Newsletter Department of Music Fall 2015 From the Chair

ow more than ever, the Department of Music feels like an extended At a time when so many are subject to hardship and violence, family. Just in the last year, five of our members have had children: our common occupation seems all the more life-affirming. The trans- N Zosha Di Castri and David Adamcyk’s daughter Leonora, Mariusz formative power of music has been demonstrated by projects such as Meskens Ad by Photo Kozak’s son Timothy, Taylor Brook’s daughter Thora, Benjamin Aaron Fox’s repatriation of Alaskan indigenous songs, George Lewis’s Steege’s son Julian, and Galen De Graf’s daughter Hedwig. The Whispering Bayou civic artwork imagining the future of Houston, ongoing renewal of our community reminds me of the many long and Chris Washburne’s teaching at the Sing Sing Correctional Facility. lives that our Department has touched. When alumni from the last Every day, our Department introduces people to new musical experi- half-century—including the founding editor of Current Musicology— ences and ideas that will continue to live within them for years. Our flocked to the journal’s 50th anniversary conference in the spring students go out into the world well prepared to realize all kinds of of 2015, the intermingling of generations yielded unprecedented dreams. As I contemplate the generations of our Department family encounters and exchanges of ideas. The conference and the accompa- reflected in this newsletter, I am ever more convinced that our shared nying exhibition in the Music and Arts Library, both expertly planned aspirations will lead to a better future. and executed by graduate students, demonstrated a felicitous esprit de I look forward to hearing from you. Please send me your news corps and aptly conveyed the intellectual foment that has produced so by email ([email protected]) or postal mail at the address on the many influential articles in Current Musicology over the decades. back of this letter, follow the Department on Facebook and Twitter That special energy also drives the achievements of the dedicated (both @departmentchair and music@columbia) and watch for our undergraduate musicians in the Music Performance Program, most newly designed website, music.columbia.edu. of whom are not majors or concentrators in music. Generous gifts from parents of Columbia undergraduates have provided exceptional Yours sincerely, opportunities for student musicians. In 2015 the Columbia University Susan Boynton Department Chair Orchestra performed for the first time in Alice Tully Hall—an unfor- [email protected] gettable experience for performers and audience alike. 2015 also saw the release of the Louis Armstrong Jazz Performance Program’s first recording (Young Lions, vol. 1).

2 New Faculty

transmission des musiques de tradition Ë Alessandra Ciucci orale,” which is part of the “Constantine Matthew New Core Lecturers capitale de la culture arabe” year of the Goodheart in Music Humanities Alessandra Ciucci is a Centre National de Recherches Préhis- joined the Depart- composer, impro- Mahir Cetiz earned toriques, Anthropologiques et Historiques ment of Music as viser, and sound his DMA from (CNRPAH) in Algeria. Assistant Professor artist who com- Columbia Univer- of Ethnomusicology Professor Ciucci has been a recipient of a pleted a PhD at sity, where he on July 1, 2015. Fulbright Award (Morocco), a fellowship the University of studied with Fred Professor Ciucci from the Jewish Foundation for the Educa- California at Lerdahl, Fabien received her PhD tion of Women, and a grant from the Amer- Berkeley in 2013. Lévy and Tristan in music (Ethno- ican Institute for Maghrib Studies. Before Following an early Murail. He has an musicology) from coming to Columbia she was on the faculty career as a free-jazz pianist, he has developed undergraduate The City University of New York at The at Northeastern University. a wide body of work that explores the degree from Ankara Graduate Center. She was a Mellon Post- relationships between performer, instrument, State Conservatory, where he studied cello, Doctoral Fellow in the Department of Music and listener. His diverse creations range from piano, conducting and composition. He also New Mellon large-scale microtonal compositions to open at Columbia in 2008–2010, and is also an Postdoctoral Fellows has masters’ degrees in composition from the undergraduate alumna of the Department improvisations to immersive sound installa- University of Memphis and conducting from of Music at Columbia with a BA from Vilde Aaslid is an tions—all unified by the analytic techniques Hacettepe University in Turkey. As the Columbia’s School of General Studies. interdisciplinary and performative methodologies that bring recipient of “the musician of the year award” Professor Ciucci’s research interests include music scholar with forth the unique and subtle acoustic proper- from the British Council, he lived in the music of Morocco, North Africa, the interests in text and ties of individual musical instruments. Manchester, UK for two years while studying Mediterranean, music and migration, music improvisation. Goodheart’s approach results in a “generative at Royal Northern College of Music and and gender, sung poetry, and popular music She completed her foundation” for exploring issues of percep- working as a pianist, composer and conduc- of the Arab world. Her articles appear in PhD in Critical tion, technology, cultural ritual, and the tor. From 2003–2006 Cetiz was a faculty Ethnomusicology, the Yearbook for Traditional and Comparative psycho-physical impact of acoustic phenom- member in Bilkent University in Ankara, Music, the International Journal of Middle Studies in Music at ena. He has won numerous awards and teaching composition and music theory East Studies, Mondi Migranti, Cahiers de the University of honors, including the 2014 Berlin Prize, and courses. He is an active conductor and musiques traditionnelles, in the Sage Encyclope- Virginia in 2014, supported by a Jefferson a 2013–14 Fulbright Grant to the Czech pianist. His compositional interests include dia of Ethnomusicology, and in several edited Scholars Foundation fellowship. Her current Republic where he worked with the historic musical traditions of the Middle East and volumes. In November she presented book project examines the cultural and quartertone pianos designed by Alois Hába. India, medieval polyphony and the percep- “Performing Tradition in Contemporary aesthetic interrelation of improvised music tion of musical gestures. He has composed Morocco: The Case of ‘Abidat rma,” at the and poetry, building on her dissertation on works for orchestra, pieces for acoustic international conference “Savoir-faire et jazz poetry intersection. Her work on Charles ensembles of different sizes, as well as solo Mingus recently appeared in the Journal of instrumental pieces and pieces for electron- the Society for American Music. She is also an ics. Works by Cetiz have been performed by active performer of the Norwegian hardanger the International Contemporary Ensemble, fiddle and practitioner of traditional Ensemble Intercontemporain, the New York Norwegian singing and dancing. Philharmonic, BBC Symphony, BBC

3 Philharmonic and Tonhalle-Orchester Ë Ë Zürich. Last year, Cetiz was a compos- Caleb Mutch Two New Postdoctoral Carmel Raz was er-in-residence at CIRM (Centre National de completed his PhD Fellows in the Columbia appointed a Society of Fellows in the Création Musicale) and took part in the in 2015 with a postdoctoral fellow Humanities “MANCA Festival” in Nice with La plus dissertation on the at the Columbia étrange des créatures (for soprano, bass development of the David Gutkin Society of Fellows clarinet, and electronics). concept of the completed his in the Humanities Ë cadence in tonal PhD in Historical and Lecturer in Mario Diaz de theory. His research Musicology at Music beginning Leon earned his areas include the Columbia in 2015 July 1, 2015. Raz DMA in composi- development and and was appointed received her PhD tion from Columbia transmission of music theory in antiquity a postdoctoral in music theory from Yale in May 2015. in 2013, and was and the medieval period, approaches to fellow at the She holds a Diplom in violin from the appointed Core music historiography in the Romantic era, Columbia Society Hochschule für Musik in Berlin, and a MA Lecturer in Music and historically informed approaches to of Fellows in the in composition from the University of Humanities for Schenkerian analysis. He has presented parts Humanities and Lecturer in Music beginning Chicago. Her primary research interests focus 2015–2017. His of his dissertation research at the annual July 1, 2015. His research focuses on European on the music and neuroscience of the early work “Veni Lumen meetings of the Society for Music Theory and American music from the early twentieth Romantic period, in particular the influence Cordium,” for string orchestra and electron- and Music Theory Midwest, and has century through the present, with an emphasis of models of embodied cognition on musical ics, was premiered in March 2015 by The delivered papers on other subjects at past on technologies of mediating music (from works, instrument design, and aesthetics. String Orchestra of Brooklyn. A large- meetings of the Society for Music Theory notation to television), processes of canon Additional interests include Scottish ensemble collaboration with Nate Young and the Music Theory Society of New York formation, and the role of sound in the Enlightenment music theory, the interaction (of the iconic noise band Wolf Eyes) was State. In 2015 he published “Blainville’s New constitution of national identity. Repertories between experimental music and phonetics premiered in May of 2015 at the NYC Mode, or How the Plagal Cadence Became of particular interest include opera and music in the early twentieth century, and music in edition of Tectonics Festival. July saw the ‘Plagal’” in Eighteenth-Century Music. In theater, experimental improvisation and free the Middle East. She has received fellowships release of “The Soul is the Arena” on addition to teaching Music Humanities, jazz, various –isms of postwar composition from the Whiting Foundation and the Denovali Records, which featured works Caleb has also taught courses in the under- (serialism, minimalism, spectralism), and Baden-Württemberg Stiftung, as well as the composed for ICE as part of his DMA graduate music theory curriculum at American popular music of the last four Mellon Graduate Achievement Award. Her dissertation. At the invitation of John Zorn, Columbia, as well as musicianship classes decades. His dissertation explored antino- articles have appeared in 19th Century Music, he undertook a weeklong residency at The and a seminar in the history of music theory mies of historical representation and national the Zeitschrift der Gesellschaft für Musiktheo- Stone in August of 2015, which featured at the University of British Columbia. memory attending the resurgence of opera rie, and the Journal of Neo-Victorian Studies. a 12-concert retrospective of his work in the United States since the 1970s. Gutkin Raz is also active as a violinist, composer, dating back to 1999. This was followed by has published articles on Robert Ashley’s and improviser. a two-week concert tour of Europe to support television operas in The Opera Quarterly a new release of his solo performance project, and on graphic notation in Perspectives of Oneirogen. Also in 2015, Diaz de Leon was New Music. He also edited a special issue of awarded a commission from Chamber Music Current Musicology on “Experimental America to compose a new evening length Writing About Music.” work for TAK Ensemble, which will be premiered in May 2016 at Roulette.

4 Faculty Highlights

Susan Boynton was selected for the 2014–15 Ë Japan, where he is conducting research on Ë Public Voices Fellowship of the Op Ed Zosha Di Castri and David Adamcyk contemporary Japanese jazz during the Brad Garton won the Lenfest Distinguished Project. She won two Hybrid Learning created Phonobellow, a new music theatre 2015–16 academic year. Faculty Award and a Provost’s Hybrid Grants from the Provost, one for using work with an interactive sound installation Ë Learning Grant (with Susan Boynton) for digital humanities in her graduate seminar commissioned by the International Con- the use of musical visualization in Music Walter Frisch’s article “Arlen’s Tapeworms: on liturgical manuscripts in spring 2015, and temporary Ensemble (ICE) and premiered Humanities He was a featured performer in The Tunes That Got Away,” was published in the second one (with Brad Garton) for using at Montréal Nouvelles Musiques. Zosha Di the 2015 SEAMUS conference (with Terry a special Tin Pan Alley issue of Musical Quar- music visualization software and the Media- Castri’s other recent performances included Pender and Gregory Taylor). In February terly in Summer 2015. He gave a talk, “A thread tool in Music Humanities. In Febru- appearances with the Winnipeg Symphony 2015, Garton gave a public presentation of Tale of Two ‘Rainbows’,” at The Society for ary she published “Restoration or Invention? Orchestra, MusicaNova (Helsinki), Taka his Memory Book app at the Italian Acad- American Music, Sacramento CA, in March Archbishop Cisneros and the Mozarabic Rite Kigawa (New York), Kitchener-Waterloo emy for Advanced Studies in America. The 2015; a keynote lecture on “Schoenberg at in Toledo” in the inaugural issue of the Yale Symphony, Aventa (Victoria), Talea Ensem- capacity crowd included students, alumni, the Mirror: Reflections On (and In) the First Journal of Music & Religion and in October, ble (Crested Butte), Vancouver Symphony and friends. In June 2015, with the support String Quartet, Op. 7” at the conference a volume of essays, Resounding Images: Medi- Orchestra, and l’Orchestre symphonique of a grant from the Toshiba International “Contemplating the Musical Idea,” in honor eval Intersections of Art, Music, and Sound de Montréal. The National Arts Centre Foundation, Garton and Douglas Repetto of Severine Neff, at UNC, Chapel Hill, in (Brepols Academic Publishers), coedited Orchestra in Ottawa gave the premiere of gave a two-week workshop at the Japanese March 2015; and a lecture on “That Old with Diane J. Reilly. In 2015–16 she is the her 25-minute multimedia work Dear National Informatics Institute’s Seminar Jewish Magic? Harold Arlen and American Director of the MA in Medieval and Renais- Life for soprano, recorded narrator, and House for Advanced Studies in Karuizawa, Popular Song” at The Jewish Music Forum sance Studies in addition to serving as Chair orchestra, based on a text by Alice Munro. Nagano Prefecture. The workshop explored in New York in April 2015. He is currently of the Department. In October, Anssi Karttunen gave the world the materials used in and the technological working on a book about the song “Over the Ë premiere of her new composition for solo enhancement of traditional Japanese musical Rainbow” for a new Oxford University Press cello, Anssi de Suite. instruments, with participants from Japan Deborah Bradley-Kramer taught at Taipei series, Keynotes. and Columbia. National University of the Arts, and gave Ë concert-lectures at the Hartt School of Julia Doe began her appointment as Brad Garton and Douglas Repetto with the workshop participants Music, Chopin University, Lodz Academy, Assistant Professor in July 2015, after and Bangkok’s Chulalongkorn Univer- being a Mellon postdoctoral fellow in the sity. She presented a concert-lecture on Department for two years. She published Slonimsky’s music at the College Music “Opéra-comique on the Eve of Revolution: Society, and a talk on Pushkin and music at Dalayrac’s Sargines and the Development of NYU’s Jordan Center for Advanced Study ‘Heroic’ Comedy” in the Journal of the Amer- of Russian. With SPEAKmusic, she per- ican Musicological Society (2015). formed at Klavierhaus, the Roerich Museum, Ë and the Czech Center, improvising with Kevin Fellezs was awarded a Center for the newly discovered 1920s films. She recently Study of Social Difference Grant for a project premiered Columbia composer works on the titled “Pacific Climate Circuits” (with Paige AMPHIBIAN series, and completed a CD of West, Anthropology, and JC Salyer, Law). He the music of Jonathan Kramer. This season was also awarded the Tsunoda Fellowship in Bradley-Kramer performs in the inaugural conjunction with Waseda University, Tokyo, season of the 92Y’s “Soundspace” series, for which she serves as artistic director.

5 Ë Theory Forum, Hartt School of Music; “Isaac Giuseppe Gerbino gave a keynote address Julien’s Sonic Imaginary,” Stony Brook Uni- entitled “Music of Words and Words in versity, Department of Music; and “Graduate Music: The Pursuit of gravità in the late Teaching and Feminist Pedagogy,” Mellon Renaissance Madrigal,” at the Annual Mays Undergraduate Fellowship Program, Conference of the Center for Medieval and Barnard College. She also chaired three pan- Renaissance Studies of Binghamton Univer- els: Critical Approaches to Music and Race, sity (SUNY), “Authority and Materiality Columbia Music Scholarship Conference; in the Italian Songbook: From the Medie- the panel Millennial Topics and a special val Lyric to the Early-Modern Madrigal,” session on Bay Area Cambodian American May 1–2, 2015. He published “The Sound and African American musicians, Society for of Phantasia in Motion: Musical Imagina- American Music meeting, Sacramento. In Magdalena Stern-Baczewska and Marti Newland May, she was an invited speaker at the panel tion form Aristotle to Zarlino,” in Revista at the Museum of “The Sciences vs. The Humanities,” Center Música. Gerbino is currently Chair of Contemporary Art for Science and Society. Music Humanities. in Chicago in Octo- Ë Ë ber 2015. Portions Georg Friedrich Haas’s Second String Quar- Mariusz Kozak published “Listeners’ Bodies of the opera were tet and song cycle ATTHIS were performed in Music Analysis: Gestures, Motor Inten- performed in spring at the Linbury Studio Theatre of the Royal tionality, and Models.” Music Theory Online 2015 at Roulette. Opera House in Covent Garden, London. 21, no. 3 (September 2015). In September In November 2015 His new opera Morgen und Abend, based 2015 he spoke on “Capturing Dance” at the Fred Lerdahl with Elizabeth Fischborn and Edwin Lewis gave the President’s Endowed Plenary Barker, the performers of Fire and Ice on a novel by the Norwegian writer Jon University Seminar “Studies in Dance” and Lecture at the Annual Meeting of the Ameri- can Musicological Society. Fosse, had its premiere at the Royal Opera in October he presented “Enacting Tempo- Narmour; “Concepts and Representations of House in November. An article published in ral Anxiety in Andriessen’s De Tijd” in the Musical Hierarchies,” in Music Perception, 33 Ë Musicology and Theory Colloquium at the the Guardian in October engaged Haas in (2015); and “Structure and Ambiguity in a On June 5th, 2015, University of Colorado, Boulder. conversation about his opera and its “theatre Schumann Song,” in Structures in the Mind: Jeffrey Milarsky of the emotions.” Ë Essays on Language, Music and Cognition in made his New York Ë Fred Lerdahl’s Give and Take was premiered Honor of Ray Jackendoff. Philharmonic debut Ellie Hisama published “‘Diving into the by Ernst Kovacic and Anssi Karttunen at the Ë conducting a program of music Earth’: Julius Eastman’s Musical Worlds,” Musica Nova Helsinki 2015 Festival, where George Lewis was elected a 2015 Fellow of by Takemitsu, in Rethinking Difference in Music Scholar- he was composer-in-residence. His Time and the American Academy of Arts and Sciences, Messiaen, Fujikura, ship (Cambridge University Press, 2015). Again had its premiere in April 2015 with and was appointed a 2015 Fellow of the John and Mochizuki. He will conduct the New Last spring she gave four invited lectures: three performances by the Saint Paul Cham- Simon Guggenheim Foundation. Professor York Philharmonic for the second time in “Blackness in a White Void’: Music in the ber Orchestra, Roberto Abbado conducting. Lewis received the honorary degree of Doc- November of 2015 (Mario Davidovsky’s Films of Isaac Julien,” Keynote, 2015 Music Fire and Ice was performed at the Tangle- tor of Music from the University of Edin- Flashbacks). In December, Milarsky will Graduate Students’ Symposium, McGill wood Festival, having been commissioned burgh on June 27, 2015. His opera After- conduct a program of music by John Luther University; “‘A Complex Dissonant Veil of for the Festival’s 75th anniversary. Lerdahl word, the AACM (as) Opera had its premiere Sound’: Ruth Crawford’s Chants for Wom- published three articles: “Tension and Adams, Milton Babbitt, and Charles en’s Chorus,” 2015 Hartt Music Expectation in a Schubert Song,” in Musical Wuorinen with the New World Symphony. Implications: Essays in Honor of Eugene 6 Ë connections between Haydn and Scarlatti. Ë Ë In conjunction with Music Humanities, She gave invited papers at the IAML/IMS Magdalena Stern-Baczewska made her solo Peter M. Susser Marti Newland produced “Concert Spir- conference at Juilliard in June and at Duke debut with the San Francisco Symphony in (DMA, Composi- ituals and the Black Soprano” in St. Paul’s in September, as well as the keynote at the April, stepping in last-minute for a sold-out tion, 1994) had his Chapel with Music Performance Program “Sonorous Sublimes” conference at the Davies Symphony Hall performance of Tan String Quartet No. Director Magdalena Stern-Baczewska. The University of Cambridge in June. Her essay, Dun’s Banquet Concerto. In May she also 1 performed by the event included special guest Dr. Paul T. “Music and the Labyrinth of Melancholy,” gave piano master classes in the Central Cassatt String Kwami, director of the Fisk Jubilee Singers, has just been published in the Oxford Hand- Conservatory in Beijing, China. Summer Quartet at the PhD candidate Whitney Slaten, Professor book of Music and Disability Studies, ed. Blake highlights include a concert appearance with Jamesport Meeting Kevin Fellezs, and Professor Farah Griffin. Howe, Stephanie Jensen-Moulton, Neil violinist Joshua Bell, performances and piano House, Jamesport, Newland also gave a lecture-recital at Bard Lerner, and Joseph Straus. master classes at the Grassland International NY in May 2015. College. She is a guest co-editor for the fall Ë Music Festival (Hohhot, Inner Mongolia); The program included the String Quartet by 2015 American Music Review, which will International Keyboard Institute and Festival former Columbia Music Department Professor In 2014-15, Benjamin Steege (Columbia feature articles from the Harlem Renais- (NYC); New York Piano Festival (NYC). Douglas Moore. The Cassatt Quartet has College, 2000) held research fellowships sance opera panel that she moderated and Baczewska performed Bach’s Goldberg Vari- commissioned Susser to compose what will from the National Endowment for the organized for the Heyman Center Public ations on the harpsichord, piano, and forte- be his third string quartet. Humanities and the Radcliffe Institute for Humanities Initiative sponsored conference piano in New York, Italy, and France (Reid Advanced Studies at Harvard University, Ë “Restaging the Harlem Renaissance: New Hall). The double-bill New York performance where he was in residence working on a new Chris Washburne (PhD, Ethnomusicology, Views on the Performing Arts in Black marked the first time since the 1977 Carne- book, Music and the Resistance to Psychology, 1999) released Low Ridin’ on the ZOHO Manhattan.” gie Hall performance by Rosalyn Tureck. 1908–1968. record label. It is his eleventh album as a Ë leader, and the sixth with his group, SYO- Ana María Ochoa published Aurality: Magdalena Stern-Baczewska TOS. In July 2015 Columbia News ran a Listening and Knowledge in Nineteenth-Cen- feature on Washburne, describing the music tury Colombia. She gave the Cátedra Jesús program he leads at the maximum-security C. Romero lectures at CENIDIM (Centro Sing Sing Correctional Facility in Ossining, Nacional de Investigación, Documentación NY. The program is part of his involvement e Información Musical “Carlos Chávez”) in over the last 15 years with Carnegie Hall’s Mexico City. Musical Connections program. Besides Ë teaching and performing at Sing Sing, Wash- burne takes his trombone and his band to Elaine Sisman taught the inaugural section community centers, hospitals, homeless shel- of Music Humanities at Reid Hall in Paris ters and juvenile justice facilities throughout during Spring 2015, an unparalleled teaching the New York area. experience with outstanding students, staff, and cultural resources. She also embarked on a CD and lecture collaboration with Swiss-Italian pianist Olivier Cavé that reveals

7 Alumni Achievements

Harlem Shrines Jazz Festival in a panel and Ë released by the Tzadik label in May 2015. In News from our performance at Union Theological Seminary, Natacha Diels (DMA, Composition, 2015) 2015–16 he is a Visiting Professor of Com- Doctoral Alumni James Chapel: “Jazz and the Spirit: Freedom was appointed Assistant Professor at the position at the Peabody Conservatory. Now, Again.” Courtney collaborated with Kristy Riggs Barbacane (PhD, Historical University of California at San Diego. Ë artist Steffani Jemison on her new multipart Musicology, 2012), is an Advising Dean at Ë Andrew Eisenberg (PhD, Ethnomusicology, commission Promise Machine, performed Columbia’s Center for Student Advising and Ryan Dohoney (PhD, Historical Musicology, 2009) has been appointed Assistant Professor at the Museum of Modern Art (MoMA) in teaches Music History at Barnard College. 2009) was awarded a 2015 ACLS Fellowship of Music at NYU/Abu Dhabi. New York City in June 2015, in conjunction She administers CSArts, which displays on for his project “Abstraction as Ecumenism in Ë with the exhibition One Way Ticket: Jacob the walls of the Center for Student Advising Late Modernity: Morton Feldman and the Lawrence’s Migration Series and Other Visions Lauren Flood (PhD, Ethnomusicology, selections of writing, music, and visual art Rothko Chapel.” of the Great Movement North. 2015) presented the paper “Dark Circuits: and film created by CC and SEAS students. Ë Ë Technoscience, Sonic Black Boxes, and Ë Luke DuBois (DMA, Composition, 2003) Modes of Knowledge” at the Stony Brook Daniel Callahan (PhD, Historical Musicol- Nili Belkind (PhD, Ethnomusicology, was promoted to Associate Professor with Music Symposium and presented “DIY ogy, 2012), Assistant Professor at Boston 2014) has been awarded a two-year Illinois Tenure at NYU, where he directs the NYU/ Music Technology: Underground Scenes of College, returned to Columbia to speak at Program for Research in the Humanities-​ Poly media lab. His solo exhibition, “R. Luke Experimental Instrument Building in New the University Seminar “Studies in Dance” Mellon Post-Doctoral Fellowship in the DuBois–Now,” is at the Orange County York and Berlin” at the conference “Crossing on his book in progress, The Dancer from Humanities at the University of Illinois at Museum of Art (Newport Beach, CA) until Borders of Underground Music Scenes” at the Music. In this book Callahan proposes Urbana-Champaign. February 28, 2016. the University of Porto in Portugal. choreomusicality as an exemplary lens for Ë viewing the meeting of music’s ineffability Ë Ë Tyler Bickford (PhD, Ethnomusicology, with the agency, identity, and physical reality David Gutkin (PhD, Historical Musicology, 2011) published “Tween Intimacy and of a listening and performing body. 2015) was appointed to the Columbia Soci- the Problem of Public Life in Children’s Ë ety of Fellows in 2015. (For his full biogra- Media: ‘Having It All’ on the Disney Chan- phy, see the New Faculty page.) Eric Chasalow (DMA, Composition) is nel’s Hannah Montana,” WSQ: Women’s Dean of the Graduate School of Arts and Ë Studies Quarterly, 43 (Spring/Summer 2015), Sciences at Brandeis University. Chasalow Kate Heidemann (PhD, Music Theory, pp. 66–82. has recently released a new CD of his music, 2014) has been appointed Visiting Assistant Ë Are You Radioactive, Pal?, and a concert Professor of Music at Colby College for 2014 Composition DMA Courtney Bryan’s featuring the Dinosaur Annex Ensemble was 2015–16. American Composers Orchestra commis- held in his honor on October 24, 2015, in Ë sion, Sanctum, had its world premiere at Brandeis’ Slosburg Music Center. Nicholas (Niko) Higgins, (PhD, Ethno- Jazz at Lincoln Center in “Blues Symphony Ë musicology, 2013), has been appointed to a & Beyond” on April 9th 2015. Court- Anthony Cheung (DMA, Composition, (renewable) Guest Faculty position at Sarah ney performed original music at the New 2010) is the Daniel R. Lewis Young Com- Lawrence College. Orleans Jazz and Heritage Festival on May poser Fellow with the Cleveland Orchestra. 3, along with musicians Troi Bechet (voice), Jason Eckardt (DMA, Composition, 1998) Ë Brian Quezerque (electric bass), and Miles was awarded a 2015 Charles Ives Fellowship Bryan Jacobs (DMA, Composition, 2015) Labat (drums). She also participated in the of $15,000 from the American Academy of had “Subwhistle,” a sound art installation Arts and Letters. His new CD, “Subject,” was piece, featured at the NYC Electronic Music

8 Festival (June 21–28, 2015); “Dis Un Il Im Arts. Recently, he gave a pre-concert lecture Ë Ë Ir” was played in Italy, Finland and many cit- at the Skirball Center for the Performing Sean Parr (PhD, Historical Musicology, Eric Rice (PhD, ies in the US; “Organic Synthesis, Volume 1” Arts for the opening of Donald Byrd’s The 2010) was promoted and granted tenure at Historical Musicol- was premiered by Ensemble Pamplemousse Minstrel Show Revisited. Matthew currently Saint Anselm College. He secured funding ogy, 2002), in New York (May 19, 2015), and his “Cel- serves as the Dean of Faculty for The DuBois to renovate the College’s arts building (for Department Head, lo+Electronics” was premiered by Séverine Scholars Summer Institute at Princeton which he designed practice rooms) and pur- Associate Professor Ballon at the DiMenna Center in New York University, and will be scholar-in-residence chase pianos. Sean created a new curriculum of Music History, on May 6, 2015. at the Sinners and Saints music festival in of performance instruction at Saint Anselm, and Director of Ë December 2015, curated by composer and which now offers music lessons for credit for Collegium vocalist Imani Uzuri. the first time. He has published “Dance and Musicum at the Aaron Johnson (PhD, Historical Musicology, Ë the Female Singer in Second Empire Opera,” University of 2014) joined the Department of Music at 19th-Century Music 36 (2012) and “Caroline Connecticut, returned to Columbia in the University of Pittsburgh in fall 2015 as Yoshiaki Onishi Carvalho and Nineteenth-Century Colora- October to direct his Ensemble Origo in a Assistant Professor of Music in Jazz Studies. (DMA, Composi- tura,” Cambridge Opera Journal 23 (2011). program entitled “Motets, Madrigals, and Ë tion, 2015) was Moresche: Orlando di Lasso’s Music for the appointed Associate Ë Rebecca Y. Kim (PhD, Historical Musicology, Commedia dell’Arte at a 1568 Wedding” at Professor of Com- Benjamin Piekut (PhD, Historical Musi- 2008) presented a lecture and workshop in the Italian Academy for Advanced Studies in position and Theory cology, 2008) was promoted to Associate November on Korean gayageum at Harvard America, which co-sponsored the event with at Toho Gakuen Professor of Music with tenure at Cornell University, Holden Chapel, sponsored by the the Department of Music. Eric’s pre-concert School of Music in University. He recently returned to the Donghwa Cultural Foundation. She is also lecture discussed the non-Neapolitan Tokyo, Japan as of Columbia Department of Music to present editing a collection of essays on Earle Brown. portions of Lasso’s villanelle texts recently April 2015. On “Avoiding A Theory of the Vernacular Avant- Ë May 9, 2015, Dr. Onishi’s Tramespace II for Garde” in the Historical Musicology and Stephen Lehman (DMA, Composition, large ensemble (2013–15) was premièred in Theory Colloquium Series. 2012) is a 2015 Guggenheim Fellow. Cologne, Germany, by Ensemble Intercon- Ë Ë temporain, under the direction of Pablo Sam Pluta (DMA, Composition, 2012) has Heras-Casado. The piece is an accompanying Alex Mincek (DMA, Composition, 2011) recently been awarded commissions from musical work to his dissertation at Colum- received the 2015 Benjamin H. Danks the Fromm Foundation and the Barlow bia, Tramespace I, which was reviewed by Award of $20,000 for a young composer of Endowment. His Fromm commissioned major music magazine in Germany, ensemble music from the American Acad- work, Seven Systems, was given its premiere “Das Orchester.” He was a visiting lecturer emy of Arts and Letters. His music will be this fall by Yarn/Wire at Issue Project Room, at Takefu International Music Festival in featured in a Composer Portrait concert at and will be recorded and released in the com- Fukui, Japan, where his Parti… for violin Miller Theatre in February 2016. ing months. Additionally, this past summer solo (2012–14, revised 2015) was premièred Ë Sam performed at the Mulhouse Jazz Festival in its final version by Yasutaka Hemmi. with the Evan Parker Electro-Acoustic Matthew D. Morrison (PhD, Historical Anssi Karttunen gave the world premiere of Ensemble and at the Newport Jazz Festival Musicology, 2014) is completing his second Onishi’s new work for cello at Scandinavia with the Peter Evans Quintet. year as a Postdoctoral Faculty Fellow at The House in October. Clive Davis Institute of Recorded Music at New York University’s Tisch School of the

9 identified as Kanuri, the language of the her performing “Go Away,” from her 2011 Ë Mitchell Veith received Honors for his Bornu Empire in the Lake Chad region from “Only the Words Themselves Mean What Wang Lu (DMA, Composition, 2012) was project “Spaces: Electro-Acoustic Synthesis which many African slaves came to Naples. They Say,” with flutist Erin Lesser. In 2015, appointed Assistant Professor in Compo- in Song” along with five different pieces he Eric was Artistic Director of the Connecticut Soper’s music was performed in the Sonic sition and Theory at Brown University. realized as part of the project. Early Music Festival from 2007 to 2015. Festival in New York, the NUNC! 2 Festival Her “Urban Inventory” was featured in the at Northwestern University, and in the New Ë MATA Festival in April 2015. News of our York Philharmonic’s CONTACT series. Alexander Rothe (PhD, Historical Musicol- Ë Undergraduate Alumni Ë ogy, 2015) defended his dissertation, “Stag- In November 2015 the Mivos Quartet Tareq Abuissa (Columbia College 2014) is a ing the Past: Richard Wagner’s Ring Cycle Music at St. Paul’s hosted a sound installa- performed “being time” by Eric Wubbels Teaching Artist with MakerState and Learning in Divided Germany during the 1970s and tion by Jeff Talman (DMA, Composition), (DMA, Composition, 2010) at Roulette, through an Expanded Arts Program (LeAP), 1980s,” on May 6, 2015. Alex has received When Soaring Sings, which transformed the with electronics performed by DMA alum- leading elementary classes in various school grants from Fulbright and DAAD. space of St. Paul’s Chapel into a resonant nus Bryan Jacobs. Wubbels is a Visiting residencies. In summer 2015, Tareq interned Ë experience in April 2015. He then published Assistant Professor of Music at Amherst in Marketing and Development at the an article in the New York Times in June College for 2015–16. Edgardo Salinas (PhD, Historical Musicol- Chamber Music Society of Lincoln Center. 2015, “Birds of New York: A Soundscape,” ogy, 2011) was a consultant for the Universi- Ë which traces the relationship of birds and dad Nacional de Rosario’s curricula for a new Departmental Honors birdsong with his artwork, including “When Isaac Assor (Columbia College 2014) is master’s program in chamber music. He pre- Soaring Sings.” Audrey Amsellem completing an MM in Vocal Performance and sented “Friedrich Schlegel, Wordless Music, of General Studies Literature at the Eastman School of Music and the Paradox of Mediated Immediacy” Ë received Music in Rochester, NY. In November he sang a at the Thirty-Ninth Annual Conference of Joshua Walden (PhD, Historical Musicol- Department leading role in Eastman Opera Theatre’s pro- the German Studies Association in Washing- ogy, 2008) is on the musicology faculty at Honors for her duction of Hydrogen Jukebox, with music by ton DC (October 2015). Also at the GSA Johns Hopkins Peabody Institute. He is the thesis “Iceland and Philip Glass set to poetry by Allan Ginsberg, Conference, Lauren Flood (PhD, Ethnomu- recipient of the ASCAP Deems Taylor/Virgil Songs of Dreams of and in the spring he will sing Figaro in The sicology, 2015) presented “Critical Organol- Thomson Award for his 2014 article “The Mankind,” written Marriage of Figaro. ogy: Noise, Materiality, and Invention in ‘Yidishe Paganini’: Sholem Aleichem’s Stem- under the supervision of Aaron Fox. Ë Berlin.” The two panels were both sponsored penyu, the Music of Yiddish Theatre, and the by the Music and Sound Studies Network. Character of the Shtetl Fiddler.” His book Two students in Columbia College received Andrea Cortes-Comerer (Columbia College Ë Sounding Authentic: The Rural Miniature and Departmental Honors: 2005) established a Music Prize Fund to Musical Modernism, published in the AMS assist outstanding music majors who are Ryan Skinner (PhD, Ethnomusicology, Yeana Lee was given Studies in Music series (Oxford University rising seniors in Columbia College receiving 2009) was recently awarded a Charles A. the accolade for her Press, 2014) won the ARSC Award for financial aid. Ryskamp ACLS Research Fellowship 2015 project advised by Excellence in Historical Research on Classical Ë for his project “Race, Politics, and Perfor- Aaron Fox, Music: Discography. Walden has edited two mance in Afro-Swedish Public Culture.” “Politicizing Richard Carrick (Columbia College 1993 volumes for Cambridge University Press, Ë Bubblegum: and former Visiting Professor of Composi- Representation in Western Music (2013; paper- Deconstructing Girl tion) is a 2015 Guggenheim Fellow. Kate Soper (DMA, Composition, 2011), back 2015) and The Cambridge Companion to Groups in Kpop.” Ë Assistant Professor at Smith College, was Jewish Music (December 2015). Zeynep Toraman featured in a New York Times ArtsBeat article and Yeana Lee Courtney Craig (Barnard College 2015) has in December 2014, including a video of recently accepted a position as marketing assistant at Columbia Records.

10 Ë working to forge stronger relationships with Ë is an active organist; in June, she performed Anna Dugan (Columbia College/Juilliard the University and local community, and Amalia Rinehart (Columbia College 2014) is at St Patrick’s Cathedral for the closing 2014) is currently pursuing her master’s of foster artistic excellence. This has culminated attending Stony Brook University, where she concert of the Musforum Conference, and in music in vocal performance at the Manhat- in BachSoc’s 15th anniversary Gala year is studying for her master’s of music in piano November at Columbia’s St Paul’s Chapel. tan School of Music. In December, she will with a series of concerts and events aimed performance with Gilbert Kalish. Ë sing the Marquise de Merteuil in MSM’s at celebrating the ensemble’s hard work and Ë David Su (Columbia College 2014) was fall opera, Dangerous Liaisons by Conrad thanking its many supporters for their con- Andrew Rodriguez (Columbia College recently hired as a principal engineer for Susa. Anna was recently selected as a district tinued generosity. 2015) has recently accepted an internship Amper Music, where he is architecting an winner of the Metropolitan Opera National Ë at ATO Records. Andrew runs the music algorithmic “composer” for artificial intel- Council Eastern Division. Yeana Lee (Columbia College 2015) grad- website Are You Hip To This. ligence software that writes music for video Ë uated with departmental honors and was Ë content. He has also been touring the United Rebecca Gray (Barnard College 2013) elected to Phi Beta Kappa. States with various musical projects (includ- Amir Safavi (Columbia College 2014) is recently left her position as Senior Producer Ë ing fellow Columbia alumni Morningsiders), a guest soloist on two programs with the and Music Supervisor at MassiveMusic performing at SXSW and Lincoln Center Sophie Lewis (Barnard College 2015) was Toronto Symphony Orchestra this season, to pursue freelance music production in among other festivals and venues. elected to Phi Beta Kappa. Sophie now works performing Vivaldi’s “Winter” from the Four Los Angeles. Ë for the Lower Manhattan Cultural Council Seasons (December 10th and 13th) and Piaz- Ë and sings for the Basilica of Regina Pacis zolla’s Invierno Porteño (February 2nd–7th). Rachel Susser (Barnard College 2014) has Solomon Hoffman (Columbia College in Brooklyn. He has also been selected to serve as Guest won a 2015–16 Student Fulbright Award 2014) conducted his arrangements in per- Ë Concertmaster of Orchestra Toronto in to Bulgaria and Romania and was elected to formances by the Songwriters’ Orchestra at spring 2016. Phi Beta Kappa. Isabella Livorni (Barnard College 2015) 54 Below and the Laurie Beechman Theatre. Ë gave a paper entitled “Tracking the Tenso/ Ë The Orchestra members include Colum- Tenzone: Changes in Performance, Compo- Julia Sayles (Barnard College 2014) is start- Trey Toy (Columbia College 2014) is bians Corinna Boylan, Magnus Ferguson, sition and Transmission of Debate Poetry ing a chapter of the non-profit Musical Men- finishing his master’s of music in scoring for Caroline Sonett, David Su, Elizabeth Sun, and Song in the Occitan and Italian Lyric tors Collaborative at Tufts University, where film and multimedia at NYU. He composed and Sophia Sun. Among the vocalists were Traditions, c. 1180–1320” at the 2015 she is studying for her master’s in education. additional music for Immigration Battles, a singer-songwriters Sarah Dooley (Barnard SUNY-Binghamton Center for Medieval documentary in the New York Film Festival College 2011) and Olivia Khera Harris Ë and Renaissance Studies Conference. Isabella that recently aired on PBS. (Columbia College 2014). Caroline Sonett (Columbia College 2014) was also elected to Phi Beta Kappa. She now Ë is pursuing an MM in Flute at the Eastman Ë works at Columbia as the coordinator of the School of Music in Rochester, NY. She is Martina Weidenbaum (Barnard College Katherine Huet (Barnard College 2015) Medieval & Renaissance Studies Program a member of the Songwriters’ Orchestra, 2013) has started the New York Children’s recently began working as an analyst in and sings at the Brick Presbyterian Church. directed by Solomon Hoffman (Columbia Opera Studio, a program that gives children the royalty audit department at Warner Ë College 2014). an introduction to opera through music, Music Group. Kate Mullen (Barnard College 2014) is Ë storytelling, language, movement and design. Ë currently pursuing a dual master’s degree Sarah Jane Starcher Germani (General Stud- Kevin Lee (Columbia College 2014) is in in ethnomusicology and library science at ies 2014) has recently accepted a position as his fourth year as the Artistic Director of the Indiana University-Bloomington. At Indiana, director of music and organist at St Brendan’s Columbia Bach Society, where he has been Kate has an assistantship working at the Church in Midwood, Brooklyn. Sarah Jane Archives of Traditional Music.

11 Student News

Ë Dramatists Guild of America season, a highly Ë Undergraduate News Ellie Deresiewicz accepted an internship in selective nine-month program that will allow Elliott Cairns’ “Rediscovering an American summer 2015 with Secret Road Music, a the brothers to continue to develop the show Master: The Ulysses Kay Papers” was recently Esther Adams (Barnard) published a paper boutique music publishing, licensing, and with experienced theater professionals and featured as the cover article in the most entitled “Opera in 20th Century America: management company based in Los Angeles, mentors in New York. The Columbia College recent issue of American Music Review. Those Overcoming the Racialization of Sound” in with offices in New York City and Nashville. website recently wrote an article about Dan- interested can find it online on the website of New Errands: The Undergraduate Journal of iel, “Finding Focus in Composing”; in the the H. Wiley Hitchcock Institute for Studies American Studies in spring 2015. Ë article, Daniel stated, “Studying music here in American Music, www.hisam.org. Cairns Ë Christopher Chin and Robert Fernandez [at Columbia] has granted me the time to was awarded a Mellon Humanities Interna- had their compositions exhibited in the Cen- Paul Bloom took a quintet into the stu- contemplate and understand what it is I like tional Travel Award for the fall semester. At ter for Student Advising in fall 2015 as part dio this summer to record his suite “The to listen to—and from there I can under- the Annual Meeting of the American Musi- of the CSArts program that displays works Aeneid”—his musical re-interpretation stand what it is I want to compose.” cological Society in Louisville, he presented by students. of Virgil’s epic poem. The music, which Ë “The Berliner Phonogramm-Archiv: Where attempts to draw parallels between the Ë Musicology Met Anthropology.” Christine Rosenblatt (Barnard) premiered creation of the Roman Empire and that of Fernanda Douglas’ musical Plath. (with lyr- “Missing Gemini: A New Musical”— Ë the United States, will be released as a full- ics by Molly Rose Heller and orchestrated by for which she wrote the book, music and Nicholas Chong was invited by the Cecilia length album in the next few months. Paul Solomon Hoffman ‘14) was presented at the lyrics—in November, with the Columbia Chorus of New York to give its annual David also plays at Silvana (116th and Frederick New York Fringe Festival in summer 2015. New Opera Workshop. Randolph Lecture on March 22; his talk Douglass) every other Wednesday in the Ë Ë was entitled “Beethoven, German Cathol- house band for the “Shed” jam session, and Annie Guo will be a Production Intern for icism, and His Two Masses.” Nicholas was on November 28 he will play at the Blue Angela Scorese (Barnard) will be playing the Mostly Mozart Festival Orchestra in 2016. also invited to give a paper, “The Sources of Note for guitarist Marcus Machado’s EP the Countess in the Barnard-Columbia Beethoven’s Religious Views,” at a May 1st release show. Ë Chorus’ chamber opera, Thea Musgrave’s symposium organized by the Yale Institute Ë Jacob Gelber’s choral piece “Hodie Chris- The Voice of Ariadne. of Sacred Music, on “Beethoven’s Sacred tus Natus Est” won the DC-based Cantate Ricardo Bustamante was awarded the Mary Music in Context.” Chamber Singers Young Composers Contest Seaman Scholarship for academic achieve- Graduate Student News in 2015. The piece will be premiered at St Ë ments by the School of General Studies for John’s Norwood Parish in Bethesda, MD, in Eamonn Bell has been selected to participate Eliška Cílková (Czech Republic), 2014–15 2015–2016. December. in the Digital Centers Internship Program Fulbright Scholar in the Department of Ë Ë at the Columbia University Libraries for the Music, won the “AHUV PRIZE” for Best Jacob Chapman and Javier Llaca were the 2015–16 academic year, collaborating with Czech Composer under 30. Her String Daniel Lazour’s musical theater piece We recipients of the first Music Prize thanks to librarians and technologists in supporting Quartet No. 3 (“Inspired by the Work of Live in Cairo (music by Daniel Lazour, a gift from Music alumna Andrea Cortes- and promoting digital scholarship on the Jiří Pick”) was premiered by the Daedalus lyrics by Patrick Lazour) was presented at Comerer (Columbia College 2005). Columbia University campus. Eamonn and Quartet at the 92nd Street Y in October. the Eugene O’Neill Theatre Center’s 2015 Russell O’Rourke collaborate on the Trouba- National Musical Theatre Conference Ë dour Encoding Project (a searchable database (NMTC) in Waterford, CT. In September César Colón-Montijo of troubadour melodies). recently published 2015, Daniel and Patrick were selected as the edited volume Cocinando suave: ensayos Dramatists Guild Fellows for the 2015–2016 de salsa en Puerto Rico (Caracas: El Perro y

12 la Rana, 2015). The volume was launched As a recipient of a Copland House Residency Texas and the Czech Educational Foundation Ë at the Venezuelan Book Fair on March Award, William will spend a month in the of Texas. The festival will be live-streamed Benjamin Hansberry has been appointed a 19, 2015, where the invited country was summer of 2016 in residence at Aaron Cop- on the internet and the proceedings from Lead Teaching Fellow by the GSAS Teaching Puerto Rico. The volume contains essays by land’s longtime home—a National Historic the academic conference will be published in Center and the Department of Music for highly recognized salsa scholars such as Juan Landmark in Cortlandt Manor, New York. UNT’s journal Harmonia. Her paper “Ana- 2015–2016. Benjamin also presented a paper Flores, Chris Washburne, Frances Aparicio, Ë lyzing Wagner’s Der Engel: Questions Posed entitled “Musical Action and Musical Space: Jairo Moreno, Ángel Quintero-Rivera, Juan After Application of Recent Transformation A Case for a GIS Attitude” at the annual Andrés García Molina received the Institute Otero-Garabís, Licia Fiol-Matta, and Juan Theories,” will be published in a collection meeting of the New England Conference of for Latin American Studies’ summer field Carlos Quintero-Herencia, among others. of essays Form and Process in Music, 1300– Music Theorists held at Boston University in research grant for preliminary fieldwork on Ë 2014: An Analytic Sampler by Cambridge March 2015. At the Annual meeting of sound, media, and infrastructure in Cuba. Scholars Publishing in December 2015. the Society for Music Theory in November Stylianos Dimou’s International Ensemble He has two forthcoming publications: a Ë he presented “A Three-phase Interpretive Modern commission Dualities (2015) was review of “Japanoise,” by David Novak, in Model for Transformational and Neo- premiered, during the Gaudeamus Music Current Musicology, and “Labor and the Per- Julia Hamilton presented a paper entitled Riemannian Analysis.” Week in the Netherlands and received its sec- formance of Place in the Upper Putumayo,” “Pamela as the Pretend Garden-Girl: Mas- ond performance in Frankfurt, Germany at in Revista Transcultural de Música. querade Costumes in Piccinni/Goldoni’s Ë the Hochschule für Musik und Darstellende Ë La buona figliuola (1760) and Edward Toms’s Paula Harper has been appointed a Lead Kunst. He also received a commission for a The Accomplish’d Maid (1766)” at the 2015 Teaching Fellow by the GSAS Teaching John Glasenapp new piece, my grounding | surrounding [it]_ Mozart Society of America Conference, Center and the Department of Music for OSB presented the self / h_I. (2015) which was premiered by the which was held at Tufts University. 2015–2016. Paula also presented the paper paper “Moving in Slagwerk Den Haag percussion ensemble. Ë “Waking Up in a Post-Beyoncé World: Time: History, Ë How Social Media ‘Techniques of the Now’ Liturgy, and Marc Hannaford co-founded the discussion Exploded a 2013 Concept Album” at the William Dougherty presented his paper Multimedia in group “Comparing Domains of Improvi- IASPM-Canada Conference, held at the “Pitch as Process: Harmonic Development the Exultet Rolls sation” with Columbia Presidential Scholar University of Ottawa, May 27–30, 2015. in Horatiu Radulescu’s 5th String Quartet, of Southern Italy” in Society and Neuroscience, Andrew before the universe was born” this past sum- at the Mostly Goldman. The group aims to bring together Ë mer at the Mozarteum in Salzburg as part of Orthos Conference scholars from a variety of fields to discuss Orit Hilewicz was selected for the 2015 Mikrotöne: Small is Beautiful, a conference of the Axion Estin Foundation. He has also and compare improvisation as manifest in GSAS Teaching Scholars program with on microtonal music co-organized by the begun a project to enter the contents of various domains. He will also present his the course “Avant-garde Composers in International Ekmelic Music Society and several of Columbia University’s medieval paper, working title “Trust and Subjective NYC: John Cage to John Zorn,” which she EUROMicroFest2015. William has been liturgical manuscripts into the international (Re)positioning: Analyzing the Work of Five designed and taught last summer. This year, awarded a 2016 commission for the San Cantus Database. Female Improvisers,” at the fourth Rhythm she is serving as GSAS Peer Teaching Consul- Francisco-based ensemble, Wild Rumpus, Ë Changes conference “Jazz Utopia,” held in tant. Last March Orit co-chaired the orga- as part of their annual commissioning April 2016 at Birmingham City University nizing committee of the Current Musicology Barbora Gregusova presented paper “Recon- project. This spring his review of the New in the United Kingdom. 50th Anniversary Conference. sidering Fibich’s Šárka: Myth, Gender, and York Premiere of La Monte Young’s Trio for the Construction of a Nation” at the 2nd Strings Original Full Length Version will be International Festival of Czech Music published in the forthcoming issue of Tempo. (12–22 November 2015), hosted by the College of Music at the University of North

13 Ë ing gender inequality in the workplace; the Ë at Harvard University’s music graduate Velia Ivanova has been appointed the work premiered this fall at St. Ann’s Will Mason presented two papers in the student colloquium series. This spring his Archival Assistant for the Serge Prokofiev Warehouse and will be performed again at spring of 2015: “Code-switching in Kurtág’s review of Daniel Albright’s Panaesthetics will Archive. She also presented the paper “The the 2016 NY Philharmonic Biennial this Officium Breve in Memoriam Andreae be published in the forthcoming issue of New Deal behind Bars: Henry Cowell, the June. www.marykouyoumdjian.com Szervanszky” at the conference “Fostering Current Musicology. Great Depression, and Music Reform at Ë New Music and Its Audiences: Conference Ë San Quentin” at “Work and Play: Econ- Commemorating the 30th Anniversary of Anne Levitsky gave a paper entitled “Song John Rot won first prize in the 2015 Frank omies of Music,” the Harvard University the Grawemeyer Award” held at the Univer- Personified: The Tornadas of Raimon de Robert Abell Young Composer Competition Graduate Music Forum, held on February sity of Louisville March 2015; and “Some Miraval” at the 2015 SUNY-Binghamton for New Chamber Music with his string 20th–21st, 2015. theoretical properties of 72-tone equal Center for Medieval and Renaissance Studies octet glide idly by. The work will be presented temperament and their realization in Georg Ë Conference, “Authority and Materiality in at the University of Louisville in Spring 2016. Friedrich Haas’ limited approximations” at Qingfan Jiang has been selected for a the Italian Songbook: From the Medieval Ë the Music Theory Society of New York State Graduate Internship Program in Primary Lyric to the Early-Modern Madrigal.” conference, held in Binghamton, NY, April Whitney Slaten completed his post as a Sources at the Burke Library of Union Ë 2015. He presented “Affect in Contemporary 2014–2015 Visiting Assistant Professor Theological Seminary. She presented a paper Shih-Wei Lo was recently nominated for Electroacoustic Music: A Perspective from of Music Technology and Music Theory entitled “From Barbaric Tune to Origin of the Gaudeamus Award, and his works will Embodied Cognition” at the Northwestern at Seton Hall University. Whitney also All Ancient Musical Systems: Chinese Music be presented during Gaudeamus Muziek­ University New Music Conference, Novem- organized a panel of Columbians at the in France, 1735–1791” at Keele Musical week 2016 (September 7–11, 2016). As a ber 2015. Will has also received a scholarship 2015 IASPM-US conference, “Representing Analysis Conference in the UK, held on July first-prize winner in the 2015 ASCAP/ from the Paul Sacher Stiftung in Basel, where Labor in Digital Media: Radio, Records 7–10, 2015. SEAMUS Student Commission Competi- he will conduct archival research on the and Live Performance” and presented a Ë tion, he was commissioned to compose a manuscripts of Gérard Grisey in the winter paper: “Sonic Color and the Transparency Mary Kouyoumd- new piece for the 2016 SEAMUS National of 2016. An album of his music was released of Music Production: Mixing Porgy & Bess jian was commis- Conference. He will be collaborating with by New Amsterdam in August. on Broadway.” He delivered a talk, “Ethno- sioned by the the Nieuw Ensemble to produce a concert Ë musicology and Popular Music Studies” at Kronos Quartet to in Muziekgebouw aan ‘t IJ in Amsterdam on the Albright College Annual Music Business Matthew Ricketts won the 2015 Salvatore compose a 30-min- April 2, 2016. Studies Conference in April. In June he pre- Martirano Memorial Composition Award ute multimedia Ë sented, “Transparency, Color and Liveness: for Flat Line (2014), which was also an work entitled Silent An Ethnographic Study of the Live Sound Sky Macklay (DMA student in composi- ASCAP Morton Gould Award finalist. The Cranes in commem- Engineering of Porgy and Bess on Broadway,” tion) is a 2015–17 Composers and the Voice work had its US premiere at the University oration of the 100th at the International Musicological Society fellow with American Opera Projects. Her of Illinois Urbana-Champaign in October anniversary of the conference in New York City. piece for 17-part mixed chorus, Sing Their where Matthew was present to share his Armenian Genocide; the work received its Ë Names, was commissioned by The New York music to the faculty and student body and world premiere in Yerevan, Armenia and its Virtuoso Singers and will be premiered at receive the award. Earlier this year he won Tyshawn Sorey received a 2015 Doris U.S. premiere at Roulette in Brooklyn as National Sawdust in November. Her string three prizes in Canada’s SOCAN Awards for Duke Impact Award from the Doris Duke part of Kouyoumdjian’s 2014–15 Roulette/ quartet Many Many Cadences will be featured Young Composers, including first prize for Foundation Performing Arts Awards. The Jerome Foundation Artist Residency. She was on Spektral Quartet’s forthcoming album Flat Line. In November Matthew will present 2015 Downbeat Critics’ Poll voted him #1 recently commissioned to write a work Serious Business on the Sono Luminus label. “Rising Star Drummer,” and #5 “Rising Star entitled Become Who I Am for the Brooklyn Composer.” With Christian McBride and Youth Chorus and Kronos Quartet, address- Stephen Gosling, he performed John Zorn’s

14 gram. With the support from a curriculum in Early Cinematic Sonic Culture?” at the development grant awarded by the Institute annual Music and Moving Image Conference for Research on Women, Gender, and Sexu- at NYU Steinhardt, May 29–31, 2015. ality—made possible by the Heyman Center Ë for the Humanities—Lucie will offer the new Nina C. Young was awarded the Frederic undergraduate course “Sexing Sound Art” A. Juilliard/Walter Damrosch Rome Prize in fall 2015. This year, Lucie has also in Musical Composition. She was a winner presented two papers, one titled “Women’s of the 2015 American Composers Forum Labor and Video Games in the Work of National Composition Contest, and the Electronic Composer Laetitia Sonami” at resulting “When Eyes Meet,” commissioned Harvard’s “Work & Play: Economies of by the American Composers Forum, was pre- Music” conference, and the other titled miered by Wild Up at REDCAT (Los Ange- “Laurie Anderson Has Not Been Listening: Kronos Quartet plays Silent Cranes by Mary Kouyoumdjian les) on September 11. As a winner of the The Anti-Mediatory Position as a Sound 2015 American Composers Forum National Technology of Power,” at the Stony Brook “In the Hall of Mirrors” at the Village Van- Afrofuturism, Sound, and Spirit,” a panel Composition Contest, she was a guest artist Graduate Music Symposium organized guard in April. His trio had a residency at and musical performance in collaboration at the Aspen Summer Music Festival, where around the theme “Technologies of Sound: Roulette and the Philadelphia Art Alliance in with the Institute for Religion, Culture, and Stephen Mulligan led the Aspen Philhar- Systems, Networks, Modernities.” May, and the North Sea Jazz Festival in July. Public Life. Didier also presented papers at monic Orchestra in the premiere of “Agnosco Tyshawn’s trio had a weeklong engagement at the 2015 IASPM-US conference and 2015 Ë Veteris,” commissioned by Robert Spano and the Village Vanguard in November. Caribbean Studies Association conference. Michael Weinstein-Reiman presented a the Aspen Summer Music Festival’s Jacob Ë Ë paper at the annual meeting of the Nine- Druckman Prize. On July 28th the American Maeve Sterbenz was accepted to the Mellon Christopher Trapani received a 2015 Charles teenth Century Studies Association (NCSA) Brass Quintet gave the west coast premiere Dance Studies Seminar 2015, an intensive Ives Scholarship, given to composition in Boston. The paper was entitled “No of her symphonic brass piece “Fata Morgana” seminar on interdisciplinary research and students of great promise by the American Representation Without Fragmentation: The at Harris Hall. Wild Up gave the west coast teaching in dance studies, to be held at Academy of Arts and Letters. 2015 saw the Free Musical Fantasia, Femininity, and the premiere of “Traced Upon Cinders” as part Northwestern University, June 21–27, 2015. premiere of Difficult Places for Ensemble Dissolution of Classical Representation.” His of the LAPhil’s Next on Grand Series. The seminar is part of a multi-year initiative Modern, as well as two orchestral works: Rust review of Carol Oja’s Bernstein on Broad- Ë way: Collaborative Art in a Time of War was titled Dance Studies in/and the Humanities and Stardust at Tectonics Festival Glasgow, Julia Hamilton, Velia Ivanova, Qingfan recently published in American Music Review and is funded by the Mellon Foundation, and Spinning in Infinity at Radio France Jiang, and Russell O’Rourke created web (Vol XLIV, No. 1). which aims to “invest in emerging scholars in in Paris, with electronics by IRCAM. He exhibits of medieval chant manuscripts in a growing field,” partnering with Northwest- received a Chamber Music America Com- Ë the Rare Book and Manuscript Library. ern, Brown, and Stanford Universities. mission to compose for vocal ensemble Ralph Whyte gave papers entitled “Musi- These projects were part of Susan Boynton’s Ë Ekmeles, and is in residence at Schloss Soli- cality, Respectability, and Profitability: seminar, in which the digital humanities tude in Stuttgart for seven months in 2015. Didier Sylvain received a FLAS summer Approaches to Advertising Sound Record- projects were funded by a Hybrid Learning fellowship to conduct language training Ë ing in America (1899–1912)” at the Stony grant from the Provost. The exhibits are at and preliminary fieldwork on electronic Lucie Vágnerová has been chosen to receive a Brook Symposium on “Technologies of chantmanuscripts.omeka.net. musical practices in Haiti. In addition, he 2015 Meyerson Award for Excellence in Core Sound” on February 13 and “I Lost It at the co-organized “Tomorrow is the Question: Teaching. In addition, she was selected for Movies: What was the Role of Improvisation the 2015–16 GSAS Teaching Scholars Pro-

15 Current Musicology

robotic guitars, the spatialized, processed, A two-day conference took place on March and Arts Library kindly hosted a reception Columbia Composers Fall granulated, and filtered sounds of shō, shell, 28–29 to commemorate Current Musicology’s on the eve of the conference for a special 2015 Report and much more. fiftieth anniversary. The event featured paper exhibit showcasing influential articles and Columbia Composers is a student-run Ë presentations on a wide variety of topics issues from each of the five decades in the life from scholars in different stages of their of Current Musicology. Further details of the organization supporting the creation and For the second and third concerts of the career, coming from various locations around weekend’s events, including photos and the performance of new works by Columbia’s season, Columbia Composers will combine the world. We were delighted to welcome program, are available at the conference web- graduate student composers. two ensembles into novel mega-ensembles. back founding editor Austin Clarkson, as site: currentmusicologyconference.com. The First, on Friday, March 11th, 2016 at 8:00 During the 2014–15 season, Columbia well as former editors Anthony Barone, conference committee would like to thank PM: Ekmeles and Yarn/Wire will join forces Composers produced 3 concerts which Eleonora Beck, Murray Dineen, Peter the faculty members, library and department at the DiMenna Center for Classical Music. included 20 pieces of breathtaking diversity Lefferts, Karen Painter, and Jay Rahn, all of staff, and the students who made this event They will perform works by Matthew Rick- and scope and consistently drew audiences whom gave paper presentations. The Music a success. etts, Ashkan Behzadi, Bill Dougherty, Shih- well over 150 people. Many of these pieces Wei Lo, Christopher Trapani, Yair Klartag, On a different note, after many years of hard from the 2014–15 season have already lived and Martin Hiendl. work and collaboration with Columbia’s on in subsequent performances through- Center for Digital Research and Scholarship, out the city and the world and have won Ë Current Musicology launched its new website prestigious honors such as the University of Then, on Saturday, April 2nd, 2016 at 8:00 this year: currentmusicology.columbia.edu. Louisville Frank Robert Abell Prize (John PM: Mivos Quartet and Loadbang will The new website runs on Open Journal Rot’s Whether Wandering) and a Gaudeamus converge into string-and-brass mass at Sym- Systems, enabling easy manuscript tracking Award nomination (David Bird’s Drop). phony Space where they will premiere new and peer review management. Now fully works by Tyshawn Sorey, Mary Kouyoumd- Upcoming Concerts integrated with Columbia’s institutional jian, Paul Clift, John Rot, Stylianos Dimou, repository, Academic Commons, a large This year Columbia Composers has added Onur Yildirim, and Sam Yulsman. proportion of the journal’s back catalogue is a new event to our season: a collaborative Ë concert of electronic and electroacous- available online for free directly through the tic works in partnership with the Sound Finally, on Saturday, April 30th, 2016 at website. The journal is now also on Twitter Arts MFA students. This concert will be 8:00 PM, Columbia Composer will collabo- (@CMColumbia). Saturday, December 5th, 2015 at 8:00 rate once again with Wet Ink Ensemble at St. PM at Prentis Hall (3rd floor). MFA stu- Peter’s Church in Chelsea. This concert will dents Danielle Dobkin, Chatori Shimizu, feature pieces by Ryan Pratt, Taylor Brook, Geronimo Mercado, and Frank Spigner, Roberto Toscano, Alec Hall, David Bird, and DMA students Sam Yulsman, Ryan Sky Macklay, and Nina C. Young. Pratt, Taylor Brook, and Martin Hiendl will present a wide array of works including laptop improvisation, an installation of

16 Music Performance

Music Performance Louis Armstrong Program Jazz Performance Program The Music Performance Program (directed The Louis Arm- by Magdalena Stern-Baczewska) has strong Jazz launched a new concert series at Faculty Performance House, with co-sponsorship from The Program is proud to University Seminars. Mid-Day Music @ welcome our newest Columbia features performances of jazz Music Associate, and classical students in weekly noon-time Helen Sung. She recitals. Starting in November 2015, the offers private jazz performances given by students in the Music piano instruction Performance Program at the end of the and coaches semester will be held at Peter Norton Sym- ensembles. phony Space. All events are free and open to the public. For more information visit the MPP’s newly-launched website: MPP.music. columbia.edu

Columbia University Orchestra The Columbia University Orchestra’s gala at the Peter Jay Sharp Theatre at Symphony performance at Alice Tully Hall on April 18, Space. In April 2016, the CUO will perform 2015 received standing ovations from an once again at Alice Tully Hall in Lincoln audience of 800. The program, conducted Center. The program will feature Wagner’s Multi-grammy award winner, NEA Jazz Mas- by Music Director Jeffrey Milarsky, featured Tristan Prelude and Stravinsky’s Petrouchka ter, and pianist Eddie Palmieri conducted Ernest Chausson’s Poeme, Op. 25 (with (1947) with Nansong Huang, piano solo, a masterclass to students in the LAJPP in Joseph Morag, violin solo) and Gustav as well as a concerto to be determined. For October. He visited classes and participated Mahler’s Symphony No. 1 in D Major. The more information see the new CUO website: in a public dialogue with Professor Chris 2015 and 2016 Performances in Alice Tully cuo.music.columbia.edu Washburne on the Barnard campus. Hall were made possible by a generous gift MacArthur Fellow and saxophonist Miguel Joseph Morag performing with the CUO at from Jo and Ken Merlau, parents of an Grace Catherine Greiner in the Zenon performed with the jazz ensembles Alice Tully Hall orchestra member in the Columbia College CUO concert at as a guest artist on November 19 at Sym- Class of 2016. Alice Tully Hall phony Space. In early December the CUO will perform the Pines of Rome by Ottorino Respighi and the Symphony #4 in E minor by Johannes Brahms. During these Fall semester concerts, the orchestra will perform for the first time

17 Events

The Department of Music participated in for Ethnomusicology’s music repatriation a wide variety of events on campus in the projects. Mariusz Kozak spoke about on his last year. These brief descriptions convey research using motion-capture technology to some of the range of activities involving our study musical experience. Mauro Calcagno members. (University of Pennsylvania), Giuseppe Gerbino, and Laurent Pugin (Réper- toire International des Sources Musicales, La Voz-Voice Switzerland) presented the collaborative Ana María Ochoa organized the interna- digital edition of the secular music of Luca tional conference La Voz-Voice, which took Marenzio (MODE). Brad Garton spoke place in the Center for Ethnomusicology on about the Computer Music Center and September 26 and 27, 2014 and was cospon- music technology at Columbia. Tad Shull sored by the Institute for Latin American (Center for Jazz Studies) presented J-DISC, Studies, the Department of Latin American a relational database (created in collaboration and Iberian Cultures, and the Barnard Col- with the CMC) that integrates rich infor- lege Forum for Migration. The wide-ranging, Barnard Africana Studies. George Lewis mation about jazz recording sessions, artist multidisciplinary program featured speakers moderated. Presenters considered the biographical information, compositions, and Sound Art in the Library from Argentina, Brazil, Canada, Spain, intersection of sound technology, spirituality, the production and dissemination of jazz On October 9, 2015, the Music & Arts Paraguay, and the United States approach- and Africana studies in a wide-ranging recordings. The event was co-sponsored by Library hosted a reception featuring work ing the voice from diverse perspectives and discussion tracing relations between colonial the Department of Music and the Columbia by students in Columbia’s Sound Arts MFA contexts including the archive, the body, legacies, technologies of liberation, and social University Libraries. program, with a concurrent exhibition on labor, ethnicity, race, and animal studies, in movements in the modern world. The speakers sound art in the library display cases, which a variety of media from across the centuries were Alexander Weheliye (Department of Keywords in Sound will remain up through Thanksgiving. Over and around the globe. The concert associated African American Studies, Northwestern 30 people attended and enjoyed interact- with the conference featured music by the University); Michael Veal (Departments of On September 21, 2015, the Department ing with the installations and viewing the Mexican composer Marcela Rodríguez and Music, African American Studies, and of Music and the Society of Fellows in the exhibition. The event was co-sponsored by the Brazilian composer and musicologist American Studies, Yale University); and Beth Humanities co-sponsored a panel discussion the Department of Music, the School of the Cacá Machado, with performances by Lucía Coleman (City as Platform Lab and Program of Keywords in Sound (Duke University Press, Arts, and the Columbia University Libraries. Pulido, Cacá Machado, and Jeffrey Zeigler. in Experimental Digital Media, University of 2015), a collection of twenty entries by Waterloo). The event included a sonic leading scholars in the field of sound studies. performance by Haitian composer, percus- The volume was coedited by Ethnomusicol- Tomorrow is the Question sionist, and turntableist Val-Inc. ogy PhD alumni David Novak and Matt In February 13, 2015, Ethnomusicology Sakakeeny, who participated in the discus- graduate student Didier Sylvain organized Digital Projects in Music sion along with several of the contributors, the panel discussion “Tomorrow is the Research including Department faculty Ana María Question: Afrofuturism, Sound, and Spirit.” Ochoa and Benjamin Steege. The Department of Music was one of the On February 27, 2015, Department faculty sponsors along with the Institute for presented their Digital Projects in Music Religion, Culture, & Public Life; the Center Research in an afternoon panel at Butler for the Study of Ethnicity and Race; and Library. Aaron Fox presented the Center

18 Music Humanities

Women, Music, and Power Music Humanities in Paris On December 11–12, 2015, the Department The Department of Music has begun to offer will co-sponsor the symposium “Women, Music Humanities in Paris at Columbia’s Music, and Power” organized by Ellie Hisama Global Center Europe, Reid Hall, with with assistance from Lucie Vágnerová. support from the Andrew W. Mellon Foun- tate audio and video files and embed them “Women, Music, Power” celebrates the work dation. Elaine Sisman taught the first section into compositions within a course-specific Composition of Suzanne G. Cusick through a two-day in spring 2015, followed in 2016 by Walter website. Before each class meeting, Harper’s and Music Humanities Frisch Giuseppe Gerbino symposium; a concert of new music; and and . In addition, students complete one or more “Selection Mario Diaz de Leon, Core Lecturer in Music the publication of a Festschrift volume in Music Humanities is now offered in the sum- Assignments” in which they make anno- Humanities and DMA 2013 (Composition), Prof. Cusick’s honor that will appear as mer in combination with Art Humanities; tations of a provided audio or video file writes: “Over the last 7 years, my experience Susan volume 19 (2015) of Women and Music: A the same students take both courses. relevant to the day’s class. The annotations teaching Music Hum has deeply impacted Boynton Journal of Gender and Culture, guest-edited launched this program in summer use timestamps to indicate various musical my work as a composer. In particular, I by Emily Wilbourne, with contributions 2015 with Robert Harrist (Art History and features (e.g. instances of text painting, have found the process of working with Ryan by Amy Brosius, Annamaria Cecconi, Archaeology). All students and instructors elements of sonata form, etc.), and students students to discover and re-discover the Dohoney , Melina Esse, Kimberly Francis, were together for every class, museum or can also mark up the annotations with course human dimension of the works we study has Bonnie Gordon, Elizabeth Hoffman, Tomie site visit, and musical performance. Exciting vocabulary (built in by the instructor), their expanded the scope of possibilities in my Hahn, Nicol Hammond, Nadine Hubbs, interconnections between Art and Music own newly-created tags, or prose notes. These own music, and also instilled in me a very Elizabeth K. Keenan Jenny Olivia Johnson, , Hum emerged spontaneously through daily annotation assignments serve several personal connection with the music of past Clara Hunter Latham, Maureen Mahon, discussion, inspired by juxtapositions of the functions: they compel students to engage eras. A unique opportunity for these worlds Jessica A. Schwartz Melanie L. Marshall, , Tes works studied. Boynton and Harrist will directly with pieces of music, they reinforce to meet arose when I was awarded a commis- Slominski, Judy Tsou, Sherrie Tucker, Holly teach together again in summer 2016. In musical vocabulary through constant use, sion from The String Orchestra of Brooklyn, Watkins, Deborah Wong, and Marìa Edurne spring 2016, to recreate something of the and they serve as a springboard for class dis- and I decided to incorporate melodies by Zuazu. Accompanying the symposium, a shared intellectual experience that makes cussion, offering an easy overview of which Hildegard of Bingen that had formed part special concert at the Italian Academy on the summer program so enriching, the same concepts the students are finding graspable, of my syllabus for years. In March of 2015, December 11 will feature the International students will take Boynton’s section of Music and which are more challenging. The daily my class prepared for our group outing to Contemporary Ensemble (ICE) presenting Humanities alongside the Art Humanities assignments also scaffold into larger “Com- the premiere performance by revisiting these Zosha Di Castri David new works by and section taught by Joseph Ackley III, a Mellon position Assignments,” in which students melodies from earlier in the semester, and we Adamcyk Natacha , Maria Stankova, and Postdoctoral Fellow in the Department of create media-rich essays, with clickable anno- closely examined my process in composing Diels . The other sponsors are the Institute for Art History and Archaeology. tations embedded into their prose. Harper the new work, which I had finished only Research on Women, Gender, and Sexuality led a demonstration of the Mediathread weeks earlier. My work was one of several (IRWGS), the Department of Music at New tool, and its use in her course, at the Music Teaching Music Humanities options for a paper on a concert experience, York University Faculty of Arts & Sciences, with New Technology Humanities staff meeting on December 1st. and I was deeply humbled when about half Susan Boynton Brad and the Institute for Comparative Literature In spring 2016, ’s and the class chose to write about my piece and In fall 2015, Paula Harper (Historical Garton and Society at Columbia University. ’s sections will use Mediathread to the ways in which it had impacted them Musicology, PhD student) began to use the annotate files processed with music visual- personally and intellectually.” Mediathread tool throughout her Music ization software, in a new media application Humanities course. Mediathread, developed funded by a Hybrid Learning grant from the at Columbia University’s Center for Teaching Provost. and Learning, enables students to anno-

19 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