MUSI V3440x. Survivors' Music.

This course will examine the role of music in the lives of survivors of traumatic experiences and discover why music is a special expressive resource for such people. Examples from survivors' music about the nature of traumatic events that other expressive and documentary resources do not yield will be utilized. Course is interdisciplinary and the use of these examples to explore these issues is from a social, cultural, psychological and musicological perspective. Geared towards advanced undergraduates and graduate students from all disciplines.

MUSI G4024. Opera and Society. 3 pts. Not offered in 2009-2010.

Prerequisite: instructor's permission. Investigation of how the composition, libretti, and production of operas are connected to their cultural, social, and political contexts.

MUSI G4060. Medieval Music Drama. 3 pts. Not offered in 2009-2010. Interdisciplinary study of sacred dramas from the 12th and 13th centuries, including the Play of Daniel, Hildegard of Bingen's Ordo Virtutum, and plays from the Fleury Playbook and Carmina Burana collections. Emphasis on the historical and cultural contexts of the plays.

MUSI W4115y. Music and Theatre under the Ancien Regime. 3 pts. Not offered in 2009-2010. Prerequisites:W1123 (Music Humanities); Music Majors need V2138/9

Explores the wealth of music theatre produced in France from 1660s to 1760s. Our focus will be the analysis of interaction of music, text, dance and staging in opera, but we will also consider spoken dramas and literary texts referenced in the operas, and situate them in the social and political context of absolutist France. Some of issues addressed will be Why the Opéra became the prime arena of sovereign representation; Why the role of adversary was conventionally played by a woman; Correspondences between social organization and theatrical representation; and Why these works have been revived in recent years. Prof. Burgess is renowned both for his research in this area and as a performer with the Paris-based company Les Arts Florissants.

MUSI W4115y (Section 001). Music and Theatre under the Ancien Regime. 3 pts. Not offered in 2009-2010. Prerequisites:W1123; Music majors need V3128-9; or permission of the instructor.

Explores the wealth of music theatre produced in France from 1660s to 1760s. Our focus will be the analysis of interaction of music, text, dance and staging in opera, but we will also consider spoken dramas and literary texts referenced in the operas, and situate them in the social and political context of absolutist France. Some of issues addressed will be Why the Opéra became the prime arena of sovereign representation; Why the role of adversary was conventionally played by a woman; Correspondences between social organization and theatrical representation; and Why these works have been revived in recent years. Prof. Burgess is renowned both for his research in this area and as a performer with the Paris-based company Les Arts Florissants.

MUSI W4117y. Music and the Cold War. Prerequisites: Previous coursework in Music (including W1123) or permission of the instructor.

Study of the principal musical trends and aesthetic debates of the Cold War. Hoe did music respond to and reinforce the political divisions of the Cold War? We will move through a series of chronological units that integrate primary source readings from Adorno to Zhdanov, musical case studies (including works by Shostakovich, Eisler, Lutoslawski, Babbitt, Boulez, Kagel, Schnittke, Rochberg, Copland, Nono, Henze) and recent scholarly writings. Themes will include socialist realism, American influence in Western Europe, nationalism, postmodernism, and historiography.

MUSI G4125x. Jewish Music: Uniqueness and Diversity. 3 pts.

Jewish Music is rich and diverse. We known more about the contexts and uses of Jewish music than the music itself. Prior to recordings of music, musical notation is the most accurate record of the "actual" music. Notation of Western music develops and grows from the year 1000. For Jewish music the date of notation of music is 1750. Ashkenazic European liturgical music traditions are the first to be notated in the Jewish traditions. Secular and art music does not begin for well over one years, it begins in the late 1800s. Many liturgical traditions remain in the oral tradition. There are many challenges to understand the history of Jewish music. Investigating the role of culture and contexts of Jewish music opens the door for a productive inquiry. Topics for discussion include: tradition and innovation, nationalism, culture contact, responses to modernity, and music and identity.

MUSI W4241x-W4242y. Advanced Projects in Composition. 3 pts. Prerequisites: Grades obtained in V3241-3242; compositions written in V3242; instructor's permission.

Composition for larger ensembles, supported by study of contemporary repertoire.

MUSI W4241x-W4242y. Advanced Composition. 3 pts. Prerequisites:MUSI V3241-3242 and instructor's permission.

Composition for larger ensembles, supported by study of contemporary repertoire.

MUSI W4320y. Philosophies of Listening. 3 pts. Not offered in 2009-2010. Prerequisites:HUMA W1123, Music Humanities or instructor's permission.

Selected introduction to major topics, debates and fields of study in the growing musicological and philosophical literature on listening. What are our various modes of listening, and how are they organized? To what degree is our listening shaped by metaphor and intentionality? How is listening tied to subjectivity? How does musical listening differ from everyday listening and what does this imply for the future of music? These and other questions will be addressed through close readings of the major literature (and supplementary texts) including Adorno, Barthes, Calvino, Cavarero, Derrida, Forster, Freud, Kafka, Lacoue-Labarthe, Levinson, Nancy, Scruton, Schaeffer, and others. Intensive reading and sustained critical responses are required weekly for all participants; a final research paper will be required.

MUSI W4320y. Philosophies of Listening. 3 pts. Not offered in 2009-2010. Prerequisites:W1123 (Music Humanities) or the instructor's permission.

Selected introduction to major topics, debates and fields of study in the growing musicological and philosophical literature on listening. What are our various modes of listening, and how are they organized? To what degree is our listening shaped by metaphor and intentionality? How is listening tied to subjectivity? How does musical listening differ from everyday listening and what does this imply for the future of music? These and other questions will be addressed through close readings of the major literature (and supplementary texts) including Adorno, Barthes, Calvino, Cavarero, Derrida, Forster, Freud, Kafka, Lacoue-Labarthe, Levinson, Nancy, Scruton, Schaeffer, and others. Intensive reading and sustained critical responses are required weekly for all participants; a final research paper will be required.

MUSI G4360y. Analysis of Tonal Music. 3 pts. Prerequisites:MUSI V3321 or the equivalent.

Fulfills the requirement of the 3000-level advanced theory elective. This course was previously offered as V3360, Pre-Tonal and Tonal Analysis. Detailed analysis of selected tonal compositions. This course, for advanced undergraduates and beginning graduates, is intended to develop understanding of tonal compositions and of theoretical concepts that apply to them, through study of specific works in various forms and styles.

MUSI W4405y. Music and language. 3 pts. Not offered in 2009-2010. Prerequisites: Priority given to music majors. Prerequisite for non-music majors: the instructor's permission.

Survey of 20th-century literatures on the music/language relationship. Emphasizes semiotic and social-scientific paradigms.

MUSI W4415y. Musical traditions and modern society in Japan. 3 pts. Not offered in 2009-2010.

A comparative and topical examination of Gagaku, Okinawan music, and modern Japanese electronic music.

MUSI W4420x. Music and Property. Prerequisites: Approval of the instructor.

This courses raises the questions 1) What does it mean to "own" music? 1) In what senses can music be conceptualized as "property?" 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?" Several relevant major recent statements will be considered and responses discussed. Case studies from ethnomusicological, anthropological, media studies and legal literatures engage issues of appropriation, the role of new technologies in shifting the terrain of musical ownership will be studied. Hands-on look at the Columbia Center for Ethnomusicology's ongoing projects to repatriate historic recordings of Native American music (currently 'owned' by Columbia University) to the Navajo and Iñupiat tribes.

MUSI W4430x (Section 001). Listening and Sound in Cross-Cultural Perspective. 3 pts.

The objective of this course is to explore the relationship between listening, sound and music across different cultures and in different historical moments and contexts. This will be explored through recent histories of listening, through anthropological work on hearing and sound in different cultures and through the field of acoustic ecology. The course will seek to compare these three scholarly perspectives and their contributions to a historical and contextual understanding of listening practices.

MUSI G4465y. Performance: Theory & Ethnography. 3 pts. Not offered in 2009-2010. Prerequisites: Permission of the instructor.

This course provides an introduction to performance studies with a particular focus on the ethnography of expressive culture. 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 and the reception 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.

MUSI G4500y. Jazz Transcription and Analysis. 3 pts. Prerequisites: Permission of the instructor.

A progressive course in transcribing, proceeding from single lines to full scale sections and ensembles. Stylistic analysis based on new and previously published transcriptions.

MUSI G4505. Jazz Arranging and Composition. 3 pts. Prerequisites:V2318-19 Diatonic Harmony or equivalent.

Course designed to train students to arrange and compose in a variety of historical jazz styles, including swing, bebop, hard bop, modal, fusion, Latin, and free jazz.

MUSI W4507y. "The New Thing": Jazz 1955-1980. Prerequisites: Permission of the instructor.

An examination of the new jazz that emerged shortly after the middle of the 20th century. The seminar will include the work of musicians such as Ornette Coleman, Cecil Taylor, Don Cherry, Anthony Braxton, Carla Cley, Albert Ayler, and the Arts Ensemble of Chicago; the economics and politics of the period; parallel developments in other arts; the rise of new performance spaces, recording companies, and collectives; and the accomplishments of the music and the problems it raised for jazz performance and criticism.

MUSI W4508x. Sound and Phonography. Prerequisites: Permission of the instructor. Graduate students and seniors given priority.

An historical overview of the nature of sound and the technologies of its transmission, modification, and recording; the social and artistic consequences of recording, including questions of originality and ownership. Topics may include the art of noise; the soundscape; field recording; and audio-terrorism.

MUSI W4525x. Instrumentation. 3 pts. Prerequisites: Extensive musical background; open to both graduate and advanced music major undergraduate students.

Analysis of instrumentation, with directional emphasis on usage, ranges, playing techniques, tone colors, characteristics, interactions and tendencies, all derived from the classic orchestral repertoire. Topics will include theoretical writings on the classical repertory as well as 20th century instrumentation and its advancement. Additional sessions with live orchestral demonstrations are included as part of the course.

MUSI W4526y. Orchestration. 3 pts. Prerequisites:MUSI W4525 (Instrumentation), or instructor's permission.

The study of "functional" orchestration in works of the eighteenth and nineteenth centuries. Students will analyze scores by Haydn, Beethoven, Schubert, Brahms, Wagner, Mahler, and other, and will write exercises in the style of these composers.

MUSI W4540y. Histories of Post-1960's Jazz. 3 pts.

Historiographical issues surrounding the performance of jazz and improvised musics after 1960. Topics include genre and canon formation, gender, race, cultural nationalisms, economics and infrastructure, debates around art and the vernacular, globalization, and media reception. Reading knowledge of music is not required.

MUSI G4601x. Musical Interactivity. Prerequisites: Basic computer operating system knowledge.

The course explores programming techniques and concepts in computer music interactivity, or the creation of compositions that incorporate software that responds to live musical performance, environmental activity, and other real-world contingencies. The Max/MSP programming platform is sued for MIDI, digital audio, and other interfacing techniques. Interactive works from the worlds of music, visual art, and performance are also presented. Basic knowledge of computer operation is required; basic knowledge of MIDI, Max/MSP, and/or digital audio is recommended.

MUSI G6105. Proseminar in Historical Musicology. 3 pts. Introduction to Historical Musicology: the history of the discipline, major areas of research, source materials, and methodological problems.

MUSI G6130. Music and Aesthetics in the Age of Enlightenment. 3 pts. Not offered in 2009-2010. The issues and ideals of Enlightenment philosophy and aesthetics provide the context for an exploration of 18th-century musical controversies and repertories including works by Rousseau, Gluck, C.P.E. Bach, Haydn, Mozart, and others.

MUSI G6175. Historical Survey of the Cultural Theory of Music. 3 pts. Not offered in 2009-2010. Introduction to the main bodies of modern cultural theory, how these theories help to understand the music, and how to formulate new questions.

MUSI G6240. The Social Science of Music. 3 pts. Not offered in 2009-2010. An introduction to the intellectual history of Ethnomusicology in the context of the history of musical scholarship in the 20th-century.

MUSI G6244. Tonal Composition. 3 pts. Not offered in 2009-2010. Prerequisite: basic music theory sequence or its equivalent. Training in composing in tonal styles, including: Baroque fugues; Classical minuets, variations, and sonata-form movements; Romantic songs and preludes.

MUSI G6250y. Introduction to Music Cognition. 3 pts.

The study of music cognition from the perspective of music theory with interdisciplinary connections to psychoacoustics, theoretical linguistics, and especially cognitive psychology.

MUSI G6300x (Section 001). Introduction to the History of Music Theory. 3 pts.

Survey of the theoretical issues underlying musical practice from the Middle Ages to the present day and of the body of theoretical writings about music from Boethius to contemporary theorists.

MUSI G6302x (Section 001). Introduction to Set Theory. 3 pts.

A study of the basic principles of set theory. Concepts illustrated with examples from the atonal and twelve-tone repertory.

MUSI G6305y. Introduction to Schenkerian Analysis. 3 pts.

A study of the basic principles of Schenkerian theory: the Halics; principles of composing-out; middleground and foreground prolongation through arpeggiation, unfolding, linear progressions, register transfers, voice exchange, coupling; diminutions. Concepts illustrated with examples from the tonal literature.

MUSI G6330. 18th-Century Counterpoint. 3 pts.

Study of 18th-century counterpoint through compositional exercises, including: fughettas (after Fux); invertible counterpoint and canon; and inventions and fugues (in the style of Bach).

MUSI G6333y. Proseminar In Music Theory. 3 pts.

Overview of current work in Music Theory, an analysis, perception, and philosophy. Major areas of research and methodological challenges.

MUSI G6345. Theories of Rhythm and Meter. 3 pts. Not offered in 2009-2010. Analysis of rhythm and meter in selected tonal compositions. Study of recent theories of rhythm and meter by such writers as Cooper and Meyer, Cone, Berry, Epstein, Lerdahl and Jackendoff, Lester, and Kramer.

MUSI G6348. Theories of Music and Prosody. 3 pts. Not offered in 2009-2010. The grouping, stress, meter, and contour of lines of poetry treated in terms of their music counterparts, drawing on recent linguistic and music theories.

MUSI G6360. Analysis of Pre-Tonal and Tonal Music. 3 pts. Not offered in 2009-2010.

As of Fall 2007, this course is being offered as G4360 (Analysis of Tonal Music), and is open to both advanced undergraduates and graduate students. See that listing for description and registration information.

MUSI G6370. Orchestration. 3 pts. Not offered in 2009-2010. Analysis of techniques in successful works from the past and explorations into the deeper understanding of orchestrational principles that our current knowledge of acoustics and our techniques of sonic and analysis offer. Empirical and theoretical knowledge are combined in an effort both to understand the masterworks of the past and to provide a framework of each composer's future personal explorations.

MUSI G6371. Advanced Orchestration. 3 pts. Prerequisites:W4525 (Instrumentation) and Orchestration and recommendation of Orchestration instructor for undergraduates. Permission of the instructor for graduate students (other than composition graduate students).

The Advanced Orchestration class explores orchestrational techniques under the light of our current knowledge of acoustics and sound analysis. It will focus on the late romantic era and on the 20th and 21st centuries. The most recent techniques (micro-tonality, extended instrumental techniques, electronics) will also be studied.

MUSI G6379x-G6380y. Music since 1900 (II) (formerly 20th-Century Styles and Techniques). 3 pts. Prerequisites: Permission of the instructor.

Investigation and analysis of styles and techniques of music since 1900, carried out in part through individual projects. (Prior to Spring 2008, the course was titled 20-Century Styles and Techniques.)

MUSI G6411-G6412. Proseminar in Ethnomusicology. 3 pts. Introduction to Ethnomusicology: the history of the discipline and the evolution of theories and methods.

MUSI G6440x. Suvivors' Music. Prerequisites: Permission of the instructor.

This course will examine the role of music in the lives of survivors of traumatic experiences and discover why music is a special expressive resource for such people. Examples from survivors' music about the nature of traumatic events that other expressive and documentary resources do not yield will be utilized. Course is interdisciplinary and the use of these examples to explore these issues is from a social, cultural, psychological and musicological perspective. Geared towards advanced undergraduates and graduate students from all disciplines.

MUSI G6601-G6602. Basic Electroacoustics. 3 pts. Prerequisite: instructor's permission. In this year-long sequence students gain familiarity with the materials used in electroacoustic music and the techniques and equipment that are employed to transform and organize these materials into compositions. Individual projects are assigned.

MUSI G6610-G6611. Computer Music. 3 pts.

Prerequisites: Music G6601-G6602 and instructor's permission. This year-long sequence explores advanced topics relating to the production of music by computer. Although programming experience is not a prerequisite, various programming techniques are enlisted to investigate interface design, algorithmic composition, and computer analysis of digital audio. Some familiarity with computer music hardware/software is expected.

MUSI G6630y. Recorded Sound. 3 pts.

Prerequisite: instructor's permission. Strategies for the creation, manipulation, and dissemination of the recorded sound object. Students learn to use the recording studio as an instrument to write, record, and refine musical compositions.

MUSI G6801. Aesthetics and Politics. 3 pts. Not offered in 2009-2010. Opera and aesthetic theory in the context of Austro-Germanic Nationalism and national identity during three historical periods: the 1860-1870s, 1905-1914, and the 1930-1940s. Composers: Wagner, Strauss, and Berg; philosophical and critical readings include Schopenhauer, Nietzsche, Bloch, Adorno, and Mann.

MUSI G8096-G8097. Individual Projects. 3 pts. Sec. 1: Ethnomusicology; Sec. 2: Historical Musicology; Sec. 3: Music Theory; Sec. 4: Music Cognition; Sec. 5: Music Philosophy.

MUSI G8101-G8102. Seminar in Historical Musicology: the Middle Ages. 3 pts. Not offered in 2009-2010. Topic to be announced.

MUSI G8103-G8104. Seminar in Historical Musicology: the Renaissance. 3 pts. Not offered in 2009-2010. Topic to be announced.

MUSI G8105-G8106. Seminar in Historical Musicology: the Baroque. 3 pts. Not offered in 2009-2010. Topic to be announced.

MUSI G8107-G8108. Seminar in Historical Musicology: the Classical Period. 3 pts.

Topic to be announced.

MUSI G8109-G8110. Seminar in Historical Musicology: the Romantic Period. 3 pts. Topic to be announced.

MUSI G8111x-G8112y (Section 1). Sem in Hist.Mus the 20th C: Shostakovich. 3 pts. Prerequisites: Permission of the instructor.

Topic: Dmitrii Shostakovich: Exploring Soviet Cultural History Through the Prism of Music.

MUSI G8160y (Section 1). Topics in Musicology: Writing About Music. 3 pts. Prerequisites: Permission of the instructor.

Topics of recent interest and debate in the field of musicology. Investigation of new perspectives and methodologies, including trans-disciplinary ones, which are helping shape scholarship and writing.

MUSI G8205-G8206. Individual Projects in Computer Music. 3 pts. Prerequisite: instructor's permission.

MUSI G8207-G8208. Individual Projects in Music Composition. 3 pts. Prerequisite: instructor's permission.

MUSI G8231-G8232. Seminar in Music Composition I. 3 pts. Individual projects in composition.

MUSI G8233-G8234. Seminar in Music Composition II. 3 pts. Individual projects in composition.

MUSI G8237. Seminar: Research Projects. 3 pts. Not offered in 2009-2010. Prerequisite: adviser's permission.

MUSI G8250. FROM SOUND TO COMPOSITION. 3 pts.

An examination and evaluation of how electronics and computers have changed our relation to musical phenomena; the acoustic material, possible approaches, and milestones in a sonic universe in which the certainties of traditional scales and metrics are no longer in control.

MUSI G8311-G8312. Seminar in the History of Music Theory: the Middle Ages and Renaissance. 3 pts. Not offered in 2009-2010. Topic to be announced.

MUSI G8313-G8314. Seminar in the History of Music Theory: the Baroque and Classical Periods. 3 pts. Topic to be announced.

MUSI G8315-G8316. Seminar in the History of Music Theory: the Romantic Period. 3 pts. Not offered in 2009-2010. Topic to be announced.

MUSI G8317-G8318. Seminar in the History of Music Theory: the Modern Period. 3 pts. Not offered in 2009-2010.

Topic to be announced.

MUSI G8319. Seminar in Music Theory: Interdisciplinary and Humanistic Approaches. 3 pts. Not offered in 2009-2010. A study of the meanings and cultural significance of music and music theory; integration of music theory with areas outside of music, such as aesthetics, literary criticism, cognitive psychology, sociology of music, semiotics, phenomenology, theories of narrative, hierarchy theory, and linguistics.

MUSI G8330. Seminar in Music Theory: Theories of Pitch Space. 3 pts. Not offered in 2009-2010. Topic to be announced.

MUSI G8340x (Section 001). Seminar in Music Theory: Advanced Analysis. 3 pts.

Because the material to be studied varies, this course may be repeated for credit.

MUSI G8345-G8346. Seminar in Music Theory: Music and Time. 3 pts. Not offered in 2009-2010.

The nature of time and temporal experience.

MUSI G8360. Gender/Sexuality/Music: Theory, History and Criticism. 3 pts. Prerequisites: One graduate course in music and permission of the instructor.

Exploration of gender and sexuality studies in music theory and historical musicology. Music explored will include classical music, popular music and jazz.

MUSI G8405. Music, Consumption, and Culture. 3 pts. Not offered in 2009-2010. Consumption has only recently emerged as a significant topic in academia, even though in many ways the 20th century can be seen as the century of consumption in the West. This course examines the phenomenon of consumption theoretically, historically, and ethnographically.

MUSI G8410. Seminar in Ethnomusicology: Music Theories and Structures. 3 pts. An examination of prescriptive and analytical thinking about music in selected major musical traditions, emphasizing sound and structure.

MUSI G8411. Seminar in Ethnomusicology: Transcription and Analysis. 3 pts. Not offered in 2009-2010. An application of current techniques to source materials from various cultures.

MUSI G8412y. Seminar in Ethnomusicology: Field Methods and Techniques I. 3 pts.

A study of the theoretical and practical aspects of ethnomusicological field work, using the New York area as a setting for exercises and individual projects.

MUSI G8413. Seminar in Ethnomusicology: Field Methods and Techniques II. 3 pts. Prerequisite: Music G8412. A study of the theoretical and practical aspects of ethnomusicological field work, using the New York area as a setting for exercises and individual projects.

MUSI G8414. Seminar in Ethnomusicology: Asia. 3 pts. Not offered in 2009-2010. Topic to be announced.

MUSI G8415. Seminar in Ethnomusicology: Africa. 3 pts. Not offered in 2009-2010. Topic to be announced.

MUSI G8416. Seminar in Ethnomusicology: the Americas. 3 pts. Not offered in 2009-2010. Topic to be announced.

MUSI G8417. Seminar in Ethnomusicology: Europe. 3 pts. Not offered in 2009-2010. Topic to be announced.

MUSI G8418. Seminar in Ethnomusicology: Oceania and Australia. 3 pts. Not offered in 2009-2010. Topic to be announced.

MUSI G8420. Individual Projects in Ethnomusicology I. 3 pts. Not offered in 2009-2010. Prerequisite: instructor's permission.

MUSI G8421. Individual Projects in Ethnomusicology II. 3 pts. Prerequisite: instructor's permission.

MUSI G8500. M.Phil. Seminar. 3 pts. Individual work with an adviser to develope a topic and proposal for the Ph.D. dissertation.

MUSI G8600y. Seminar in Jazz: New York Jazz: Social and Musical Context within the Cityscape. Not offered in 2009-2010.

Uses New York City as the object of study, addressing current issues particular to the urban environment and the relationship of jazz music and New York. Surveys the state of jazz music, scholarship, criticism, business, and education.

MUSI G9401-G9402. Seminar in Advanced Ethnomusicology I. 3 pts. Prerequisites: Permission of the instructor.

In the last two decades, cultural studies scholars, professionals in public spaces and community leaders from different regions of the world have increasingly proposed the idea that cultural policy is a crucial area of intervention for constructing cultural pluralism and processes of democratization. Although the praxis of cultural policy is not new for many areas of the world, its globalization as an important cultural arena poses new challenges. This growing emphasis on cultural policy coincides with the emergence of diversity as a socio-political paradigm, the changing role of social movements within the public sphere, the global neoliberalization of the economy, the enhanced circulation of cultural property and a crisis in the notion of personhood that cannot easily be explained by recourse to the idea of pluralization of identities. Music is a crucial aspect of the redefinition of the role of culture and cultural policy in society since all of the above processes are frequently mediated through music and therefore structured by it. The purpose of this course is to explore modes of understanding the emerging relations between personhood, publics and musical texts.