestra performed by insightful human portraits made from data. Gerald Cohen released Sea of Reeds, an land’s International Institute for Critical the New York Jazzharmonic in the Leonard Ë album of chamber music featuring clarinet: Studies in Improvisation for 2016–2017. geraldcohenmusic.com/sea-of-reeds-cd Lauren Flood was appointed Mellon Post- Ë doctoral Fellow at MIT. Ë Timothy Mangin was appointed assistant Ë The recording of Mario Diaz de León’s professor of music at Boston College. “The Soul Is The Arena” by Claire Chase, Alec Hall defended his dissertation, Ë Sound, Noise and Objecthood: the Politics Joshua Rubin, and the International Con- Matthew Morrison was appointed assistant of Representation in Avant-Garde Music. In temporary Ensemble (Denovali) was on professor of recorded sound at NYU. April, his piece #Notallbots was performed Alex Ross’ list of Notable Performances and Ë Recordings of 2015 in the New Yorker. In by the Wet Ink Large Ensemble as part of Tristan Perich May, Roulette hosted the world premiere of a Columbia concert. In June, ’s “Microtonal Wall” was fea- Mario’s album-length work for TAK Ensem- tured in the exhibit The Art of Music at the ble, O Ignis Spiritus. San Diego Museum of Art from September 2015 to February 2016.

6 Ë African Studies (Dakar, Senegal). Marceline Ë The recording of Sam Pluta’s Seven Systems was invited by the Emeritus Professors In Kasia Borowiec (Columbia College 2012) received praise on New Yorker music critic Columbia (EPIC) Fellows to give a talk was most recently an Artist in Residence Alex Ross’ blog “The Rest is Noise” in on “Creativity under Authoritarian Rule: with Dayton Opera, where she sang the role December 2015. and State Power in Postco- of Kate Pinkerton in Madama Butterfly and Ë lonial Togo.” She defended her dissertation, covered the role of Desdemona in Otello. In “Presence, Absence, and Disjunctures— summer 2016, she was an Apprentice Artist Ryan Pratt’s piece invariance was performed Popular in Lomé, Togo, with Santa Fe Opera. by the Wet Ink Large Ensemble as part of a 1967–2005” in May. Columbia Composers concert in April. Ë Ë Ë Katherine Sara Snyder defended her dissertation on Young co-founded Ensemble Echappé with Cartusciello Eric Rice continues to serve as head of the Cherokee language translational poetics and Jocelin Pan (seen here at right). Jeffrey (General Studies music department at the University of Con- early childhood immersion education in Milarsky (center) led the Ensemble’s first full 2016) was awarded necticut in Storrs. In August, his Ensemble May. She was appointed Visiting Assistant sinfonietta performance at Symphony Space Departmental Origo completed the recording sessions for Professor of anthropology and sociology at in February. Honors in Music “Le Nozze in Baviera: Orlando di Lasso’s Western Carolina University for 2016–2017. for her composition Music for the 1568 Wedding of Wilhelm Ë “Scarecrow.” V of Bavaria and Renate of Lorraine,” a News from our program it performed under his direction at Kate Soper’s piece Nadja was performed by Undergraduate Alumni Ë Columbia in October 2015. The ensemble the Mivos Quartet at Miller Theater in June. Audrey Amsellem (General Studies 2015) Anna Ehrman ( 2016) will return to New York for a performance Ë returned to Columbia this fall as a graduate presented her senior thesis, “The Colonial of sixteenth-century Flemish polyphony on Jeff Talman was awarded a fellowship in student in Ethnomusicology. Legacy of the Ethnomusicological Archive: February 4, 2017. Music and Sound from the New York Foun- Ë An Exploration of ILAM’s African Music Ë Repatriation Project,” in May 2016. dation for the Arts (NYFA). Esther Adams (Barnard College 2016) pre- Ë Marceline Saibou presented “Musical Ë sented her senior thesis, “‘A Naïve Mélange:’ Evisceration Under State Patronage— The Nina Young held the Frederic A. Juilliard/ Examining Racialized Properties of Sound in Vicente Hansen Atria (Columbia College Curious Case of Togo” at the 35th Meeting Walter Damrosch Rome Prize in Musical Harry Lawrence Freeman’s ‘Jazz Opera’ Voo- 2016) returned to Columbia this fall as a of the Mid-Atlantic Chapter of the Society Composition at the American Academy in doo”, in May 2016. She attended Songfest DMA student in Composition. for Ethnomusicology at the University of Rome in 2015–16. Young defended her dis- in Los Angeles, CA and the Atlantic Music Ë Virginia and presented “Revisiting Hybrid- sertation in July and took up a tenure-track Festival in Waterville, ME in 2016. Esther is Nansong Huang (Columbia College/Juilliard ity: Africanist Ethnomusicology, Postcolonial position as Assistant Professor in the Depart- currently pursuing her M.M. in Vocal Perfor- 2016) gave a piano recital in July 2016 at Theory, and the Study of Popular Music” at ment of the Arts at Rensselaer Polytechnic mance at the Manhattan School of Music. Columbia’s Global Center in . The the International Symposium on “Valorizing Institute starting in Fall 2016. Ë program included Scarlatti, Bach, Haydn, African Cultural Heritage and Thought II: Genevieve Ambrose Debussy, Chopin, and Ginzburg. Nansong Migration, Mobility, Epistemologies, and (Barnard College began his MM at the Yale School of Music in Alternative Histories,” Dakar Institute of 2016) presented her senior thesis, “Wizard Rock Heartthrobs: Power, Gender and Eco- fall 2016. nomics in Harry Potter Musical Fandom,” in May 2016.

7 Ë Ë the department of social welfare at Kwansei Opera Workshop in the fall of 2015 in the Daniel Lazour (Columbia College 2016) Victoria Wolf Lewis (Columbia College Gakuin University in Nishinomiya, Japan as Austin E. Quigley Black Box Theatre. For was awarded a 2016 Richard Rodgers Award 2013) teaches violin at Saint David’s School one of eighteen Luce Scholars in placements the expanded version performed in summer for Musical Theater for We Live In Cairo, and Ethical Culture Fieldston School in New throughout Asia. In April 2016, she facili- 2016, the production was directed by Molly the musical he co-wrote with his brother, York City, as well as at Queens College Law- tated an IRWGS talk on “Feminist Media(- Rose Heller (GS ’15), featuring orchestra- Patrick Lazour. rence Eisman Center for Preparatory Studies. tions): What is Beyoncé Feminism?”, and in tions by Solomon Hoffman (CC ’14 Music Ë Since March 2016, she has been performing May presented her senior thesis, “Now Let’s Major) and David Newtown (CC ’18 MPP with LoftOpera as concertmaster and princi- Get in Formation: the Personal and Political Member) on cello. Rosenblatt’s mentor Kevin Lee (Columbia College 2014) pal second violin. Victoria gave a recital, “An of ‘Beyoncé feminism.’” Joe Klein (CC ’58) served as a supervisor on recently co-founded the DaPonte Soloists, Afternoon of Russian Chamber Music,” in Ë the production. a new ensemble in Manhattan dedicated to March 2016 at Teachers’ College. Ë revitalizing . With this group, Christine Rosenblatt (Barnard College he has organized and conducted an intimate Ë 2016), saw her musical Missing Gemini Delaney Ross (Barnard College 2016) inaugural concert of Bach cantatas benefiting Isabella Livorni (Barnard College 2015) garner recognition at the Strawberry Theatre presented her thesis, “Our Hawai’i: Environ- UNICEF’s #endviolence campaign and a began her Ph.D. in Italian Literature at Festival, where it was presented at the The- mental Protest Music on the Big Island of staged and highly immersive performance Columbia University in fall 2016. Isabella atre at St. Clement’s in midtown Manhattan Hawai’i,” in May 2016. of Purcell’s Dido and Aeneas in Soho, with published a translation of Emmanuela in July. Rosenblatt’s work won awards for Ë Best Costumes, Best Actor, Best Director, director Chris Browner (Columbia College Carbe’s “Alta marea” in Asymptote, a journal Angela Scorese (Barnard College 2016) is and overall Best Play/Musical, in addition to 2016). Lee is currently planning a staged for literary translation. Isabella was chosen to Assistant Musical Director and Conductor two nominations for Best Actress. Rosenblatt performance of Handel’s Lucrezia and a dou- be one of five Columbia graduate students in for Children’s Choir (St. Gabriel’s Church, originally presented a workshop premiere of ble bill of Messaien alongside a few medieval the FAB-Musiconis Digital Humanities and Saddle River). and Renaissance selections. He has also been Musical Iconography project and exchange the show with the Columbia University New continuing his tenure as the Artistic Director with the Sorbonne. A scene from Christine Rosenblatt’s Missing Gemini of the Columbia University Bach Society, Ë where he is this year’s perfor- Hannah Murphy (Columbia College 2016) mances of Mozart’s Requiem and Bach. In gave a recital in the Music at St. Paul’s series 2016, he was invited to conduct other ensem- at Saint Paul’s Chapel on the Columbia bles in the city, including Vocal Productions Campus in October. She is pursuing an NYC (choral director) for their production MM in Orchestral Studies at the Manhattan of Mozart’s Don Giovanni and Ensemble 212 School of Music. (guest assistant conductor) for their perfor- mance of Mahler’s Fifth Symphony. Ë Ë Jenny Payne (Barnard College 2016) was awarded the Luce Foundation’s Luce Scholar- Javier Llaca (Columbia College 2016) was ship whose goal is to “enhance the under- awarded Departmental Honors in Music standing of Asia among potential leaders in for his project “A Learning-Based Method American society.” Payne is doing research in for Automatic Phrase Segmentation of Symbolic Music.”

8 Student News

sition. Emily will write a thesis on Strauss’s Ë competition. In September, her piece Una Undergraduate Students concerto for oboe and perform the work. Eamonn Bell participated in “Culture Corda was workshopped and recorded as part of the Los Angeles Philharmonic National Ricardo Bustamante (General Studies 2017) Ë Analytics Beyond Text: Image, Music, Composer’s Institute. was a recipient of the “Mary Seaman Memo- Jacob Gelber (Columbia College/Juilliard Video, Interactivity and Performance” at the Ë rial Scholarship” for academic excellence in 2017) attended the EAMA Institute in Paris Institute for Pure and Applied Mathematics, 2015–16 and 2016–17. He was conductor in the summer and led the Vivace Chamber at UCLA in March. He presented “Mining Taylor Brook’s Song was performed by and music director for two New Opera Singers in concerts in October and Decem- the Performance History of the New York Anssi Karttunen (cello) in the Columbia Workshop productions: Eccles’ The Judg- ber. In November, his “A Colorado Offering” Philharmonic from 1842–2015: Program- Sounds series at the Columbia Global ment of Paris (April); Mozart’s “Schauspieldi- was premiered at Symphony Space by C4 ming Trends and Performer Networks” at Center in Paris. His piece Lush was per- rektor” and Bach’s Cantata 201 “The Contest Ensemble (a vocal ensemble dedicated to Data Science Day at Columbia University. formed by the Wet Ink Large Ensemble in between Phoebus and Pan” (December). premiering works of the last 25 years) and his In June he presented work co-authored with a Columbia Composers Concert in April. Jaan Altosaar (), at the Ë new work in collaboration with the dancer Exploded Views was premièred by the Talea Mason Manning was premièred at Juilliard. Machine Learning for Music Discovery Ensemble in October. Jeremy Corren (Columbia College 2017) Workshop, which was held at the Interna- Ë Ë won a 2016 Richard and Brooke Kamin tional Conference on Machine Learning Rapaport Summer Music Performance Fel- Sandy Gooen (Barnard College 2019) (ICML) in New York. With Laurent Pugin Elliott Cairns presented his paper “The Ber- lowship to attend the Valencia International orchestrated Ooh Kill ‘Em, a musical par- (RISM-CH) he presented “Approaches to liner Phonogramm-Archiv: Where Musicology Performance Academy and Festival, where he ody of the film Kill Bill, which opened on handwritten conductor annotation extraction Met Anthropology” at the Annual Meeting composed new chamber works for the Mivos November 18th. in musical scores” at the Third Digital Librar- of the Society for Ethnomusicology in Aus- Quartet and [Switch~ Ensemble]; at New Ë ies for Musicology Workshop in August. tin, Texas. He was in the chorus of Heartbeat Music on the Point he composed a new work Opera’s recent production of Henry Purcell’s Shane S. Scott (General Studies 2017) was a Ë for chamber ensemble featuring Ari Streis- Dido and Aeneas. 2016–17 PALS scholar in General Studies. David Bird was awarded a Student Com- feld of the JACK Quartet. He performed as Ë Ë a pianist in DMA student Tyshawn Sorey’s poser Award from the BMI Foundation in Emily Clark presented papers at the Yale Conduction Ensemble as a part of Vijay Ben Vanden Heuvel (Columbia College May for his piece Drop. His piece Hyperion Graduate Music Symposium and the Carib- Iyer’s performance residency “Relation” at the 2018) had music premiered in the New was performed by Wet Ink in a Columbia bean Philosophical Association, and pre- Metropolitan Museum of Art. Corren was York Youth Symphony’s “Composition Date Composers Concert in April. sented, “The Towa-Towa and the Gamelan: featured as a pianist on a studio recording Concert” at Symphony Space in May. Ben Ë Using Musical Objects in Caribbean Dias- newly released by Brazilian label Clean Feed composed original music for Columbia Film Katherine Balch was selected for both the pora to Rethink Materiality” at the Society Records, with Dre Hocevar Large Ensemble MFA student Ursula Ellis’s film “Crick in the American Composer’s Orchestra Underwood for Ethnomusicology national conference and DMA alumnus Sam Pluta. Holler” and for the film “Mama” by Barnard New Music Readings and the Minnesota in November. She also participated in an undergraduate Varya Rootwood. Ë Orchestra’s Composers’ Institute. Her piece, intensive two-week Taalunie Dutch Summer Mari Funabashi and Emily Shyr (Columbia Leaf Catalogue, was awarded Yale’s Woods Course at the University of Ghent in August. Chandler Memorial Prize, and was pub- College 2017) are the recipients of the Music Graduate Students Ë Prize Fund established for music majors by licly read by the ACO in 2016. It will be Nandini Banerjee presented “Film Music César Colón-Montijo published the book a generous gift from Music alumna Andrea performed by the Minnesota Orchestra in and its Layers of Modernity: The Role of Viaje a La Casita: Notas de Plena en el Cortes-Comerer (Columbia College 2005). February 2017. Her piece Vidi l’angelo nel Tappa in Satyajit Ray’s ‘Joy Baba Felunath’” Rincón Criollo and the second edition of Mari aspires to become a film composer and marmo recently won grand prize in the Inter- at the 35th Meeting of the Mid-Atlantic national Society for Bassists composition Cocinando Suave: Ensayos de Salsa en Puerto is applying to graduate schools in compo- Chapter of the Society for Ethnomusicology in March at the University of Virginia.

9 Rico. Additionally, he presented the papers Ë Ë Ë “Sonero Mayor: Ismael ‘Maelo’ Rivera as Maria Fantinato Géo de Siqueira was Louis Goldford has been named the recip- Benjamin Hansberry has been appointed as Ethnographer of the Human Constellation” awarded a Pre-Dissertation Field Research ient of the 2017 Suzhou (Chou) Interna- a Senior Lead Teaching Fellow for 2016– in the Caribbean Philosophical Association Travel Grant for Summer 2016 from Colum- tional Composition Commission. A newly 2017 and as a Teaching Essentials Workshop Conference at the University of Connecti- bia’s Institute of Latin American Studies. She commissioned work will be premièred in the Facilitator by the Columbia University cut, and “Precarization, Musical Kinship, presented the paper “Choro in New York: fall of 2017 while he will be composer in res- Center for Teaching and Learning. and The Specters of Salsa in the Caribbean/ borders of genre as a conceptual tool of anal- idence at Suzhou University (China), during Ë Latin American Aural Public Sphere” at the ysis” at the 35th Meeting of the Mid-Atlantic which Louis will also teach, lecture, and Paula Harper won the Meyerson Award for Aesthetic Afterlives - Comparative Literature Chapter of the Society for Ethnomusicology hold masterclasses in composition. Gold- excellence in Core teaching. She presented Conference at Princeton University. at the University of Virginia. ford’s The Fiction of Time Destroyed (2015), “Watching Cell Phones, Listening to Video: Ë for ensemble and electronics, was performed Ë ‘Bus Uncle’ Goes Viral” at the Yale Graduate at the 42nd International Computer Music Stylianos Dimou was awarded First Prize at Mike Ford published “Eensaamheid as ver- Music Symposium, ; “UNMUTE THIS: Conference (ICMC) in Utrecht. Ensemble the 2nd International Composition Com- skynsel in Arnold Schoenberg se Erwartung, Ubiquitous Listening and Vernacular Media Modelo62 gave the performance in Septem- petition ‘Amici della Musica di Cagliari’ for op 17. [The phenomenon of loneliness in Theory” at the Theorizing the Web confer- ber at the TivoliVredenburg’s Hertz Hall. “my grounding | surrounding [it]_self / h_I. Schoenberg’s Erwartung, op. 17]” in LitNet ence at the Museum of the Moving Image (2015) v.2.” His piece “spasmodic frictions: Akademies: ‘n Joernaal vir Geesteswetenskappe. Ë (Queens); “BEYONCÉ: Seeing A Viral Aria Impulsiva v. 2. (2015)” was performed Ë Beatriz Goubert presented “Muisca Sounds: Phenomenon, Hearing A Visual Album” at the International Computer Music Con- Indigenous Music in the construction of at the Music and Visual Cultures confer- Andrés García Molina published “Labor and ference in Utrecht. Dimou presented “The a Multicultural Colombia” at the Interna- ence, at Maynooth University; “Waking Up the Performance of Place in the Upper Putu- genesis of structure: A narrative description tional Association for the Study of Popular in a Post-BEYONCÉ World: How Social mayo” for Revista Transcultural de Música of F. Romitelli’s Green, Yellow and Blue” at Music IASPM-Latin America Conference, in Media ‘Techniques of the Now’ Exploded and a review of Japanoise, by David Novak, the Continuum 2016 conference at the Uni- Havana in March. a 2013 Concept Album” at the Music and in Current Musicology 97 (spring 2014). He versity of . He had a residency with the Moving Image conference at NYU, and presented “El Paquete: Digital Circulation, Ë the Psappha ensemble for the creation of “‘Blank Space,’ Fan Creativity, and Social Circumvention, and Exclusion in Cuba,” Julia Hamilton presented “Songs of White Metallics ~. Dimou was chosen for the 2017 Media Meaning-Making” at the IASPM-UK at the Neil Postman Graduate Conference at Supremacy: Gertrude Manly Jones’s Ole Curs Internacional de Composicio Institut & Irelance conference, in Brighton; and NYU’s Department of Media, Culture, and Mammy’s Lullaby Songs (1901)” at the Society francais-Barcelona̧ Modern Project and he “BEYONCÉ : How Viral Techniques Circu- Communication in February and “Labor for American Music Conference in Boston has been identified as a promising young lated a Visual Album” at the annual meeting and el pregón in Cuba,” at the Latin American in March. composer by the ULYSSES Network (proj- of the AMS in Vancouver, British Columbia. Studies Association Conference in May. He ect.ulysses-network.eu). Stylianos is the Prize Ë Harper’s review of Carol Vernallis’s Unruly received a Pre-Dissertation Field Research Winner of the 2016 Call for scores Luigi Marc Hannaford co-authored “The Chal- Media: YouTube, Music Video, and the New Travel Grant for Summer 2016 from Colum- Nono—III; he was chosen from among 41 lenge of Comparing Improvisation across Digital Cinema was published in Issue 97 of bia’s Institute of Latin American Studies. composers around Europe. Domains,” which appeared in The American Current Musicology. Ë Ë Music Review Vol. XLV, No. 2, with Andrew Ë John Glasenapp presented “The Earliest Irish Goldman. He was commissioned by the Danielle Dobkin performed her piece Ther- Martin Hiendl’s piece Zeichnung #1 was Notation from the Drummond Missal” at the Monash Art Ensemble (based in Melbourne, mosphere (The Outer Reach) in the Colum- performed in the Columbia Composers and Cantus Planus Study Group of the Interna- Australia) to compose a 20-minute work. bia Composers and Columbia Sound Arts Columbia Sound Arts concert in December tional Musicological Society in Dublin in July. Fainter, Stronger, which was performed and concert in December 2015. 2015; his I found a space… was premièred in recorded in Melbourne in October. Darmstadt as part of the Ferienkurse/Sum-

10 Sound at the Mizzou International Compos- Robotic: The Liminality of Naturalness in ers Festival in summer 2016 and was also a Harmonibots” at the Women in Music Tech- guest speaker on “Music and Immigration” nology Symposium at UC Irvine. She was at the Idyllwild Arts Academy. This season also awarded a New Music USA project grant she will create new works for guitar ensem- for her next installation, MEGA-ORGAN ble Duo Noire, pianist Sugar Vendil, and and a Chamber Music America commission Mary Kouyoumdjian at the New York Philharmonic Biennial New York’s Talea Ensemble. Kouyoumdjian to write a new work for San Francisco-based teaches at the NY Philharmonic’s Very Young reed quintet Splinter Reeds. Her piece, Fly’s mer Course for New Music 2016. His opera completing his dissertation with the support Composers Bridge Program. Eyes, was performed by the Wet Ink installation PARADISE for singer, speaker, of the Julie How Fellowship, awarded by the Ë in a Columbia Composers Concert in April. chorus, ensemble, electronics and video was Weatherhead East Asian Institute. Adam In June her piece Doppelgänger for oboe and Anne Levitsky presented “‘Chansos, vai’: The premiered in Graz in October. presented “Translocal Media Flows and Local chamber ensemble was performed at the Personification of Song in the Troubadour Language Music in Contemporary China” International Double Reed Society Con- Ë Tornada” at the International Medieval at the Association for Asian Studies Annual ference at Columbus State University. As a Orit Hilewicz presented “Musicalizing the Society-Paris conference in June, and ‘Tell Conference in Seattle in March and “‘We faculty member of The Walden School Young Twittering Machine: Multitextual Listening her, if it pleases her, to learn you and sing’: Sing in Dialects Even as We Wander Far Program, Sky designed and taught in Analysis” in Stavanger, Norway in July at Learning and Embodiment in the Trouba- from Home’: Music, Language, Listening, a microtonal and spectral musicianship class the International Musicological Society con- dour Tornada” at the Medieval and Renais- and Place in Southern China” at the Society for teenage composers and was awarded the ference “Music as Art, Artefact, and Fact.” sance Music Conference at the University for Ethnomusicology Annual Meeting in Patricia Plude Faculty Fellowship for excel- She presented “Reciprocal Interpretations of of Sheffield in July. In May 2017 she will Washington, D.C. in November. lence and innovation in musicianship teach- Music and Painting: Representation Types in present “‘Mon chans, ma chansso’: Language, ing. Upcoming events include the premiere Schuller, Tan, and Davies after Paul Klee” at Ë Gender, and Performance in the Troubadour of her chamber opera Why We Bleed with the annual AMS/SMT meeting in Vancou- Mary Kouyoumdjian’s musical documentary Tornada” at the 52nd International Congress American Opera Projects and a portrait con- ver, BC. In Fall 2016 Orit taught a new I Can Barely Look was recently commissioned on Medieval Studies in Kalamazoo, Michi- cert at Spectrum presented by Contemporary undergraduate seminar, “Music in Multime- by the Brooklyn Youth Chorus and WQXR gan. Her review of Sarah Kay’s book Parrots Insights. In November was a composer fellow dia” and had an internship at the Rare Book and will have its première at the 2017 and Nightingales: Troubadour Quotations and in Le Nouvel Ensemble Moderne’s FORUM and Manuscript Library. Prototype Festival. Become Who I Am was the Development of European Poetry was pub- in . Ë performed by the Brooklyn Youth Chorus lished in Current Musicology No. 97 (Spring and Hotel Elefant at the NY Philharmonic 2014). Levitsky’s article “The Tornadas of Ë Qingfan Jiang was awarded a Weatherhead Biennial at Lincoln Center. Kouyoumdjian’s Raimon de Miraval” will appear in a forth- Will Mason presented “Spectralism, Mod- Ph.D. Training Grant for her summer research portrait piece to open myself, to scream will be coming issue of the journal Mediaevalia. ernism, Representation: The case of Grisey’s project in 2016. In March, Qingfan presented premiered by Music of Remembrance with Les Chants de l’Amour” at the Paul Sacher her web exhibit in chantmanuscripts.omeka. Ë members of the Seattle Symphony in Seattle Archive in March. He received a GSAS net in the Celebration of Teaching and Learn- Sky Macklay won a Morton Gould Young and San Francisco in 2017. Her multimedia Teaching Scholars award to teach the course ing Symposium, organized by the Center for Composer Award from ASCAP for her string work Silent Cranes will be performed by the “Music and Technology in Critical Perspec- Teaching and Learning. quartet Many Many Cadences. In March, her Kronos Quartet in its Bay Area premiere in tive” in Spring 2017. He served as Reviews orchestra piece Ode To Alice [Coltrane] was Ë December. Her first work for the Kronos Editor for the upcoming issue of Current premiered at the Rivers School Conservatory Adam Kielman has accepted an appointment Quartet, Bombs of Beirut, will have its 25th Musicology on “Race, Sound, and Technol- 38th Annual Seminar on Contemporary as tenure-track Assistant Professor of Music performance by the quartet this fall. Kouy- ogy.” Will’s debut album “Beams of Music for the Young in Weston, MA. In Feb- at The Chinese University of , oumdjian was in residence with Alarm Will the Huge Night” (New Amsterdam) was ruary, she gave a talk entitled “The Analog scheduled to begin January 2017. He is named “Album of the Year” by Avant Music

11 News, and he was voted one of the top through East Carolina University’s NewMu- was invited to present the same paper at the Personal Portrait along with soprano Julia 5 debut artists of 2015 in the El Intruso sic Initiative (2018). He has recently been H. Wiley Hitchcock Institute for Studies in Bullock and members of the International International Jazz Critics Poll. His album commissioned by the Montreal Symphony American Music at Brooklyn College in May. Contemporary Ensemble at the Ojai music “A Happy Place” was released in October by Orchestra’s organist-in-residence, Jean- Ë festival directed by Peter Sellars. His new Exit Stencil Records. Willy Kunz, pianist Julia Den Boer, the double CD titled The Inner Spectrum of Whitney Slaten gave the following con- Aspen Contemporary Music Ensemble and Variables was released in June. Sorey Ë ference papers: “Jazzmobile and the Urban Chartreuse Trio. Matthew is co-organizing an received the George Wein-Doris Duke Geronimo Mercado performed his piece Soundscape” at “Locations and Dislocations: event, along with Taylor Brook and Professor Commissioning grant to compose a new Infinite Wisdom of the Shell with William An Ecomusicological Conversation,” West- Zosha Di Castri, celebrating the 75th birth- work for the trio to be premiered at the Cepeda in the Columbia Composers minster Choir College of Rider University day of Canadian composer Brian Cherney Newport Jazz Festival in July. In September, and Columbia Sound Arts concert in (April), “Liveness, Sonic Color and Trans- (McGill University, Fall 2017). he performed in Olga Neuwirth’s “Eleanor December 2015. parency: The Creative Agency of Mixing Suite” as a featured soloist (on drum set and Ë Recorded and Live Broadway Productions of Ë percussion) with Ensemble Intercontem- Roberto Toscano’s piece ...MOUTH… was Porgy and Bess,” at the Art of Record Pro- Toru Momii presented “Lost in Translation: porain (he premiered the work in August performed by the Wet Ink Large Ensemble in duction Conference (November 2015) and Exoticism as Transculturation in Saint- with Klangforum Wien under the direction a Columbia Composers Concert in April. “Amplifying From the Shadows: Representa- Saëns’s Africa” at the Annual Meeting of the of Sylvain Cambreling). In December, a tion and Metarepresentation in Live Music New England Conference of Music Theorists Ë composition written for Claire Chase will be Production” at the University of Toronto at MIT and at the McGill Music Graduate Christopher Trapani won the 2016–17 performed at The Kitchen as part of Chase’s conference on “Music and Labor” (April). Symposium in Montreal in March. He was Rome Prize in Composition “Density 2036” project. He was an invited panelist on the “Art, also awarded the Summer Language Fel- and is spending this academic year at the Citizenship and Community” roundtable for Ë lowship for International Students from the American Academy of Rome. He has been the Columbia Black Law Students Associa- Maeve Sterbenz has been awarded a Lead Graduate School of Arts and Sciences. selected for a Chamber Music America Classi- tion Paul Robeson Conference in February, Teaching Fellowship for the 2016–17 cal Commissioning Grant to compose a piece Ë and moderated a master class “ and academic year from the Center for Teaching for six voices plus electronics for Ekmeles. Josh Navon presented “‘It is Necessary to the Trance ” featuring and Learning. Ë go to Europe for Instruction’: Transmitting Abdellah El Gourd of Dar Gnawa of Tanger Ë Music Pedagogy from Germany to the US, Ralph Whyte was invited to give a guest and Randy Weston at The New School in Didier Sylvain was selected for a Graduate 1850–75” at the Nineteenth Biennial Inter- lecture on the “roots of visual music” for a October 2015. Research Assistantship to a five-year NSF- national Conference on Nineteenth-Century seminar in the visual studies department at Ë funded study in Haiti, entitled “CAREER: Music at Oxford in July. Harvard University. He presented “Auton- Tyshawn Sorey accepted a tenure-track Assessing Long-Term Sociocultural Impacts omizing a Light Art: Visual Music’s Past, Ë Assistant Professorship in music composi- in Disaster Recovery Efforts,” coordinated Presents, and Futures c. 1945” at the Music Russell O’Rourke presented his web exhibit tion and creative improvisation at Wesleyan by Professor Mark Schuller at Northern and Visual Cultures conference, in July at in chantmanuscripts.omeka.net in March University, to begin Fall 2017. In April he Illinois University. Maynooth University. as a part of the Celebration of Teaching and premièred Vijay Iyer’s “Emergence” with Ë Learning Symposium. Ë members of the Leopoldinum Orchestra in Trevor Reed’s law review note, Who Owns In March, Michael Weinstein-Reiman Wroclaw, Poland. He will perform in several Ë our Ancestor’s Voices: Tribal Claims to Pre- presented a paper, “I’m a Monster!: Nicki ensembles led by John Zorn and George Matthew Ricketts Matthew was a fellow 1972 Sound Recordings will be published in Minaj and Queer Posthumanism,” at the Lewis at this year’s Festival International de at the 2016 Aspen Music Festival and was the Columbia Journal of Law & the Arts this Gender and Music: Practices, Performances, Musique Actuelle de Victoriaville in . named Composer/Collaborator-in-residence winter. His paper “Reclaiming Networks of Politics conference in Örebro, Sweden. He In June, he premièred Josephine Baker: A

12 Music Performance

Indigenous Song: Ontologies of Property, Politics and Transformation in Boulton’s Ta a - Music Performance Columbia University Louis Armstrong tawi Recordings,” won the Charlotte Frisbie Program Orchestra Jazz Performance Program Student Paper Prize at the 2015 SEM Annual The Music Performance Program (MPP) The Columbia University Orchestra (CUO) The Louis Armstrong Jazz Performance Meeting. Trevor presented a lecture and proudly welcomes its new piano Music performed for the second time in Alice Tully Program is celebrating its 15th year with the had two of his works performed during the Associate, Dmitry Alexeev, following the Hall in April, thanks to the generosity of release of our second cd recording, “Young John Donald Robb Composers’ Symposium retirement of Niels Ostbye, who had taught orchestra parents Ken and Jo Merlau. 36 new Lions, Volume 2,” which features some at the University of New Mexico. His new piano at Columbia for nearly fifty years. We student members were accepted by audition of the brightest rising star musicians and work, Puhutawi, written in collaboration are also thrilled that Prof. Taoufik Ben Amor in early September. On December 4th and composers in our program. Featured are with Hopi traditional singer Clark Tenak- has taken lead of the Arab Music Ensemble, 6th the CUO will perform Finlandia by Jean original compositions by Kira Daglio-Fine, hongva was premiered at the Grand Canyon formerly known as Sibelius, La Mer by Claude Debussy and Ben Rosenblum, Jeremy Corren, Vicente in August. Trevor was selected as a Summer Ensemble. MPP’s new offering, Hybryd the Symphony #8 in F major by Ludwig Van Hansen, Mark Micchelli, Conner Duke, Teaching Scholar in 2016 to teach a new Ensemble, led by Ole Mathisen, has attracted Beethoven. During the Fall semester con- Ethan Kogan, Sam Yulsman, Ravi Campbell, course, Music and the Indigenous Experience a record number of classical and jazz students certs, the orchestra will again appear at the John Melendez, and Zach Calluori. Virtuosic in North America. this Fall interested in cross-over music-mak- Peter Jay Sharp Theatre at Symphony Space Dutch saxophonist Marc Momaas will be the Ë ing experience. Also new this Fall is the MPP as well as in Roone Arledge Auditorium. Guest Artist in Residence in the fall semes- st Tom Wetmore published “The ‘Resistant Studio Class, led on a monthly basis by MPP On April 21 2017, the CUO will appear ter and will be the featured soloist with the Embrace’: The Unstable Intersections of Eth- Director, Magdalena Stern-Baczewska. It for the third time in Alice Tully Hall at jazz ensembles on Sunday, November 20 at nomusicology, Jazz, and Amiri Baraka” on serves as an opportunity to try out a new Lincoln Center. The program will feature Symphony Space. the “Space is the Place” Sounding Board of program; meet other students; and discuss a Symphonie Fantastique by Hector Berlioz, Ethnomusicology Review. Tom also presented variety of issues, from performance anxiety the Prelude from Tristan und Isolde by his paper “‘I’m Telling You This is True’: to plans to pursue graduate education in a Richard Wagner, and a concerto to be deter- Constructing History and Authenticity in conservatory setting. Performances of MPP mined. For more information see the CUO Harlem Jazz Tourism” at the Mid-Atlantic students have been featured on WWFM The website: cuo.music.columbia.edu. Section of the Society for Ethnomusicol- Classical Station. MPP concerts return to ogy Conference in Charlottesville, VA. He Symphony Space this season. Free and open published a review of Ronald Radano and to the public, these events contribute to the Tejumola Olaniyan’s edited volume Audible musical landscape of Manhattan’s Upper Empire: Music, Global Politics, Critique in West Side. Increasingly popular Mid-Day Ethnomusicology Review in Fall 2016. Music recitals continue at Faculty House each Wednesday at noon. For information Ë please visit mpp.music.columbia.edu. Sam Yulsman’s piece Junkets was performed at the Columbia Composers and Columbia Sound Arts concert in December 2015.

13 Events Current Musicology

Concerts take place in the Grande Salle at techniques as applied to the koto, featuring The Current Musicology archive (Issues 2016 Columbia Music Reid Hall and focus on music and musi- an improvisational performance by Acting 1 through 97) is now available for full Scholarship Conference cians associated with Columbia (whether Director of Sound Arts Miya Masaoka and download at currentmusicology.columbia. edu/archive. In February the Department’s graduate as composers, performers, faculty, students, CMC Director Brad Garton. This per- students organized the 2016 Columbia or alumni). Performances have included formance was one of the “Celebrating the • Issue 98, edited by Tom Smith, contains Music Scholarship Conference on the a concert by Ensemble Pamplemousse Genius of Michio Miyagi (1894–1956)” articles by Benjamin Givan, Samuel Dorf, theme of Listening, with Alexander Rehding (founded by DMA alumna Natacha Diels), events organized by the Institute of Medieval Pirkko Moisala, Taru Leppänen, Milla (Harvard) as keynote speaker. The papers a recital by Ph.D. alumna Marilyn Nonken Japanese Studies and sponsored in part by Tiainen, Hanna Väätäinen, and Alessan- represented a wide range of methodologies (Director of Piano, NYU) and a performance the Toshiba International Foundation. dra Vojcic. Eamonn Bell is the reviews and subjects grouped into three sessions by Mellon postdoctoral fellow and Lecturer editor for the issue. on expert listeners, electronic sounds, and Matthew Goodheart. In the next concert, Sounding China • Issue 99/100, co-edited by Tom Smith sonic communities. on April 22, Anssi Kartunen and Nicolas in the World and Didier Sylvain, is a double issue con- Hodges will première a new work by Fred taining submissions from last year’s 50th Lerdahl in addition to performing the two With a grant from the Weatherhead East Center for anniversary conference. Paula Harper is Brahms sonatas for cello and piano. For Asian Institute, on December 2 the Depart- Ethnomusicology the reviews editor for the issue. information see music.columbia.edu/events/ ment will present “Sounding China in the In 2016 the Center for Ethnomusicology columbia-sounds. World: A Workshop on Musical Circulations • Issue 101, edited by Didier Sylvain, hosted a wide variety of talks including Els to and from China from the Qing Dynasty is a special issue featuring interdisciplin- Lagrou, “Cashinahua Song-Images: Reflec- Through the Present a workshop organized ary work surrounding the intersections A Not So Quiet Space tions on an Amerindian Relational Aesthet- by graduate students Adam Kielman and of race, sound, and technology. Will ics;” Richard Jankowsky, “Ritual Journeys On Friday, October Qingfan Jiang with guest speakers Fred Lau Mason is the reviews editor for and Devotional Niches: Ambient 21st, the Music & (University of Hawaii) and Paize Keulemans the issue. in Tunisia;” Robin R. R. Gray, “Repatriation Arts Library hosted (Princeton University). and Decolonization: Thoughts on Owner- “A Not So Quiet ship, Access, and Control;” a performance Space,” a night of L’Amour de loin and hangout with Sacramento Knoxx; performances and and the Troubadours Dr. Zuzana Jurková, “ Music Representation installations pre- of an Underprivileged Group: the Case of sented by the students of the MFA Program “L’Amour de loin and the Troubadours,” the Czech Roma;” and John W. Troutman, in Sound Arts. Over 60 attendees enjoyed A Florence Gould Event on December 3 “Steel Bars and Hawaiian Guitars: (Re)Cen- experiencing the work and performances. organized by the Center for French Civili- tering Indigenous Technology and Musical The event was supported by the Sound Arts zation and Culture, New York University Practice within the Origins of the Modern MFA program, the Columbia University and the Department of Music, will feature .” Libraries, and the Department of Music. the composer Kaija Saariaho in conversation with Susan Boynton, and a round table with Judith Peraino (Cornell), Sarah Kay Columbia Sounds Computer Music Center (NYU), Maria Sanchez Reyes (NYU) and Since February 2016, the Department has On October 6, the Computer Music Center Jane Forner (Columbia). co-sponsored a new concert series, Columbia hosted an evening of audio analysis of the Sounds, with the Columbia Global Center sound of different Japanese kotos as well as in Paris and the Office of Global Programs. an exploration of digital signal processing

14 Music Humanities in paris Fall Meetings of Scholarly Societies

Graduates, faculty, and students from our presenters included Galen DeGraf, Paula Department made a strong showing in the Harper, and Orit Hilewicz. At the AMS fall meetings of the scholarly societies this Business meeting, George Lewis was named year. The summary below highlights the an Honorary Member of the Society, and wealth of contributions, complementing Susan Boynton, Julia Doe, and Walter information that appears under individual Frisch all received publication awards. names in the faculty, alumni, and student Annual Meeting of the Society for news sections of this newsletter. Ethnomusicology, Washington, DC Joint Meeting of the American Musico- Sara Snyder chaired and spoke in a session logical Society and the Society for Music on Music and Language Revitalization in Theory, Vancouver, BC Native North America, in which Trevor Among the historical Musicology graduates Reed also presented and Aaron Fox was the who presented papers were Nora Beck discussant. Toby King chaired the session (“More than a Pretty violeta: Santa Caterina Music, Intimacy, and Publics, which included dei Vigri’s Contributions to Renaissance papers by Farzaneh Hemmasi (“Fellow Susan Boynton with her Music Humanities in Paris class at the Opéra Bastille after a performance in June 2016 Musical Culture”); Mark Burford (“Mahalia Sufferers: Addicts, Fans, and Ordinary Jackson’s Class Politics of Voice”); Daniel Citizens in Iranian Popular Music Activism”) With the support of the Office of Global Callahan (“Bernstein’s Body”), Ryan and Tyler Bickford (“Pop Intimacy and Programs and the Arts and Sciences’ grant Dohoney (“Antimodernism, Ultramodern- Public Childhoods in US Children’s Music”). for Global Liberal Arts from the Andrew ism, and ‘After Modernism’”); and Maryam Alessandra Ciucci chaired and spoke in the W. Mellon Foundation, Department faculty Moshaver (“Rameau, the Subjective Body, session Sonic Journeys, Spiritual Boundaries, now teach Music Humanities at Reid Hall, and the Forms of Musical Representation”). and Musical Circulation in the Maghreb. Columbia’s Global Center in Paris. Elaine Benjamin Piekut was a respondent in AMS Nandini Banerjee, Emily Clark, Andrés Sisman taught the inaugural class in the Session “Music and the Middlebrow.” Paul Garcia Molina and Adam Kielman also spring semester of 2015. Walter Frisch Steinbeck chaired the SMT Improvisation presented papers. Andrew Eisenberg was taught in Paris in spring 2016 and Giuseppe Interest Group “Analyzing Improvisation” a discussant in the session Digital Media Gerbino is teaching in Paris this fall. and Victoria Tzotzkova chaired the SMT Technologies and the Performance and Trans- Performance and Analysis Interest Group mission of Religious Tradition; Lauren Flood In addition to to the academic year pro- Elaine Sisman at the Columbia College Class Day ceremony in May 2016 with two of her Music “Musical Performances, Musical Works.” chaired a session on Tourism, Community, gram, the Office of Global Programs offers Humanities in Paris students, salutatorian Zoey Poll and Belonging; and Niko Higgins chaired an intensive summer program combining and graduate Yvonne Hsaio George Lewis co-chaired the AMS Special a session in which he spoke on “Unsounded Art Humanities and Music Humanities, in Session on Race, Ethnicity and the Profes- Music among Distance Swimmers and Indian which Susan Boynton and Peter Susser have sion, in which Ellie Hisama was an invited Diasporic Musicians in New York City” and taught. In the summer program, students speaker. Benjamin Steege presented the Matt Sakakeeny presented on “Inner Voices, take the two courses concurrently and attend paper “The Ambivalent Ethics of Compar- ative Musicology: A Japanese Case Study.” Outer Sounds: Louis Armstrong’s Methods classes, museum trips, and musical perfor- David Novak Postdoctoral fellows Elise Bonner, Carmel for Exteriorizing the Interior.” mances with both professors. Amanda Minks Raz, and Lucie Vagnérová gave papers, as and chaired and presented in well as former fellows Vilde Aaslid, Nathan Anthropology of Sound Forum Roundtables. Naomi Sturm Martin, and Bryan Parkhurst. Student spoke in a panel on public sector ethnomusicology.

15 Columbia University School of Arts and Sciences Department of Music 2960 Broadway MC 1813 New York, NY 10027 Department ofMusicDepartment • • Department of Music aGift Make to the New York, NY10027,USA. 621 Dodge Hall, MC1813, of Music, attentionAnneGefell, Send achecktotheDepartment our website: music.columbia.edu Visit thesecure on givingportal