COURSES
OFFERED FOR SPRING, 2005-6
UNDERGRADUATE
COURSES:
(click here for grad seminars,
or scroll down)
Undergraduate Courses and Ensembles for Spring 2006
NEW COURSE: Music
V3432
MUSIC
& PLACE
Section 001
Call Number: 77251 Points: 3
Day/Time: Tues/Thurs 4:10pm-5:25pm Location: 404 Dodge Hall
Instructor: Ellen Gray
Email: leg2114@columbia.edu
This course provides an introduction to contemporary work on music
and place from an ethnomusicological perspective. It situates ethnomusicological
work and specific musical case studies within an interdisciplinary theoretical
framework that draws from the fields of cultural anthropology, cultural studies,
and performance studies.
Music
V2014
Popular
Musics of the Americas: Country Music
Section 001
Call Number: 27954 Points: 3
Day/Time: MW 6:10pm-7:25pm Location: 404 Dodge Hall
Instructor: Aaron A Fox Email: aaf19
@ columbia.edu
This course examines "country music" through historical and
cultural analytic approaches, both as a North American popular music genre and
as a global category of popular musical culture. No prerequisites required.
Two short papers, one research paper/final project, presentations, and a final
exam.
Asian Humanities: Music V3320
MUSICS
of EAST ASIA and SOUTHEAST ASIA
Section 001
Call Number: 66403 Points: 3
Day/Time: TR 6:10pm-7:25pm Location: 622 Dodge Hall
Instructor: Rachel Chung Email:
ehichung@yahoo.com
A topical survey of some musical traditions of East and Southeast Asia, with
an emphasis on cultural, historical and aesthetic perspectives. No prior music
background is required. Midterm, Final, Papers.
Music
V1626
WORLD
MUSIC ENSEMBLE: Bluegrass
Section 001
Call Number: 65997 Points: 1
Instructor: Jonathan T King Email: jk560@columbia.edu
Course
description: Bluegrass
music is a 20th century amalgam of popular and traditional music styles, that
coalesced in the 1940s in the American southeast, emphasizing vocal performance
and instrumental improvisation. This ensemble will highlight through performance
many of the influences and traditions that bluegrass comprises, including ballads,
breakdowns, “brother duets,” gospel quartets, Irish-style medleys,
“modal” instrumentals, “old time” country, popular song,
and rhythm and blues, among many possible others. Though experienced players
will have plenty of opportunities to improvise, participants need not have played
bluegrass before. Instrumental forces should include fiddle, 5-string banjo,
steel string acoustic guitar, mandolin, resophonic guitar (Dobro®), double
bass.Please contact the instructor to find out about auditions and times.
Likely to meet Fridays 6-8 PM.
__________________________
GRADUATE
SEMINARS
Graduate Seminars/Courses for Spring 2006
SEMINAR
IN ETHNOMUSICOLGY-FIELD METHODS I
Call Number: 67047 Points: 3
Day/Time: T 1:10pm-3:00pm Location: 701A Dodge Hall
Instructor: Aaron A Fox Email:
aaf19
@ columbia.edu
First of a two-semester sequence required for the MA in
Ethnomusicology. Field research techniques, principles, ethics, research design
and proposal writing, interviewing strategies, use of recording equipment. Enrollment
strictly limited to students with ethnographic projects in New York City (or
planning such projects) and enrolled in MA/PhD programs in GSAS except by permission
of instructor. Enrollment limited to 7 students maximum. Intensive schedule
of work requiring external field research throughout the semester.
MUSIC G9402
Advanced
Seminar in Ethnomusicology: "Performance: Theory and Ethnography"
Call Number: 73047 Points: 3
Day/Time: W 1:10pm-3:00pm Location: 701A Dodge Hall
Instructor:
Ellen Gray Email:
leg2114@columbia.edu
Performance has been theorized from a wide range of academic disciplines including:
cultural/social anthropology, linguistics, ethnomusicology, musicology, performance
and cultural studies, and literary theory. Additionally, in the past decade,
“performance” and “performativity” have been useful
cross-disciplinary tools for thinking through categories such as gender, sexuality,
identity and race and concepts of representation and power. This course treats
performance (from performance in the arts to theories of performativity in the
everyday) as a lens through which to understand relationships between expressive
aesthetic practices and social life. What might we learn from thinking about
ethnography as performance, history as performance, or text as performance?
What challenges do theories of performance pose to the ethnographic study of
music? What unique challenges might the study of musical process and artistry
pose to performance theory? We will get at some of these questions through situating
contemporary performance ethnographies within the context of an historical genealogy
of theories of performance from the perspective of the social sciences and the
humanities. Students will be expected to read critically and extensively, rotate
in giving weekly presentations on the readings, to prepare one shorter written
assignment and to complete a final written project developed over the course
of the semester.
NEWLY ANNOUNCED seminar
with visiting instructor Prof. Thomas Porcello (Vassar College)
MUSIC G9401 Advanced Seminar in Ethnomusicology: "Music, Sound, Technology"
Call Number: TBA Points: 3
Day/Time: Thursdays, 6:30-8:30 PM Location: TBA (likely 701C Dodge)
Instructor: Prof. Thomas Porcello (visiting from the Dept. of Anthropology
at Vassar College, (see bio below)
For further information on location and enrollment,
contact Prof. Fox at aaf19
@ columbia.edu and for further information on the class, contact
Prof. Porcello at thporcello@vassar.edu)
A mere 100 years ago, recorded sounds
were uncommon in everyday life; today they are ubiquitous. This seminar will
examine the cultural dimensions and historical development of technologies for
the recording, reproduction, and creation of (musical) sounds, and analyze their
impact on the production, consumption and circulation of music and related,
sounded expressive genres (e.g., radio, film). The seminar will explore topics
including the nature of sonic fidelity; the impact of sound technologies on
(ethno)musicological research and representation; how such technologies have
changed our understanding of musical creativity; the technological drive toward
audio “transparency”; the evolution of sound recording tools and
techniques; audio technology oddities and failures (e.g., 8-track tapes, Quad
sound), and the representation of sound recording in popular literature and
film. Multidisciplinary in design, the course readings are drawn from the disciplines
of ethnomusicology, anthropology, cultural studies, the history of science,
phenomenology, philosophy, film theory, and science and technology studies.
_____________
Thomas Porcello joined the Vassar faculty in 1998. He received
his Ph.D. from the Anthropology Department at The University of Texas-Austin
where he specialized in linguistic anthropology and the anthropology of music.
Mr. Porcello's regular course offerings include introductory linguistics, language
and gender, rotating topics courses in sociolinguistics, and the anthropology
of music. Advanced seminars include Sound, Verbal Art and Performance, and Language
and Music. Mr. Porcello has done extensive research in sound recording studios,
examining linguistic and musical interaction processes, as well as speech about
music. His current research centers on the structuring of iconicity and metaphor
in verbal descriptions of music. Articles and reviews have appeared in Ethnomusicology,
American Anthropologist, City & Society, and Popular Music. He is the co-editor
of *Wired for Sound: Engineering and Technologies in Sonic Culture* (Univ. Press
of New England, 2004 http://www.upne.com/0-8195-6516-4.html) and has an ethnographic
study of recording studios forthcoming on Duke University Press.
_______________________________
Previous
Courses Offered
Fall
2005 Music V3420
THE
SOCIAL SCIENCE OF MUSIC (swing class, also offered for
grad credit)
Section 001
Call Number: 75509 Points: 3
Day/Time: M 5:40pm-7:30pm Location: 622 Dodge Building
Day/Time: W 5:40pm-6:30pm Location: 622 Dodge Building
Instructor: Ellen Gray leg2114
@ columbia.edu
Course Synopsis
This course is designed to present current issues in ethnomusicology within
their intellectual and historical contexts. We situate ethnomusicology in relation
to a wide range of disciplines and approaches that have investigated music as
an “object” of academic inquiry. These disciplines include:
cultural and linguistic anthropology, semiotics, cultural studies, the “new”
musicology,” social history, popular music studies and performance studies.
In social scientific scholarship on music over the past two decades, issues
of race, gender, subjectivity, globalization and cultural ownership have come
to the fore. Working with select case studies from contemporary scholarship,
we situate these within their specific disciplinary genealogies and intellectual
histories. What can we gain from thinking about musical experience, musical
form and musical sound through the multiple analytic frameworks presented by
the social sciences? What challenges does the study of music present to
our understandings of social life? (This course is designated as a “swing”
course and is thus simultaneously offered as both an upper level undergraduate
course and a graduate seminar.)
Bluegrass
Ensemble! The Center is proud to announce that we have partnered
with the Music Performance Program to offer our first World Music Ensemble
course, to be offered this Fall. The Bluegrass Ensemble will be directed
by Jonathan Toby King, and will meet on Fridays from 4-6 in 112 Dodge.
If you are interested in auditioning for this group, please attend the first
session on Friday Sept. 16 at 4 PM, and bring your instrument if possible. Further
information send email to Toby King at jk560@columbia.edu.
This course has not yet been assigned a catalog number. It will be a one-credit
performance ensemble.
Course description: Bluegrass
music is a 20th century amalgam of popular and traditional music styles, that
coalesced in the 1940s in the American southeast, emphasizing vocal performance
and instrumental improvisation. This ensemble will highlight through performance
many of the influences and traditions that bluegrass comprises, including ballads,
breakdowns, “brother duets,” gospel quartets, Irish-style medleys,
“modal” instrumentals, “old time” country, popular song,
and rhythm and blues, among many possible others. Though experienced players
will have plenty of opportunities to improvise, participants need not have played
bluegrass before. Instrumental forces should include fiddle, 5-string banjo,
steel string acoustic guitar, mandolin, resophonic guitar (Dobro®), double
bass
Fall 2005 Asian
Humanities: Music V3321
MUSICS
OF INDIA & WEST ASIA
Section 001
Call Number: 47152 Points: 3
Day/Time: TR 6:10pm-8:00pm Location: 622 Dodge Building
Instructor: David E Novak
Instructor email: den12@columbia.edu
Fall 2005 Music G4500
JAZZ
TRANSCRIPTION & ANALYSIS
Section 001
Call Number: 16801 Points: 3
Day/Time: M 11:00am-12:50pm Location: 701A Dodge Building
Notes: ADDITIONAL HOUR TO BE ARRANGED
Instructor: Christopher J. Washburne
Instructor email: cjw5@columbia.edu
____________________________________
GRADUATE
SEMINARS
Fall 2005 Music G6420 (see
detailed listing above)
THE
SOCIAL SCIENCE OF MUSIC
Section 001
SOCIAL SCIENCE OF MUSIC
Call Number: 11699 Points: 3
Day/Time: M 5:40pm-7:30pm Location: 622 Dodge Building
Notes: (IN SAME DAYS/TIME/RM WITH MUSI v3420)
Instructor: Ellen Gray
Fall 2005 Music G6411
PROSEMINAR
in ETHNOMUSICOLOGY I -- enrollment by permission of instructor only
Section 001
Call Number: 43699 Points: 3
Day/Time: T 1:10pm-3:00pm Location: 701C Dodge Building
Instructor: Christopher J Washburne
Fall 2005 Music G8413
SEMINAR
in ETHNOMUSICOLOGY:FIELD METHODS II - enrollment by permission of
instructor only
Section 001
Call Number: 97148 Points: 3
Day/Time: T 1:10pm-3:00pm Location: 701A Dodge Building
Instructor: Ellen Gray leg2114 @ columbia.edu
Details on
enrollments, etc., can be found in the Columbia
Online Course Directory under the listing for each course. Be aware
that some courses, especially the graduate seminars, require the permission
of the instructor to register.
(CU/BARNARD
PASSWORD and USERNAME REQUIRED FOR ACCESS TO OFFICIAL COURSE PAGES. STUDENTS
AND AUTHORIZED GUEST USERS ONLY)
