Newsletter Department of Music Fall 2014 From the Chair

utumn is in every way a time of harvest in the Department of Music The future looks ever brighter. Several new appointments at . As the semester nears its end we see the fruits have strengthened our faculty, and the reach of the department is

of study, practice, reflection, and research. These sustained activities expanding in exciting ways at home and abroad. Starting in the spring Meskens Ad by Photo A culminate in November and December, taking form as papers, presen- semester of 2015, we will teach Music Humanities in Paris every year tations, performances, and compositions. As the pages of this news- through the new Global Core Initiative, funded by a grant from the letter show, our faculty, students, and alumni are amply represented Andrew W. Mellon Foundation with the aim of educating Columbia in concerts, conferences, and publications throughout the world. students abroad and fostering the development of new courses on We are also a dynamic presence on campus, with close ties to campus; we are participating in both. Our steady stream of interna- all the centers and institutes that pepper the alphabet soup of inter- tional visiting scholars and students will surely be augmented by the disciplinary life at Columbia. Equally enriching are our personal and presence of the vast Serge Prokofiev Archive now on deposit in the professional relationships with faculty and students in a wide range of Rare Book and Manuscript Library, combining collections formerly departments—Anthropology, Art History, Computer Science, English housed in London and Paris. The archive’s arrival at Columbia will be and Comparative Literature, History, Latin American and Iberian celebrated in a concert presented by the Serge Prokofiev Foundation Cultures, Mathematics, Philosophy, Psychology, Religion, Slavic Lan- at the Italian Academy on April 24. During the same month we will guages—the list goes on and on. We are connected and interconnected. showcase the achievements of our undergraduates with a chamber Our crop also has a less visible yield which is just as durable as it music gala at Weill Hall (April 8), a concert of the Jazz ensembles at is unquantifiable, namely the ongoing conversations, collaborations, the Italian Academy (April 19) and the Columbia University Orches- and friendships that give our community its unparalleled vitality. The tra’s first appearance at Lincoln Center, in a gala performance at Alice structure of the department entails communicating across disciplines Tully Hall (April 18). A fuller listing of spring 2015 events appears on on a regular basis. Our undergraduate major now includes ethnomusi- the last page of this newsletter. We hope that you will join us for as cology among its general requirements as well as music theory and his- many of these events as possible, and renew or continue your connec- tory; the undergraduate program in Music Performance is growing in tion with the department by sending your news for inclusion in next synergy with the burgeoning population of undergraduate composers. year’s newsletter. Graduate students in our four doctoral programs work together in many settings, including Current Musicology and the annual Columbia Best wishes for 2015! Music Scholarship conference. They interact every day in their Susan Boynton seminars, in Music Humanities, and in the graduate student lounge. Department Chair Several faculty members serve in multiple areas of the department and [email protected] are affiliated with or jointly appointed in Columbia’s interdisciplinary centers and institutes. Such intersections and cross-sections blossom in our vibrant atmosphere.

2 New Faculty

and cognitive bases of musical experience, and Zosha Di Castri Georg Friedrich Haas the phenomenology of bodily interactions in Mellon Postdoctoral musical behavior. In his work, he attempts to Fellows, 2014-16 Zosha Di Castri Georg Friedrich Haas bridge experimental approaches from embodied (DMA Composition, came to Columbia cognition with phenomenology and music Ashley Fure composes in both acoustic 2014) was appointed University as the analysis, in particular using motion-capture and electroacoustic media and collaborates Assistant Professor of MacDowell Professor technology to study the movements of frequently with artists from other disciplines. Music (Composition) of Composition in performers and listeners. His current project She earned a PhD in Music Composition from in July 2014. Her work September 2013, examines how listeners’ understanding and and further degrees from includes concert music, having held dual experience of musical time are shaped by bodily IRCAM (Cursus 1 and 2), Oberlin Conserva- projects with electron- professorships at the actions and gestures. tory (B.Mus), and the Interlochen Arts Acad- ics, installations, and collaborations with video Hochschule für Musik in Basel, Switzerland, emy. She won the Kranichsteiner Music Prize at and dance. Zosha has made appearances with and the Kunstuniversität in Graz, Austria. Haas the 2014 Darmstadt Internationalen Ferien- the Chicago Symphony Orchestra and the L.A. has emerged as one of the major European Magdalena Stern-Baczewska kursen für Neue Musik, and the 2014 Busoni Philharmonic and has worked with many local composers of his generation. His music Magdalena Prize from the Akademie der Künste in Berlin. groups including Talea Ensemble, Wet Ink, synthesizes in a highly original way the Austrian Stern-Baczewska, an Other honors include a 2013 Impuls Interna- Ekmeles, and Ensemble Pamplemousse. She tradition of grand orchestral statement with award-winning soloist tional Composition Prize, a 2012 Darmstadt was the recipient of the Jules Leger Prize for forward-looking interests in harmonic color and recording artist, Stipendienpreis, a 2012 Staubach Honorarium, New Chamber Music for her work Cortege in and microtonal tuning that stem from both was appointed Lecturer and a 2011 Jezek Prize. Notable recent projects 2012, and participated in Ircam’s Manifeste French spectralism and a strand of American in Music and Director include Ply, a 55-minute electroacoustic Festival, writing an interactive electronic work experimentalism. Haas’s hour-long in vain, for of the Music Perfor- ballet commissioned by IRCAM for the 2014 for Thomas Hauert’s dance company ZOO. 24 musicians, is widely regarded as one of the mance Program in July ManiFeste Festival in Paris; Feed Forward, a Current projects include an evening-length most original and path-breaking new composi- 2014. She performs internationally as a pianist sinfonietta commissioned by Klangforum Wien collaborative interdisciplinary work with David tions in the past quarter-century. He has (recently named a Yamaha artist) and a for the 2015 Impuls Festival in Graz; Albatross, Adamcyk and ICE, and a piece for the Cecilia composed several operas and concertos and a harpsichordist. Baczewska has served on the for large ensemble and electronics, commis- String Quartet. variety of chamber works, including seven faculty of the Mannes College New School for sioned by the San Francisco Contemporary string quartets. He has received numerous Music, John J. Cali School of Music, Montclair Music Players; and Something to Hunt, a septet national and international prizes, including the commissioned for the 2014 Internationalen Julia Doe State University, and Manhattan School of Kompositionspreis of the SWR Symphony Music’s Pre-College Division. Every summer Ferienkursen für Neue Musik in Darmstadt. Julia Doe is currently a Orchestra (2010) for limited approximations she joins the faculty of the International Ë Mellon Postdoctoral and the Grand Austrian State Prize for Music Keyboard Institute and Festival and the New Bryan Parkhurst earned his PhD in philosophy Fellow at Columbia (2007), the country’s highest artistic honor. York Piano Festival. Her guest teaching and music theory from the University of Mich- and will become an appearances also include remote master classes igan, where he was supported by a Regents Assistant Professor Mariusz Kozak using Yamaha Disklavier and the Remote Fellowship and a Rackham Predoctoral Fellow- (Historical Musicology) Lesson technology. She is a recipient of the ship. He is currently researching a book about in July 2015. Doe holds Mariusz Kozak joined Outstanding Achievement Award from the Hegel and Hauptmann. Additionally, Bryan a Ph.D. in musicology the Columbia Polish Ministry of Culture. Magdalena is is interested in Marxist philosophy generally from Yale University. She is a scholar of University as an Artistic Advisor to the International Chopin and Marxist aesthetics in particular, as well as eighteenth-century opera, with particular Assistant Professor of Competition at the Kosciuszko Foundation in the grand question of whether and how it is emphasis on the music, literature, and politics Music in July 2013 in New York. possible for music to be philosophy (Marxist of the French Enlightenment. Her current book after serving as a or otherwise). Bryan’s publications appear in project examines the development of opéra- post-doctoral scholar Music Theory Online, The Journal of Aesthetic comique in the final decades of the Old Regime, and visiting assistant Education and The Journal of Interdisciplinary as it engaged with emerging discourses of professor of music theory at the Indiana Humanities. national and cosmopolitan musical style. Doe’s University Jacobs School of Music. His research research has been supported by grants and focuses on the emergence of musical meaning prizes from the Fulbright Program, the in contemporary art music, the development National Opera Association, and the Beinecke Rare Book and Manuscript Library.

3 Faculty Highlights

Susan Boynton gave the opening plenary Ë Ë nized with the text at any point (and no matter address at the Annual Meeting of the Medie- In 2014 Joseph Dubiel participated in the Aaron Fox published “Repatriation as what reading speed). Essentially it is a ‘book val Academy of America in April 2014 at the workshop “Music, Mind, and Culture,” spon- Re-Animation Through Reciprocity,” in The with a soundtrack.’ University of California, Los Angeles. The talk, sored by the Institute for Philosophy, School Cambridge History of World Music, vol. 1 (Cam- Ë entitled “Music as Text and Music as Image,” of Advanced Study, University of London, the bridge University Press, 2014). Fox continues Giuseppe Gerbino was honored by the early addressed the dynamic relationship between New York Institute for Philosophy (NYU), to focus on repatriating The Center for Ethno- music ensemble “Consort Bassano” of the sound and image in the Middle Ages, focusing and Columbia University, at the University of musicology’s holdings of historically significant University of São Paulo, Brazil, which devoted on the indirect, often elusive links between art London. He gave a lecture on “Our Kind of field recordings of Native American and other its debut concert to music from his book and music that inform the received meanings Empiricism” at the Music Forum of the CUNY traditional musics from the early 20th century, Music and the Myth of Arcadia in Renaissance of visual culture. Graduate Center, and contributed to the new and is working on collaborative projects to Italy (Cambridge University Press, 2012). The Ë edition of the Oxford Encyclopedia of Aesthetics. return these recordings as contemporary cul- concert, preceded by a conversation with the tural resources to several Native American and Zosha Di Castri (DMA, Composition, 2014) Ë ensemble’s director Maurice Van Lieshout, Alaska Native communities, many of which had the world premiere of The Phonograph Kevin Fellezs gave the 2014 Woody Guthrie was part of the “VI Encontro de Pesquisadores involve graduate students in Ethnomusicology in Santa Fe, NM (July 2014). Her orchestral Distinguished Lecture at the International em Poética Musical dos Séculos XVI, XVII e at Columbia. This work was featured in a piece Lineage was performed by the Amazonas Association for the Study of Popular Music, XVIII” during which Professor Gerbino deliv- story with accompanying video in Columbia Filharmonica and the International Contempo- US Branch (IASPM-US) annual conference ered a lecture on “Music and Imagination from News (June 2013). Fox’s work to return and rary Ensemble in Brazil (September 2014). Di University of North Carolina, Chapel Hill Aristotle to Zarlino (September 2014). re-animate these songs on the North Slope was Castri received a Canada Council for the Arts (April 2014) on “What Is This ‘Black’ In sponsored by the National Science Foundation Ë Music Commissioning and Touring grant for Japanese Popular Music? (Re)Imagining Race for five years (2008-13). Ellie Hisama was awarded an inaugural cur- the interdisciplinary ICElab collaboration, Pho- in a Transnational Polycultural Context,” which riculum development grant from Columbia’s nobellow. The world premiere of this 60-min- focuses on his research of Black American Ë Institute for Research on Women, Gender, ute instrumental theatre work for 5 musicians, musicians enjoying success in Japan in enka Walter Frisch published Music in the Nineteenth and Sexuality. Funded by the Mellon Foun- electronics, and performative sound-sculpture and J-Pop, two genres strongly associated with Century (2012), part of Western Music in Con- dation and the Heyman Center, the grant will take place at the festival Montreal Nouvelle Japanese-ness, complicating conventional ideas text, a new series of six period music histories supports development of a new course titled Musique in March 2015. linking identity, nationality, race, and genre. with anthologies (W. W. Norton), for which “Feminist Listening: Critical and Intersectional he was series editor. He is currently writing a Approaches to Popular Music.” book on the music and career of the American Tagiugmiut Dancers performing in 2008 at the Nalukataq (spring whaling) festival in Barrow, Alaska. The songwriter Harold Arlen. Ë group was formed by grandchildren of the leader of the group recorded by Laura Boulton in Barrow in 1946. Ë Mariusz Kozak presented the paper “From Heidegger’s Hammer to Air Guitar: Under- Georg Friedrich Haas won the 2013 Salzburg standing Music with the Body” at the Trends in Music Prize. His dark dreams, commissioned by Interdisciplinary Studies conference in Torun, the Berliner Philharmoniker and Carnegie Hall, Poland (November 2013). Kozak’s research had its premiere at Carnegie Hall in October using motion-capture technology for recording 2014, with Sir Simon Rattle conducting. Haas the movement of dancers and listeners was was the featured composer at the 2014 Wien featured in Columbia News (February 2014) Modern Festival. and on Soundcheck (WNYC) in a segment Ë called “Why We Move to the Beat (Beat Not Brad Garton announced the public release of Required)” (March 2014). “MemoryBook”, an interactive text/music/ Ë graphics application for iPads and Android was the featured composer in the tablets (Kindle Fire HD/HDX readers in Beijing Modern Music Festival (May 2013), particular). MemoryBook is a recollection of composer in residence at the Etchings Festival memories enhanced by music and graphics. of Contemporary Music (Auvillar, France, July The music and graphics are algorithmically 2013), keynote speaker at the inaugural meet- generated within the app. They are synchro- ing of the Russian Society for Music Theory

4 Alumni Achievements

Carl Christian Bettendorf (DMA, Composi- Center for Black Music Research’s second Black tion, 2009) was awarded $15,000 by the Ralph Vocalities conference (Chicago, October 2014) Kaminsky Fund for New Music. Bettendorf will and then began a residency at the Historical write a new work for the Mivos Quartet, which New Orleans Collection to finish writing a is dedicated to working closely with composers book on Mahalia Jackson. to expand the string quartet repertoire. Ë Ë Andrew Byrne (DMA, Composition, 1999) Tyler Bickford (PhD, Ethnomusicology, 2011) was appointed Artistic Director of Symphony was appointed Assistant Professor of English (in Space. Previously, Dr. Byrne was Director of Magdalena Stern-Baczewska played The Banquet Concerto by Columbia’s distinguished graduate, Children’s Literature and Childhood Studies) Festivals and Special Projects at Carnegie Hall. Oscar-winning composer Tan Dun (DMA, 1993), in Beijing’s National Performing Arts Center with at the University of Pittsburgh. He published Ë the China National Symphony conducted by maestro Tan Dun (October 2014). “Tinkering and Tethering in the Material Daniel Callahan (PhD, Historical Musicology, Culture of Children’s MP3 Players,” in The 2012) was appointed Assistant Professor at Oxford Handbook of Children’s Musical Cultures, (St. Petersburg, October 2013), and composer Ë edited by Patricia Shehan Campbell and Trevor Boston College. He co-founded the American in residence at the MIAM Center for Contem- Elaine Sisman was elected a fellow of the Wiggins (Oxford University Press, 2013). Musicological Society Music and Dance Study porary Music (Istanbul, March 2014). Ame­rican Academy of Arts and Sciences. In Group, and organized and chaired its inaugural Ë panel at the 2013 Annual Meeting in Pittsburgh. Ë spring 2015, she will be the first member of the department to teach Music Humanities in Paris. Beau Bothwell (PhD, Historical Musicology, Ë George Lewis published “Collaborative 2013) was appointed Assistant Professor of Improvisation as Critical Pedagogy” in Nka: Ë Music at Kalamazoo College. He published Anthony Cheung (DMA, Composition, 2010), Journal of Contemporary African Art 34 (2014) Benjamin Steege (Columbia College, 2000) “Sonic Consumerism and Audience Manu- Assistant Professor at the University of Chicago, and “Benjamin Patterson’s Spiritual Exercises,” won the Emerging Scholar Award from the facture in US Music Broadcasts to the Middle composed “Lyra” in 2013 for a commission by the . Alan Gilbert in Tomorrow Is the Question: New Directions in Society for Music Theory for his book Helm- East,” in The Soundtrack of Conflict: The Role of conducted the premiere at Avery Fisher Hall, Experimental Music Studies (University of Mich- holtz and the Modern Listener (Cambridge Music in Radio Broadcasting in Wartime and in Lincoln Center, in June 2014. igan Press, 2014). His orchestral work Memex University Press, 2012). Conflict Situations (Göttingen, 2013). Ë was premiered by the BBC Scottish Symphony Ë Ë Orchestra in February 2014, and received its Peter M. Susser (DMA, Composition, 1994) Courtney Lara Bryan (DMA, Composition, The music of Chou Wen-chung (MA, 1954, German premiere by the SWR Stuttgart Radio emeritus faculty member, and founder of the Symphony Orchestra in November. visited the Xi’An Conservatory and the Beijing 2014) was appointed Postdoctoral Research Dance Academy this fall to give lectures and Associate in the Center for African American DMA program in Composition) was featured in Ë teach classes in sight singing, movement and Studies at . Her new work a Composer Portrait concert at . Jeffrey Milarsky was presented with the Ditson improvisation to music theatre and music edu- for orchestra and recorded sound was commis- Ë Conductor’s Award for distinguished contribu- cation students. He attended the soundSCAPE sioned by American Composers Orchestra, for a James Currie (PhD, Historical Musicology, tions to American music (November 2013). In Composition and Performance Exchange premiere in 2015-16 at Jazz at Lincoln Center, 2001) published Music and the Politics of Nega- June 2015 Professor Milarsky will conduct the (Maccagno, Italy, July 2014), where he gave Rose Hall. Her string quartet, commissioned by tion (Indiana University Press, 2012). New York Philharmonic. a presentation on performance skills and the Spektral String Quartet for Mobile Miniatures Ë Ë music of Gyorgy Ligeti. His “Five Ballads for Project, was premiered in 2014. She has upcom- Solo Cello,” recorded by Eric Bartlett, were Ryan Dohoney (PhD, Historical Musicol- Ana María Ochoa was invited to participate in ing performances at La MaMa Experimental released by Albany Records in November 2014. Theatre and the Blue Note jazz club. ogy, 2009) was appointed Assistant Professor the Sawyer Seminar “Hearing Modernity” at of Musicology at Northwestern University’s Ë Ë Harvard University (Fall 2013). In September Bienen School of Music in fall 2013. He con- 2014 she organized the transnational and trans- Chris Washburne will release his eleventh CD Mark Burford (PhD, Historical Musicology, tributed “, Julius Eastman, and the disciplinary conference “La Voz” at the Center recording in April 2015 on Zoho Records 2005), Associate Professor at Reed College, won Homosexual Ego” to Tomorrow is the Question: for Ethnomusicology. Ochoa Aurality: Listening with his Latin jazz group SYOTOS. He was a the Society for American Music’s Irving Lowens New Approaches to Experimental Music Studies and Knowledge in Nineteenth-Century Colombia featured soloist with the St. Luke’s Chamber Article Award for his article “Sam Cooke as Pop (University of Michigan Press, 2014), edited by (Duke University Press, 2014). Orchestra (Carnegie Hall, May 2014) and was Album Artist—A Reinvention in Three Songs,” Benjamin Piekut (PhD, Historical Musicology, the featured composer and performer for the in Journal of the American Musicological Society 2008), Assistant Professor at Cornell University. Savassi Jazz Festival in Brazil (August 2014). 65 (2012). He was an invited speaker at the

5 Alumni Achievements (Continued)

Ë Ë Ë Ë Christopher Doll (PhD, Theory, 2007), was Scott Gleason (PhD, Theory, 2014) accepted Arthur Kampela (DMA, Composition, 1998) Elizabeth Hellmuth Margulis (PhD, Theory, promoted to the rank of Associate Professor, an editorial position at Oxford University Press. and Wang Lu (DMA, Composition, 2012) 2003), Associate Professor at the University of with tenure, at the Mason Gross School of Ë won 2014 Fellowships from the John Simon Arkansas, won the Wallace Berry Award from the Arts, Rutgers University. He delivered the Guggenheim Foundation. the Society for Music Theory for On Repeat: Kate Heidemann (PhD, Theory, 2014) was AMS/Rock and Roll Hall of Fame lecture, How Music Plays the Mind (Oxford University appointed Faculty Fellow in Music at Colby Ë “Nuclear Holocaust, the Kennedy Assassina- Press, 2013). College for 2014-15. Rebecca Y. Kim (Ph.D., Historical Musicology, tion, and Louie Louie: The Unlikely History 2008) organized a symposium on Earle Brown Ë of Sixties Rock and Roll.” His book, Hearing Ë in 2013 hosted by Northeastern University Kate McQuiston (PhD, Historical Musicology, Harmony: Towards a Theory for the Rock Era, Adriana Helbig (PhD, Ethnomusicology, with support from the Earle Brown Music 2005), Associate Professor at the University will appear later this year. 2005), Associate Professor of Music at the Foundation, and is currently editing a book of of Hawai’i at Manoa, published “We’ll Meet Ë University of Pittsburgh, published Hip-Hop essays on the composer. She was also commis- Again”: Musical Design in the Films of Stanley Revolution: Music, Race, and African Migration Luke DuBois (BA, Music, 1997; DMA, sioned last year to write an article (“A United Kubrick (Oxford University Press, 2013). in Ukraine (Indiana University Press, 2014). Composition, 2003), Director of the Brooklyn Front: John Cage and the Foundation’s First Ë Experimental Media Center at the NYU Poly- Ë Decade”) for the fiftieth anniversary of the Amanda Minks (PhD. Ethnomusicology, technic School of Engineering, had a survey Farzanneh Hemmasi (PhD, Ethnomusicology, Foundation for Contemporary Arts. 2006), Associate Professor at the University of exhibition, “R. Luke DuBois—Now,” at the 2010) was appointed assistant professor of Ë Oklahoma, published Voices of Play: Miskitu Ringling Museum of Art in Sarasota, Florida. ethnomusicology at the University of Toronto Jonathan “Toby” King (PhD, Ethnomusicol- Children’s Speech and Song on the Atlantic Coast in 2012. Ë ogy, 2014) was appointed Assistant Professor of Nicaragua (University of Arizona Press, 2013). Ë Andrew Eggert (PhD, Historical Musicology, of Music at The University of North Carolina Ë 2014) was appointed Director of Opera Studies at Asheville. Justin Hoffman (PhD, Theory, 2011) became Matthew Morrison (PhD, Historical Musicol- at the Chicago College of Performing Arts. In Music Theory Editor at W. W. Norton & Ë ogy, 2014) was appointed a Faculty Fellow for 2013-14, Andrew worked as opera director Company. Ursula Kwong-Brown (CC, Music and Bio- 2014-2016 at NYU’s Tisch School of the Arts, with such companies as Chicago Opera The- Ë logical Sciences, 2010) is currently a doctoral serving as Assistant Professor/Faculty Fellow ater, Dallas Opera, Boston Lyric Opera, Opera student in Composition at the University of in the Tisch School of the Arts and the Clive Omaha, and Gotham Chamber Opera. Solomon Hoffman (BA, Columbia College, Music and Psychology, 2014) presented a recital California at Berkeley. Her trio for harp, viola Davis Institute of Recorded Music. Ë of his original chamber and vocal music, includ- and flute was performed at the Etchings Festival Ë Juliet Forshaw (PhD, Historical Musicology, in Auvillar, France in July 2014. ing a world premiere, in Hempstead House at Maryam Moshaver (PhD, Theory, 2006) was 2014) was appointed Visiting Assistant Profes- Sands Point Preserve (November 2014). Ë promoted to the rank of Associate Professor, sor at SUNY Oswego for 2014-15. Ë Peter Liou (CC Music concentration, 2008; with tenure, at the School of Music, University Ë Chadwick Jenkins (PhD, Historical Musicol- Columbia College of Physicians and Surgeons, of Alberta. She published “Telos and Tempo- In fall 2014 Douglas Geers (DMA, Composi- ogy, 2007) was promoted to the rank of Associ- 2011) spoke eloquently to current music rality: Phenomenology and the Experience of tion, 2002), Associate Professor and Director of ate Professor, with tenure, at City College. He majors in October 2014 about the central role Time in Lewin’s Study of Perception,” Journal the Center for at the Brook- gave a paper entitled “‘The Mother, the Source, of music in his life as a college student, medical of the American Musicological Society 65 (2012). lyn College Conservatory of Music, performed and the Origin’: Zarlino and Artusi’s Ontology student, and now surgical resident at CMUC. Ë his Cumulonimbus with violinist Maja Cerar of the Octave” at the Annual Meeting of the Ë Ashley Nail (DMA, Composition, 2014) was (PhD, Historical Musicology, 2009), at Circuit Renaissance Society of America (New York, Morgan Luker (PhD, Ethnomusicology, 2009) appointed Core Postdoctoral Lecturer in Music Bridges Gallery and at New York University’s March 2014). was appointed assistant professor of music at Humanities at Columbia University. Frederick Loewe Theater, as well as at the Inter- Ë Reed College in 2010, joining fellow Colum- national Festival and bian Mark Burford. Columbia University Computer Music Center. Aaron J. Johnson (PhD, Historical Musicol- ogy, 2014) was appointed Visiting Assistant Professor for the 2014-2015 academic year at Bates College. He published “A Date with the Duke: Duke Ellington on Radio, 1923-1953” in Musical Quarterly 96 (2013).

6 Ë Ë Marti Newland (PhD, Ethnomusicology, 2014) Mark Seto (PhD, Historical Musicology, 2014 Departmental Honors was appointed Core Postdoctoral Lecturer in 2012), Assistant Professor at Connecticut Music Humanities at Columbia University. She College, published the introduction to a new epartmental Honors for 2014 were awarded to the following graduating presented “Singing Concert Spirituals and the score of Vincent d’Indy’s Fantaisie sur des thèmes Dsenior music majors: Politics of Racial Inequality” at the conference populaires français (Munich, 2013). La Voz (Columbia University, September 2014). • Olivia Munson (Columbia College) for listener the ability to hear the full poly- Ë her essay “A Space for Musical Therapy: phonic texture while using location and Ë Maria Sonevytsky (PhD, Ethnomusicology, On Nationalism, Modernity, Music, and timbre to distinguish the separate voices. David Novak (PhD, Ethnomusicology, 2006), 2012) was appointed Assistant Professor of Medicine in the Transition from Ottoman • Alexander Porter (Columbia College) for Associate Professor at the University of Califor- Music at Bard College. She was previously a Empire to Turkish Republic.” This essay his project “Of Diagrammatology in Music nia, Santa Barbara, published Japanoise: Music Postdoctoral Fellow at the Centre for European, looks at the use of music for medicinal or and Architecture,” which included both at the Edge of Circulation (Duke University Russian and Eurasian Studies at the Univer- therapeutic purposes across broad historical an extended essay and two original creative Press, 2013). sity of Toronto for 2013-14 and a Mihaychuk span of Turkish history. works, a composition called “Diachronism” Postdoctoral Research Fellow at the Harvard Ë • Joshua Owens (General Studies) for his and a short play called “Broken Images.” Ukrainian Research Institute. Timothy Polashek (DMA, Composition, software project openScore, which is capable Ë 2002), Professor of Music music and Director Ë of parsing four-part MIDI files, creating of Music Technology Studies at Transylvania (DMA, Composition, 2011) was independent audio signals from each voice, Other graduating seniors in the class of 2014 University, published The Word Rhythm Dictio- appointed Assistant Professor of Composition and sending those audio signals to any who undertook ambitious and impressive Hon- nary: A Resource for Writers, Rappers, Poets, at Smith College in 2013. In June 2014, in combination of the four speakers weighted ors projects included Lukas Matern and Robert and Lyricists. the Temple of Dendur at the Metropolitan by the cursor’s distance from the predefined Frech, Jerome Genova, Solomon Hoffman, Ë Museum of Art, Soper performed her new speaker nodes. This gives the student/ David Su, Kevin Lee, and Trey Toy. work “I Was Here I Was I,” a commission from Eric Rice (PhD, the Museum. 2014 performances of her opera Historical Musicology, Northern Skies by Marcelo Toledo “There Be Sirens” were highly praised in the 2002), Associate New York Times. Professor at the University of Con- Ë necticut, was elected Tan Dun (DMA, Composition, 1993) con- Department Head for ducted the Australian premiere of his newest the next five years. He work, the harp concerto Nu Shu: The Secret was the artistic director for the CD O rex orbis Songs of Women, in September 2014 at the Officium in festo sancti Karoli Medieval Oz Asia Festival and will conduct the Concert- Plainchant and Renaissance Polyphony for the gebouw Orchestra in the World Premiere of Feast of Saint Charlemagne (Liège, Belgium: his new Contrabass Concerto “Wolf Totem” in Musique en Wallonie, 2012; MEW 1267), January 2015. transcribing and editing all the sources, Ë conducting, and singing in the nine-voice choir. The Music & Arts Library at Columbia Ë mounted an exhibition of works by Marcelo Matthew Sakakeeny (PhD, Ethnomusicology, Toledo (DMA, Composition, 2004) entitled 2008), Associate Professor of Music at Tulane Northern Skies. University, published Roll With It: Brass Bands in the Streets of New Orleans (Duke University Press, 2013).

7 Student News

Foundation. The provisional title of his International Computer Music Conference and Ë Awards and Fellowships dissertation is “American Opera and the the Sound and Music Computing Conference In summer 2014, Spektral Quartet commis- Figuration of National History in the Late in Athens, Greece, he was awarded both a Best sioned and premiered Sky Macklay’s string Ashkan Behzadi (Composition) received Twentieth Century.” Music Submission (Americas) for his work Five quartet Many Many Cadences which will be Second Prize in the SOCAN young composer Out of Six, and a Best Presentation prize for his featured in their Comic Cadences concert and competition for 2013. He also won the Sir Ë research on score-following with researchers at recording project in Chicago. Sky also received Ernest MacMillan Awards for “Urban Trilogy” Alec Hall was selected for the Ensemble Con- the French computer music institute IRCAM. the 2014 Commission for a for chamber orchestra, the Fontainebleau Prix temporain de Montreal’s “Generation 2014” new sound installation from the International de Composition and was named the winner project, which just concluded with the final Ë Alliance for Women in Music. Her sonic and of the APNM competition/call for scores for concert in an 8-city/concert cross-Canada tour In 2014 Nina C. Young won First Prize in the kinetic installation of inflatable microtonal “Az hoosh mi.” for soprano and violin. of his violin concerto, Object Permanence. Salvatore Martirano Memorial Composition harmonica-playing robots, Harmonibots, will Award competition, a Charles Ives Scholar- Ë Ë be displayed at the Waseca (MN) Art Center in ship from the American Academy of Arts and Music Theory PhD Candidate Orit Hilewicz January 2015. David Bird’s work has been performed most Letters, and the Libby Larsen Prize in IAWM received the Founders’ Prize for New Scholars recently at the SPOR festival in Aarhus, the New Music Competition. At the Aspen Music Ë Manifeste festival in Paris, the Wien Modern at the triennial conference of the International Festival, she was the Susan and Ford Schumann Yoshiaki Onishi’s Gaudeamus-commissioned Festival in Vienna, and the MuTeFest festival Society for the Study of Time (ISST) for her Center for Composition Studies Fellow and was work “Tramespace, diptych for large ensemble, in Helsinki. His work for 30 piccolos will paper “Tracing Space in Time: Morton Feld- awarded the Jacob Druckman Prize. Part I” (2012~13) was performed by Asko|- be performed in January 2015 for the grand man’s Rothko Chapel.” Schonberg Ensemble in September 2013 in opening of architect Anthony Bechu’s 37-story Ë Utrecht, The Netherlands. In March of 2014 D2 Tower in Paris. Performances and Ethnomusicology PhD student Kevin Holt was he was a visiting composer for Toho Gakuen Commissions Ë awarded a 2013 Predoctoral Fellowship from University in Tokyo, Japan. Onishi’s works are Taylor Brook (Composition) received an the Ford Foundation. Stylianos Dimou’s enigma’s “I”: away from published by Berlin- and Brühl-based German honorable mention from the Jules Leger prize Ë [Anit] (2014), for soprano and large ensemble, publisher, Edition Gravis. for the second year in a row as well as the string was performed by Ensemble InterContem- Bryan Jacobs’ Dis Un Il Im Ir received Hon- quartet MIVOS has toured his El jardin de porain and Juliet Fraser under the baton of orable Mention in the Conlon Music 2013 senderos que se bifurcan in France, Germany, Julien Leroy at the conclusion of the Académie competition (Amsterdam). Le La en Le received Mexico, and Brazil. ManiFeste organized by Ircam in Paris (June- First Prize in the Presque Rien 2013 competi- July 2014). Ë tion (Paris). Ë Stylianos Dimou (Composition) participated Ë in the 5th Composers’ Forum with the Brussels Bryan Jacobs’ works were performed this fall Dissolving Bands, an orchestra composition by Philharmonic in 2013. His L’allegorie de la in Italy, Tokyo, and Kyoto (Le La en Lei), Sky Macklay (Composition), was awarded the caverne was selected as the winning piece, and Austria (Syncro-vox at the Chillijazz Festival); Leo Kaplan Award, the top prize in the ASCAP was performed by the Brussels Philharmonic at New Orleans (Song from the Moment, at Tulane Morton Gould Young Composer Awards. the award ceremony in October 2014. University); and in New York (Piano+Electron- Ë Ë ics at the DiMenna Center; Dis Un Il Im Ir, Matthew Ricketts’s residency at the 12th performed by the International Contemporary Lauren Flood (Ethnomusicology) was awarded FORUM of the Montreal-based Nouvel Ensemble at Long Island University). a dissertation completion fellowship for 2014- Ensemble Moderne’s featured eight international 15 from the Mrs. Giles Whiting Foundation. Ë composers. The jury awarded second prize The title of her dissertation is “Building and Yair Klartag’s short opera “The Myth of Homo (tied) to his work Flat Line second place (tied). Becoming: DIY Music Technology in New York Rudolfensis” was performed in the Teatro and Berlin.” Ë Piccolo Arsenale, Venice (October 2014) as Ë Christopher Trapani’s string quartet Visions part of the Venice Biennale; his orchestral piece and Revisions was shortlisted for the British “Background Music for Fundraising Event” was David Gutkin (Historical Musicology) was Composer Awards, competing with Kaija part of the “ISCM World Music Days” festival awarded a dissertation completion fellowship Saariaho and for the Interna- in Wroclaw (October 2014). for 2014-15 from the Mrs. Giles Whiting tional Award. At the 2014 joint meeting of the © Edition Gravis Verlag GmbH, Brühl, Germany. Printed with permission. Printed Germany. GmbH, Brühl, Verlag Gravis © Edition

8 Ë Ë Lunberry (“Suspicious Silence: Walking Out on Presentations Anne Levitsky (Historical Musicology) presented Ryan Pratt (Compo- John Cage”). “Song Personified: The Tornadas of Raimon de sition) invented a Paul Clift and Chris Trapani (Composition) The special issue on experimental writing about Miraval” in the conference La Voz/The Voice at device that can be music features pieces by 23 authors, including presented at the joint meeting of the Interna- Columbia University (September 2014). used as an aid for the tional Computer Music Conference and the philosophers, poets, music theorists and musi- Ë composition and cologists, literary scholars, and composers. Sound and Music Computing Conference in analysis of microtonal Will Mason (Theory) presented “Grisey Athens (September 2014). music. It is also • The 393-page issue is available in print and the Posthuman Voice” at the conference Ë useful as a tool for (with 24 color plates) and for free/open “Gérard Grisey, the Spectral Moment, and its teaching the access online: music.columbia.edu/~cur- César Colón-Montijo (Ethnomusicology) Legacy” at McGill University (October 2014). presented “Let My People Never Lose La Clave: harmonic series. Like the proportional scale mus/Issue 2095/95 Content.html Ë Ismael Rivera and the Mourning of Voice,” tool, the “maya” device (name taken from the • The contributors are: Daniel Albright, Brian at the Annual meeting of the Society for Ethno- Russell O’Rourke (Historical Musicology) Proto-Indo-Iranian root mā- ‘to measure’) Alegant, Elaine R. Barkin, Charles Bernstein, musicology in Pittsburgh (November 2014). presented “Writing the Blues on Tin Pan Alley” allows a user, by turning its 3 independent Alexander Bonus, Benjamin Boretz, Dorota Ë at the International Conference on the Blues at discs, to determine several kinds of intervallic Czerner, Joanna Demers, Michael Gardiner, Delta State University (Cleveland, Mississippi, relationships transpose, and convert from one Lauren Flood (Ethnomusicology) presented Scott Gleason, Emily H. Green, Michael October 2014). system of measurement to another, making Ives, Brian Kane, Anne LeBaron, Nathaniel “Of Makers and Manifestos: Working with relative interval calculations to the nearest cent Sound in the Maker Age,” at the Society for Ë Mackey, Jake Marmer, Gascia Ouzounian, (1/100 of ½ tone), when away from a Marianthi Papalexandri-Alexandri, J. K. Ethnomusicology in Pittsburgh (November Lucie Vágnerová (Historical Musicology) computer. It’s like a proportional-scale tool, but 2014) and “Sonic Black Boxes: Safety, Suffer- presented “On Liveness and Labor in the Era Randall, Joan Retallack, Jon Sakata, Binu converts equal temperament into just-intona- Tulachan, and Achille Varzi. ing, and the Technologies of Aural Enchant- of Hologram Singers” at the conference “Bone tion, without the need for a computer. ment” at the American Anthropological Associ- Flute to Auto-Tune: A Conference on Music Ë ation in Washington, D.C. (December 2014). and Technology in History, Theory and Prac- A conference will take place at Columbia Ë tice” at the University of California, Berkeley Report from University on March 28-29, 2015, to commem- (April 2014). Current Musicology John Glasenapp, OSB (Historical Musicology) orate Current Musicology’s fiftieth anniversary. presented “Moving in Time: History, Liturgy, By Editor-in-chief, Thomas Smith Georgina Born, Professor of Music and Anthro- and Multimedia in the Exultet Rolls of South- Inventions (Historical Musicology) pology at the University of Oxford, will give the ern Italy” the Mostly Orthros Symposium of keynote address. There will also be a roundtable Bryan Jacobs (Composition) is developing a Two new issues of the Axion Estin Foundation at Union Theolog- discussion on approaches to music studies of computer-controlled flute at the Computer Current Musicology, ical Seminary (December 2014). the past, present, and future, featuring panelists Music Center. In this project, /MSP edited by David Professors Kofi Agawu (Princeton), Lydia Goehr Ë (via arduino) is used to control the air flow Gutkin and Thomas (Columbia), Lawrence Kramer (Fordham), and Paula Horner presented “Beyoncé’s Body: and fingerings on a common Boehm flute. Fogg (Historical Musicology), were published Ingrid Monson (Harvard). Paper presentations Hashing Out a Mediated Pop Live” at the The instrument offers new opportunities in this year: a general issue (Issue 94), and a will cover a wide range of topics related to “Creativity, Circulation and Copyright: Sonic flute performance including perfect rhyth- special issue titled “Experimental Writing historical musicology, ethnomusicology, music and Visual Media in the Digital Age” confer- mic accuracy (especially evident when two or About Music” (Issue 95). theory and analysis, philosophy of music, pop- ence, University of Cambridge (March 2014), more instruments are playing together); perfect Issue 94 contains articles by Susan Boynton ular music studies, music education, and related and also at the “Musical Practices—Continuities synchronization with electronic elements; (“Troubadour Song as Performance: A Context fields. Papers presented will be considered for and Transitions” conference, Faculty of Music, impossible fingering combinations; and extreme for Guiraut Riquier’s ‘Pus sabers no’m val ni publication in a celebratory special issue of the University of Arts in Belgrade (April 2014). speed. Bryan is currently assisting students in sens’”), Mehmet Vurkaç (“A Cross-Cultural journal. All past editors of the journal from Ë Columbia’s Mechanical Engineering depart- Grammar for Temporal Harmony in Afro- its founding in 1965 are invited to attend the ment with their research and development of conference. We look forward to celebrating Qingfan Jiang (Historical Musicology) Latin Musics: Clave, Partido-Alto and Other musical robots. this important milestone in the history of the presented “Inheriting Frenchness: Debussy Timelines”), Seán Ó Cadhla (“Horses for journal this spring! and His Rameau” in the symposium “Early Discourses?: The Transition from Oral to Music Revivals and their Neoclassical Echoes Broadside Narrative in ‘Skewball’”), Jeffrey (1870-1970)” at the University of Melbourne, Swinkin (“An Account of Emotional Specific- Australia (September 2014). ity in Classic-Romantic Music”), and Clark

9 Music Performance Sound Arts

with Bobby McFerrin since graduating. Sam he first class of the new Sound Arts Music Performance Louis Armstrong Jazz Reider (CC ’13), Jacob Snider (CC ’13), and TMFA program is scheduled to graduate Program Performance Program David Su (CC ’14) all released their debut in spring 2015. The work being done is recordings in 2014. The Music Performance Program (MPP), led The Louis Armstrong Jazz Performance phenomenal! by its newly appointed director Magdalena Program (LAJPP) is celebrating its 12th year One of the most exciting aspects of the pro- Stern-Baczewska, continues to offer instruction and we are proud that it continues to grow Columbia University gram is the range of activities that come under and performance opportunities to exceptional with exciting new opportunities. This year we Orchestra the “Sound Arts” rubric. From kinetic audio student performers participating in a variety have 120 students and 16 ensembles and the The 2014 and 2015 academic year is a momen- installations to audio/visual explorations of of musical settings, such as instrumental and LAJPP continues to be supported by a generous tous one for The Columbia University Orches- chaotic systems to ‘constructed’ performance contexts for traditional instruments, the vocal instruction, Barnard Columbia Chorus grant from the Louis Armstrong Educational tra (CUO). Through the generous support of and Chamber Choir, over 35 chamber music Foundation. Through the generous donations creative freedom built into the program gives a donor, the orchestra will perform at Alice students the ability to explore the full extent of groups, and world music ensembles: Bluegrass, from parents of our current students two new Tully Hall in Lincoln Center for the first time their artistic imagination. Klezmer, Middle Eastern, and Gagaku-Hōgaku initiatives were established in 2014, one for in the history of the university. The CUO has ensembles. Members of the MPP also include visiting artists and the other for professionally The program offers close, highly individual grown exponentially during the past 12 years. interaction with faculty, and students benefit students participating in the Columbia-Juilliard recording our student ensembles. The endowed This year we have close to 100 members who from the full span of creative and scholarly Exchange. Over 50 outstanding artists perform- Robert Nelson Sr. Visiting Jazz Artist Fund rehearse the classics of the orchestral literature work being done at Columbia. This person- ing worldwide form the team of the MPP ensures that world- renowned jazz artists will be each week, culminating in performances at alized approach promotes a broad range of instrumental instructors. in residence on campus each year, conducting the end of the semester. Members of the CUO interests in the student population. masterclasses, visiting classes, and performing Thanks to the Rapaport Prize awarded each include students from Columbia College, Bar- The Sound Arts MFA program is helping to with our students. This year’s guests are vibra- year, students in the Music Performance nard College, Teachers College, SIPA, SEAS, nurture the creative leaders of the future as the phonist Steve Nelson, and pianist and Colum- Program are given the opportunity to partici- and CPS as well as students in the dual-degree field of Sound Arts continues to grow. With the bia alum Armen Donelian. The Savassi jazz support of the School of the Arts, the Music pate in Summer festivals. We look forward to program with the of Music. festival from Belo Horizonte, Brazil visited our Department and the world-renowned Com- presenting the Rapaport audition winners in In December 2014, the orchestra played an campus in September; pianist Andre Mehmari puter Music Center at Columbia, students are the Annual Carnegie Hall Gala on April 8th, exciting concert of Igor Stravinsky’s spectacular presented a masterclass on Brazilian jazz. The learning the creative, intellectual, research and 2015 at Carnegie Hall’s Weill Recital Hall. ballet The Firebird, followed by Beethoven’s critical skills they will need to flourish. Columbia Jazz Composers Collective Record- At Miller Theatre on March 29th, 2015, in epic Symphony No. 7 in A major. Assistant ing Series was also established and will support For more information: collaboration with the Institute for Medieval Conductor Taylor Brook will begin the concert a recording project for the next six years. In Japanese Studies, a selected MPP violin student with Mozart’s Overture to The Magic Flute. • Visit: arts.columbia.edu/sound-arts November, we had our first recording session • E-mail: [email protected] will perform “Transfiguration of the Moon” by On April 18, 2015, the CUO will present its for a CD that will be released in February. This Toshi Ichiyanagi for sho and violin. first-ever gala concert in Alice Tully Hall, was the first commercial recording ever made in playing Ernest Chausson, Poème op. 25 and MPP student performers offer nearly fifty the 80 years that Columbia has had a jazz band Gustav Mahler’s Symphony #1 in D major. This hours of live music at the end of each term to on campus—truly a momentous occasion! event will be a great opportunity to display the conclude their semester of music-making. We Students from the LAJPP founded the Jazz outstanding musical talent of our students— hope you will join us to support their efforts. House in the Residence Halls where fellow jazz and a milestone for Columbia. All recitals are free and open to the public. For musicians live and jam together, putting on more information, please visit our website at concerts and lectures for the campus commu- music.columbia.edu. nity. This is the first jazz residence at Columbia. Vibraphonist Jake Chapman (CC ’16) won the Yamaha Young Artists Competition in 2014. Douglas Repetto, Assistant Professor, Armand Hirsch (CC ’14) has been touring Sound Arts

10 Music Theory Early Music in the Digital Domain

t the Annual Meeting of the Society for Music Theory in Milwaukee (November 2014), arly Music in the Digital Domain” (October 2014) featured three presentations of cur- A held in conjunction with the Annual Meeting of the American Musicological Society, “Erent digital humanities projects on music before 1600, all of them involving Columbia the faculty, alumni, and affiliates of the Music Theory area garnered major awards, presented students or faculty. papers, and chaired panels. • Mauro Calcagno (University of Pennsylvania) and Laurent Pugin Ë Ë (Répertoire International des Sources Musicales [RISM], Switzerland) Emerging Scholar Award—for a book or article Kate Heidemann (Colby College; PhD 2014) spoke on the Marenzio Project, in which Giuseppe Gerbino is a published no more than seven calendar years read “Toward a System of Vocal Timbre principal co-investigator; Isabella Livorni (, 2015) after the author’s receipt of the Ph.D. Description in Popular Song” on “Timbre also spoke. Rocks!” (SMT). • Awarded to Benjamin Steege (Assistant • The Lost Voices/Digital Duchemin project was presented by Richard Professor), Helmholtz and the Modern Lis- Ë Freedman of Haverford College with contributions from Micah tener (Cambridge University Press). Maryam Moshaver (University of Alberta; Walter (Haverford College ‘14) and Trey Toy, New York University (BA, Columbia College ’14). Wallace Berry Award—for a distinguished PhD 2006) read “Fundamental Bass and book by an author of any age or career stage. Metalanguage: An Anatomy of Two Analytical • The Troubadour Encoding Project was presented by Ph.D. students Practices” on “Theorists vs. Theorists” (SMT). Eamonn Bell (Theory) and Russell O’Rourke (Historical Musicology). • Awarded to Elizabeth Ë Hellmuth Margulis (University of Arkan- Max Schmeder (UC Berkeley; PhD 2014) read sas; PhD 2003), On “The ‘Goldberg’ Variations (1741) as a Rebut- Repeat: How Music Plays tal to Newton’s ‘Queries’ from the Opticks Music and Arts Library Focus: Exhibitions the Mind (Oxford (1704/40)” on “Religion and Enlightenment in University Press). Germany” (AMS). Ë Outstanding Publication he Music & Arts Library houses many fine facsimile score editions, which are used as tools Award—For a distinguished James Currie (University at Buffalo; PhD for study or investigation by scholars, researchers, teachers and others who might not have 2001) participated in “Queer Music The- T article by an author of any age or career stage. access to the original material. In fall 2014 the Library mounted an exhibition of over 20 items ory: Interrogating Notes of Sexuality” (AMS • Awarded to Nathan Martin (Yale Univer- LGBTQ Study Group & SMT Queer Resource from its collections. Included were: sity; Mellon Postdoctoral Teaching Fellow Group). 2009-11), “Rameau’s Changing Views on • Music for King Henry : British Library, Manuscript, Royal 11 E XI. (London : Folio Society, Ë Supposition and Suspension,” Journal of 2009), a facsimile of ‘The Royal Choirbook’, a collection of motets presented to King Henry VIII Music Theory. Christopher Doll (Rutgers University; PhD and Catherine of Aragon in 1518 and Alfonso X’s Las cantigas de Santa Maria : Codice rico, Ë 2007) chaired “Rocky Relationships” (SMT). Ms. T-1-1, Real biblioteca del Monasterio de San Lorenzo de El Escorial. (Madrid : Patrimonio Nacional : Testimonio Compañía Editorial, 2011) Eamonn Bell (doctoral student in Theory) Ë participated in the poster session “Empirical Lydia Goehr (Philosophy) gave the SMT Key- • The next exhibition on display in the fall Approaches to Music Theory and Musicology” note Address “Does it Matter Where We Begin? semester of 2014 consisted of Hip-Hop (a joint session with the American Musicologi- Thinking about First Lines and False Starts.” LPs drawn from the Music & Arts Library’s cal Society). Ë collections. The exhibition presented 24 Ë vinyl recordings, and includes a curated Ellie Hisama (Theory and Historical Musicol- selection, with commentary, from Music Maeve Sterbenz (doctoral student in Theory) ogy) chaired “Timbreland.” Dept. graduate students Kevin Holt and read “Listening through Movement: An Exam- Maeve Sterbenz, both students in Professor ination of Lar Lubovitch’s Choreography of the Ellie Hisama’s Listening to Hip-Hop class. Adagio from Mozart’s Clarinet Concerto in A Their featured artists include Jay-Z, Les Major, K. 622” on “Dancing Undisciplined” Nubians, 2 Live Crew, 50 Cent, and others. (AMS Music and Dance Study Group). All selections in the exhibition were chosen for their musical, historical and graphic design interest.

11 Major Events in Spring 2015

All events are free and open to the public. Please join us!

Ë Ë Digital Projects of Columbia University Orchestra Gala the Department of Music April 18, 2015 February 27, 2015 Alice Tully Hall, 8 pm 523 , 3-5 pm Program: Ernest Chausson, Poème, op. 25; This presentation will feature current digital Gustav Mahler, Symphony #1 in D major. research projects led by department faculty Ë members Aaron Fox, Brad Garton, and Giuseppe Armen Donelian and the Gerbino, and Mariusz Kozak. Columbia University Jazz Ensembles Ë April 19, 2015 Conference commemorating the fiftieth Teatro, Italian Academy, 8 pm anniversary of Current Musicology Armen Donelian (a Columbia alumnus) will March 28-29, 2015 play a jazz concert with ensembles from the 523 Butler Library Louis Armstrong Jazz Performance Program. Georgina Born (Oxford) will give the keynote Ë address. All of the journal’s past editors are invited Concert of Works by Prokofiev to attend. April 24, 2015 Ë Teatro, Italian Academy, 8 pm The Daedalus String Quartet plays This event celebrates the installation of the “In iij. Noct.” by Georg Friedrich Haas Prokofiev Foundation Archive in the Rare Book April 2, 2015 and Manuscript Library, Butler Library. Diana Center Oval, Barnard College, 8 pm The quartet will be performed in complete dark- ness, with the musicians playing from memory in different parts of the room. Ë Carnegie Hall Gala April 8, 2015 Weill Recital Hall, 8 pm Make a Gift to the The performance will feature musicians from the Music Performance Program. Department of Music • Visit the secure giving portal on our website: music.columbia.edu • Send a check to the Department of Music, attention Anne Gefell, 621 Dodge Hall, MC 1813, New York, NY 10027, USA. Columbia University School of Arts and Sciences Department of Music MC 1813 2960 Broadway NY 10027 York, New