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MUSI V3305: Theories of Heinrich Schenker
3.00 Credits
Columbia University in the City of New York
Prerequisites: Prerequisite: MUSI V3322 or instructor's permission. Fulfills the requirement of either the 3000-level advanced theory elective or the nontonal course. An examination of Schenker's concepts of the relation between strict counterpoint and free writing; "prolongation"; the "composing-out" of harmonies; the parallels and distinctions between "foreground," "middle ground," and "background"; and the interaction between composing-out and thematic processes to create "form."
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MUSI V3316: Ear Training, III
1.00 Credits
Columbia University in the City of New York
Sight-singing techniques of modulating diatonic melodies in simple, compound, or irregular meters that involve complex rhythmic patterns. Emphasis is placed on four-part harmonic dictation of modulating phrases.
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MUSI V3316 - Ear Training, III
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MUSI V3317: Ear Training, IV
1.00 Credits
Columbia University in the City of New York
Techniques of musicianship at the intermediate level, stressing the importance of musical nuances in sight-singing. Emphasis is placed on chromatically inflected four-part harmonic dictation.
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MUSI V3321: Chromatic Harmony and Counterpoint I
3.00 Credits
Columbia University in the City of New York
Lab Required.
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MUSI V3322: Chromatic Harmony and Counterpoint II
3.00 Credits
Columbia University in the City of New York
Lab Required.
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MUSI V3420: The Social Science of Music
3.00 Credits
Columbia University in the City of New York
An introduction to the field of ethnomusicology in the context of the intellectual history of music scholarship. IN FALL 2011, THIS COURSE WILL BE OFFERED TR 6:10-7:25 IN RM 622 DODGE.
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MUSI V3462: Music, Gender and Performance
3.00 Credits
Columbia University in the City of New York
Prerequisites: There are no prerequisites for this course. This seminar explores relationships between gender, music and performance from the perspective of ethnomusicology, cultural anthropology, critical music studies, feminist and queer theory and performance studies. We examine debates around issues of sex and gender and nature and culture through the lens of musical performance and experience. Some questions we consider include: In what ways is participation in particular music dictated by gendered conventions? What social purpose do these delineations serve? What might music tell us about the body? What is the relationship between performance and the ways in which masculinity and feminity, homosexuality and heterosexuality are shaped? How can we think about the concept of nation via gender and music? How might the gendered performances and the voices of musical celebrities come to represent or officially "speak" for the nation or particular publics? How does music shape our understanding of emotion, our experience of pleasure?
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MUSI V3630: Recorded Sound
3.00 Credits
Columbia University in the City of New York
Prerequisites: the instructor's permission. Main objective is to gain a familiarity with and understanding of recording, editing, mixing, and mastering of recorded music and sounds using Pro Tools software. Discusses the history of recorded production, microphone technique, and the idea of using the studio as an instrument for the production and manipulation of sound.
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MUSI W4035: Animal Music
3.00 Credits
Columbia University in the City of New York
Explores and compares the various listening traditions that have been applied from the late nineteenth century to the present to the songs of birds, whales, dogs, and other nonhuman animals.
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MUSI W4125: Puccini and the Twentieth Century
3.00 Credits
Columbia University in the City of New York
The popular and academic reputations of Giacomo Puccini have diverged more sharply than those of any other classical composer. This course aims less to "rehabilitate" Puccini than to imagine an alternate history of modernism in which his music plays a central role. Discussions will be centered around six operas, which we will be listening to in their entirety, as well as a variety of films, stage productions, and works by other composers. Major themes will include: sound studies and the history of technology; performance studies; theories of realism and modernism; and the relationship between Italian cultural politics and larger cosmopolitan and imperial formations.
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