Music Academia

OK, now I see that you are right. Columbia is as you said. And the Aaron Copland school is part of Queens College, but the CUNY graduate center is where they do the doctorate programs, and those guys, like Peter Manuel and David Del Tredici, presumably all have PhDs.

New School doesn't award doctorates. Manhattan School of Music does. Wonder how that works.

Oh yeah, the theorists at the CUNY Graduate Center are all hardcore academics with PhDs from Ivies.

Check out some of their publication records.

Just looked at Peter Manuel's a little while ago since I recently bought one of his books.

He got his advanced degrees at the UCLA Herp AlbertHerb Alpert School of Music Department of Ethnomusicology. Is that a good place?

I was referring to the people in the theory/analysis department at CUNY as opposed to the musicologists but, yes, UCLA's musicology and ethno departments are legendary.

What about sociologists writing about music? How do they fit in? I recently read an excellent book called Creating Country Music: Fabricating Authenticity by Richard A. "Pete" Peterson who was a professor at Vanderbilt University. I would be willing to read more in a similar vein if I knew what there was.

I'm not sure what you mean by "fit in"?

apologies for the hugeness of the jpg; this is part of the Black Music Division's offerings, from a (mid/late 70s, I'm guessing) Bennington College course catalog. The division itself lasted from 1974 to around 1985 when it was merged with the "regular" music division. It was started/chaired by Bill Dixon, and the faculty included, at various times, George Barrow, Arthur Brooks, Jimmy Garrison, Milford Graves, Jimmy Lyons, and others.
http://24.media.tumblr.com/tumblr_lz56rcdLDg1qjhejro1_1280.jpg

I'm not sure what you mean by "fit in"?

Oh, there is definitely interaction, especially when it comes to popular music studies and ethnomusicology. The former field was arguably pioneered by sociologists. Anthropologists have always played a role in the latter. This guy headed the music and sociology departments (at different times) at my alma mater: http://carleton.ca/music/people/shepherd-john-2/ . (I read a Peterson article in his 1st year class, actually.)

Thanks. One more thing: Doctor of Musical Arts is a less research oriented degree, no?

My understanding is that a DMA requires a strong applied component. So yes, I think. But, honestly, it is not a degree that was offered at any place where I have studied (unless maybe there were performers taking it?).

Places I am aware of that award it, NEC, MSM, North Texas (since 2011)

Posted too early. All these places big on jazz performance and education, none research universities.

UNT is a well-respected place for composition (especially) and theory.

Right but could somebody who came out of there with the newly minted DMA compete for one of the six jobs you mentioned?

Actually, the composer they hired (they were one of the six) has a DMus from Northwestern!

So I'll slightly edit my earlier to post to "... has a doctorate from a top-tier institution...)

"

Which composer? Columbia hiree has PhD from Chicago, one step off in both dimensions.

http://www.kirstenbroberg.com/bio.html

"Six positions in the world" referred to the number of TT composition-only positions. There were roughly 30ish f/t theory/composition positions, probably 40-50ish teaching-oriented theory or theory/musicianship positions. (Research-oriented theory-only positions would be another category and one that is totally inaccessible to me.)

Composition is a little weird: most of the composition-related uni positions are theory/composition or technology/composition so you generally want to be strong academically in at least one of those areas. However, to get a straight-up composition-only position, your musical accomplishments as a composer seem to be what really matter.

Have an NEC graduate in front of me. Will ask him about what he knows about that program when I get a chance.

"I don't know. I'm on the performance side."

I definitely went through the "meandering through the notes" business when I took jazz improv in college. What I was unable to get to was the point of real thematic construction and elaboration.

Sorry, wrong thread...

Reading a great book by

One of those UCLA graduates. Will report back later.

In the meantime you can read this article by the late Katherine J. Hagedorn: http://www.hds.harvard.edu/news-events/harvard-divinity-bulletin/articles/toward-a-theology-of-sound

Just realized that a friend of mine recently took a counterpoint class with David Del Tredici.

Now I remember a while back he was talking about David Del Tredici and someone else, a composer with some mental issues, maybe a twin with some other issues, related to someone else well-known. Must...relax and...let the subconscious mind retrieve the name..or try google. Ah, yes, Allen Shawn.

Just was at the MSM website and one of the pictures on the front page was an award-winning student whose name suggested she was a distant cousin of yours.

Ha, try Googling my last name to see how many 'distant cousins' I have.:P

'Swat I figured

A little startling to see this: https://www.forbes.com/sites/michaeltnietzel/2021/03/17/mills-college-to-end-new-admissions-after-this-fall-and-stop-offering-four-year-degrees-in-2023/