10 courses with the subject MUSI GU, each shown exactly as we captured it from the college's catalog, with every element we hold. Where the wording looks broken, that is our reading of the catalog, not the college's text.
MUSI GU4208Music Production ＆ Studio Composition3.00
This course explores the recording studio and Digital Audio Workstations (DAWs) as tools for diverse compositional practices. By exploring a range of recording and editing techniques to craft new musical works beyond the limitations of live performance, this class encourages a seamless blend of composition and music production. Various genres, artists, and techniques that push the boundaries of music recording will be studied, such as Jamaican dub, musique concrète, hyper-pop, jazz fusion, and more. Students will gain hands-on experience with DAWs, exploring tools like effects processing, layering, and spatial placement. They will learn to listen closely to pieces exemplifying these techniques, building a shared analytic vocabulary to describe them. Students will also create original pieces, applying and building on the techniques studied in class, while engaging in constructive feedback with peers
Modular Sound Synthesis is a hands-on studio class that explores contemporary techniques for synthesizers both in studio practice and performance while framing them in the historical context in which they developed. The class approaches the fundamentals of sound and synthesis through the perspective of Columbia’s Computer Music Center: vintage function generators, suitcase reel-to-reel tape machines, prototype modules, custom devices; and the first programmable music synthesizer, the RCA Mark II. Students will learn to perform and compose on both hardware devices and software emulations, utilizing them as a creative tool for recording and live performance. Topics include oscillators, modulation, sequencers, voltage processing, wave shaping, filters, and LFOs. The course will engage in listening to both historical and contemporary examples to develop critical listening skills. This class is designed as a follow-up to Intro to Digital Music for undergraduates or graduate students interested in integrating modular synthesis within their artistic practice
MUSI GU4308Theory and Analysis of Jazz and Improvisation3.00
What are the traditional definitions of jazz and how do they apply to improvised music in the twenty-first century? This course aims to communicate reliable methods and processes useful when dissecting and evaluating jazz performances and jazz compositions. Students will engage with traditional and fundamental jazz improvisation theory, then extrapolate new modalities reflective of the music happening today; including categorizing music on gradations from minimally to fully improvisational, tonal to harmonically abstract, rhythmically rigid to free, and sonically acoustic to fully synthesized. The class will explore and differentiate between “new complexity” classical compositions and virtuosic free form improvisation, compare US jazz to versions happening in other countries, and to recognize how world music influences affect improvisational tonal systems and improvisational traits
This advanced seminar builds on the Introduction to Music Cognition (MUSIC UN2320) with an in-depth inquiry into selected key topics in the field of Music Cognition. Specific topics vary each year, depending on interest and availability of instructors, and include human development; evolution; communication and music’s relation to language; embodied knowledge; first-person awareness; metaphor; ineffability; neuroscience; mental representations; memory and anticipation; cross-cultural studies; emotions; musical aesthetics; artificial intelligence; agency; creativity; and music’s relation to other art forms. Each semester the course delves into recent research on 3–4 of these topics, focusing in particular on how this research can be applied to questions of musical knowledge. Advanced readings are drawn from fields as diverse as music theory, psychology, biology, anthropology, philosophy, and neuroscience. They include general works in cognitive science, theoretical work focused on specific musical issues, and reports of empirical research
Music and Property is an advanced lecture/discussion course wherein we will consider the philosophical questions of whether and how an individual, a culture, an institution, or a community can "own" music, for the most part by examining several raging current disputes and debates over the appropriation and enforcement of musical "property" rights. While the course will begin with a theoretical overview of these issues, most of the course will consist of examining key case studies where rights to the ownership of music have been disputed, litigated, or subject to legislative or disciplinary revision. This course raises the questions: 1) What does it mean to "own" music? 2) In what senses can music be conceptualized as "property?" 3) How do divergent understandings of music's status as "property" shape contemporary debates and discourses in the particular areas of disputes over "illegal downloading" of copyrighted music and the "repatriation" of Native American musical recordings as "cultural property?"
This course examines the transatlantic sounds of African music, including Afrobeat, Afrobeats, Amapiano, Chimurenga, Highlife, Kwaito, Makossa, Reggae, and more, to explore the rich cultural roots of African musical traditions and how they navigate and assimilate within the global popular culture sphere. From migration and collaborations to the rise of African artists in the era of advanced technology, the course uncovers how these genres transcend borders, inspire cross-cultural innovation, and influence the global music scene in contemporary times. Critical issues such as cultural appropriation, commodification, gender, health, and authenticity in the ever-evolving global music industry will be explored. By the end of the course, you will have a deep understanding of the complex dynamics driving the influence and dissemination of African music across the world
Prerequisites: advanced music major and extensive contemporary music background. Prerequisites: advanced music major and extensive contemporary music background. Analysis of the modern repertory of contemporary music with directional emphasis on actual conducting preparation, beating patterns, rhythmic notational problems, irregular meters, communication, and transference of musical ideas. Topics will include theoretical writing on 20th-century conducting, orchestration, and phrasing
As music moves into the 21st century, we find ourselves surrounded by an ever-evolving landscape of technological capability. The world of music, and the music industry itself, is changing rapidly, and with that change comes the opening – and closing – of doorways of possibility. What does this shift mean for today’s practicing artist or composer? With big label recording studios signing and nurturing fewer and fewer artists, it seems certain that, today, musicians who want to record and distribute their music need to be able to do much of the recording and production work on their own. But where does one go to learn how to do this – to learn not only the “how to” part of music production, but the historical underpinnings and the development of the music production industry as well? How does one develop a comprehensive framework within which they can place their own artistic efforts? How does one learn to understand what they hear, re-create what they like and develop their own style? This class, “Recorded Sound,” aims to be the answer. It’s goal is to teach artists how to listen critically to music from across history and genres in order to identify the production techniques that they hear, and reproduce those elements using modern technology so they can be incorporated into the artist’s own musical works
Recording Studio Sessions places students in weekly recording sessions with guest bands and music ensembles. The course aims to give students as much hands-on recording studio experience as possible, with the end goal of developing studio skills that lead to the production of professional-level audio materials. Students explore a wide range of studio experiences, from learning both digital and analog workflows to handling varied musical groups, so that, following the course, they may either pursue further study in upper-level sound engineering programs, find work in professional studios, or simply gain a more profound understanding of the studio environment for their own creative work
Spring 2026: MUSI GU4998 Course Number Section/Call Number Times/Location Instructor Points Enrollment MUSI 4998 001/11986 Seth Cluett 1.00-3.00 1/5 Fall 2026: MUSI GU4998 Course Number Section/Call Number Times/Location Instructor Points Enrollment MUSI 4998 003/15330 Anna Meadors 1.00-3.00 1/3
