Wednesday, November 16, 2016 - 7:00pm
701C Dodge Hall (The Center for Ethnomusioclogy)
The Center for Ethnomusicology presents:
An Intimate Evening of Cross-Cultural Improvisation featuring Steve Loza, Qi Li, Farzad Amoozegar, and Manoochehr Sadhegi.
Wednesday Nov. 16, 2016
701C Dodge Hall (Center for Ethnomusicology)
Free and Open to the Public, Reception to Follow
Qi Li is a highly accomplished performing artist on the erhu, the Chinese two-string bowed fiddle, and a prolific educator of Chinese music. After graduating from the China Conservatory of Music in 1982, she performed for several years as erhu soloist with the Beijing-based National Traditional Orchestra of China (the most renowned orchestra of Chinese instruments). She has been featured in concerts at prestigious venues such as Madison Squire Garden (New York), Ronald Reagan Building (Washington. D.C.), and Avery Fisher Hall/Lincoln Center (New York). She also directs several Chinese music groups in California, including the Los Angeles Chinese Music Ensemble.
Farzad Amoozegar is a specialist in the Persian plucked lutes tar and setar. As a teenager, having migrated from Iran to Canada, he began learning the classical radif tradition at the age of eleven from Master Mohammed Reza Lotfi in US, and then moved to Iran during his early twenty to study under master musicians such as Hossein Alizadehi, Dariush Tala'i, Hooshang Zarif, Masood Shareai, and Ershad Tahmasbie. While in Tehran, he has also lectured on Iranian music at Azad University, led various workshops on tar and setar, and performed throughout Iran and the Middle East. Currently, he is a doctoral candidate in the departments of ethnomusicology and anthropology at UCLA.
Steven Loza has taught at UCLA since 1984 and currently serves as chair of the Department of Ethnomusicology. His areas of research include topics such as religion as art and musical mesitzaje, the mixing of race and culture. He is the author of Barrio Rhythm: Mexican American Music in Los Angeles and Tito Puente and the Making of Latin Music. among numerous other publications. He has directed ensembles focusing on Latin American music, world jazz, and intercultural improvisation. He has recorded three CDs of his music; a recent composition was premiered by the Mexico City Philharmonic Orchestra.
Manoochehr Sadhegi was born in Tehran, Iran, and came to the U.S. to study music, completing his MA in ethnomusicology under Mantle Hood at UCLA. He is considered a Grandmaster or Ostad of the saunter, a Persian hammered dulcimer. He was awarded the 2003 National Heritage Fellowship Award by the Library of Congress and in 2002 he was a recipient of the Durfee Foundation Master Musician Award. Through the past fifty years he has performed concerts of classical Persian music on the santur lectured at various schools and universities, taught performance privately and with group projects (including a performance ensemble at UCLA), recorded various CD projects, and performed Persian classical music on the santur.
Friday, May 2, 2014 - 3:00pm
622 Dodge Hall (CU Morningside Campus)
The Department of Music and the Center for Ethnomusicology at Columbia University Present:
Blood on Fire: Sex and Music in America, 1840-1917
A talk by:
Prof. Dale Cockrell (Director, Center for Popular Music, Middle Tennessee State University; Professor of Musicology Emeritus, Vanderbilt University; Research Associate, University of the Free State, South Africa)
Friday, May 2, 2014
622 Dodge Hall (CU Morningside Campus)
Free and Open to the Public
Abstract: Prostitution in the United States between 1840-1917 was big business. Walt Whitman’s “plain truth” assertion was only a mild exaggeration when he claimed that “nineteen out of twenty of the mass of American young men, who live in or visit the great cities, are more or less familiar with houses of prostitution and are customers to them.” Tens of thousands of brothels, concert saloons, and dance halls across the nation—all common sites for prostitution—featured regular, full-time professional music-making for dancing, and thus provided a well-paid livelihood for working musicians. Indeed, a statistical analysis suggests that a third to half of all professional performing musicians during the period were directly employed full-time in the service of prostitution. Evidence of that music-making indicates that an energetic “noisy” dance music was developed specifically to stimulate eroticized male bodies, and hence to stimulate profits for the houses. This project thus explores the nexus between prostitution, music-making, dance, sexuality, blackface minstrelsy, the underground cultural economy, and the development of musical foundations upon which an extraordinarily vital twentieth-century American popular music was built.
About the speaker: Dale Cockrell is the Director of the Center for Popular Music at Middle Tennessee State University, Professor of Musicology Emeritus at Vanderbilt University, and a Research Associate of the University of the Free State (South Africa). He is widely published in the field of American music studies, including The Ingalls Wilder Family Songbook (2011), Vol. 22 in the Music of the United States of America series; Demons of Disorder: Early Blackface Minstrels and Their World (1997), which won the C. Hugh Holman Award; Excelsior: Journals of the Hutchinson Family Singers, 1842-1846 (1989), recipient of the Irving Lowens Award; ten other books and editions; and more than seventy scholarly articles. He is a former President of the Society for American Music, from which he received the Distinguished Service Award in 2010, an elected Member of the American Antiquarian Society, and the Founder and President of The Pa’s Fiddle Project, an educational, scholarly, and musical program dedicated to recording the music of the Little House books and reconnecting the nation’s children with the rich music legacies embedded in them.
Thursday, September 22, 2011 - 6:00pm - 8:00pm
Casa Hispanica, Columbia University - 612 West 116th Street, Room 201, New York, NY
"Living in transition: the politics of popular music in contemporary Cuba"
Ms. Gamez has a MSc. degree in Media and Communication from the London School of Economics and Political Science in the UK.
Presented by CSER, Center for Ethnomusicology and the Department of Latin American Cultures
Location: Casa Hispanica, Columbia University - 612 West 116th Street, Room 201, New York, NY (map)
For further information visit the CSER website.
Thursday, September 29, 2011 - 12:00pm - 2:00pm
701C Dodge Hall, Center for Ethnomusicology
Please join us Thursday September 29 for the Center for Ethnomusicology's Fall 2011 Colloquium series, presenting:
New Capitalism, Globalization, and the Commodification of Taste
Prof. Timothy D. Taylor (Musicology/Ethnomusicology, UCLA)
Thursday, September 29, 2011
12.00 - 2.00 pm
Center for Ethnomusicology, Dodge Hall, 701 C
In the late 1980s and early 1990s, myriad discourses emerged that
attempted to understand the present: was it postmodern, the information
age, the postindustrial era, an era of the new capitalism? Many
influential publications adopted and fleshed out these various
perspectives. "Globalization" as a way of viewing the present and recent
past appeared relatively recently, yet it has come to dominate
considerations of the present, both in and out of academia, eliding some
aspects of other perspectives. This presentation examines what is lost
when globalization as an analytical framework becomes dominant.
"Globalization" as a perspective and related body of theory can help us
understand how musics travel, for example, but is less useful in
explaining what happens once world music has traveled and entered the
Euro-American music industry in an era of the new capitalism. With the
explosion of music available on the Internet and the difficulty of
finding what one wants, what emerges, among other things, is the
importance of what people in the culture industries call "search": the
means of finding music or other cultural products. The importance of
search has resulted in the increasing commodification of taste, both in
the form of music supervisors, who choose music for use in films and
television programs and who have become increasingly influential in the
entertainment industry; and the rise of complex algorithms that help
consumers find music to listen to based on their prior purchases or
listening habits, and those of others.
Timothy D. Taylor is
a Professor in the Departments of Ethnomusicology and Musicology at the
University of California, Los Angeles. In addition to numerous articles
on various musics, he is the author of Global Pop: World Music, World
Markets (Routledge 1997), Strange Sounds: Music, Technology and Culture
(Routledge 2001), and Beyond Exoticism: Western Music and the World
(Duke University Press 2007). Two new books will appear in the spring of
2012: Music, Sound, and Technology in America: A Documentary History of
Early Phonograph, Cinema, and Radio, co-edited with Mark Katz and Tony
Grajeda, published by Duke University Press; and The Sounds of
Capitalism: Advertising, Music, and the Conquest of Culture, published
by the University of Chicago Press.