Saxophonist Roy Nathanson talks about his experiences as a Columbia student during the unrest at the University and the militant aftermath during the late 1960s, his development as an artist in an astonishing variety of forms (including composition, songwriting, poetry, acting and teaching) his work with global stars and with high school students, and his basic need to "tell a story" no matter what artistic language he uses. Click here for Part II.
Columbia University
English
Spring 2005
Columbia University
English
Fall 2007
Columbia University
Anthropology and American Studies
Spring 2007
Course Requirements
1. Regular attendance and participation at the seminar
2. Two or three class presentations based on papers of approximately 5 pages
3. A term paper of approximately 15-20 pages due on April 24
REQUIRED READING
Christoph Cox and Daniel Warner, eds. Audio Culture: Readings in Modern Music. NY, 2004
Mark Katz, Capturing Sound: How Technology Has Changed Music. Berkeley, 2004 (with CD)
Michel Chion, Audio Vision
Columbia University
Department of Music
Berea College
Fall 2004
University of Kansas
American Studies
Fall 2006
COURSE REQUIREMENTS
In 1974, Anthony Braxton was considered a radical among radicals. This was true not least for his distinctive embrace of post-war European avant-garde composition, then assumed to be particularly uncongenial to the average listener's taste.
Tenor saxophonist Scott Hamilton talks about his connections to an earlier, submerged mainstream jazz "tradition" of the 1940s and ‘50s and speaks eloquently of the music that inspired him.
In "'Come on in North Side, you're just in time': Musical-Verbal Performance and the Negotiation of Ethnically Segregated Social Space," Scruggs explores the ways that tenor saxophonist Von Freeman used both music and speech to create a sense of community and shared tradition through his performances at Chicago's Enterprise Lounge during the 1970s and 1980s.
