Magdalena Stern-Baczewska (Director, Music Performance Program) gave a performance at the Opera House of Beijing's Central Conservatory of Music, celebrating the DVD release of Tan Dun's Martial Arts Cycle for Piano, Violin, and Violoncello.
The Department of Music is pleased to formally announce a study group in historical music notation, Ars Nota, which meets weekly on Columbia’s campus to sing medieval and Renaissance music from facsimiles of original sources.
This year's Ojai Music Festival prominently features several Composition alumni and faculty: Courtney Bryan, Mario Diaz de Leon, George Lewis, and Tyshawn Sorey.
Core Lecturer Mahir Cetiz (DMA, Composition, 2013) has been awarded a 2017 fellowship from the John Simon Guggenheim Foundation.
Alexander Rothe will deliver a lecture on "Revisiting Chéreau’s Bayreuth Centennial Ring Cycle Forty Years Later" on Sunday, December 4, 2016, 2:00pm at the Liederkranz Foundation, 6 East 87th Street.
Paula Harper, fourth-year graduate student in Historical Musicology, has received the Meyerson Award for Excellence in Core Teaching. The award is given in Music Humanities, Art Humanities, Literature Humanities, and Contemporary Civilization to an outstanding graduate student preceptor in each course.
Congratulations, Paula!
The Department of Music at Columbia is pleased to announce the publication of our 2015-16 Newsletter, which documents the extraordinary range of activities and accomplishments in our community over the last year.
Tina Frühauf, along with her co-editor Lily E. Hirsch, won the American Musicological Society's Ruth A. Solie award this year for their edited volume, Dislocated Memories: Jews, Music, and Postwar German Culture (Oxford University Press, 2014). Solie Committee Chair Professor Colleen Reardon (UC Irvine) described the volume at the award presentation:
"The Solie award winner this year tackles themes of transnationalism, displacement, and memory by examining the fascinating and often problematic relationship between Jewish music and German culture in the shadow of the Holocaust. An introduction that leads naturally into a survey of postwar writings on Jewish music, and an illuminating postscript on the “represence” of Jewish music in Germany frame a collection of essays that elegantly mirror the theme of the volume by traveling backwards and forwards in time, by exploring music in the camps and outside its borders, and by tackling such difficult topics as the discourse of avoidance and narratives of survival."
At Columbia, Dr. Frühauf teaches Jewish Music of New York (MUSI V2030) and Masterpieces of Western Music (Music Humanities).