Laura Dolp teaches undergraduate history and a diverse range of graduate seminar special topics. Her interdisciplinary research explores the historical agency of music as a site of human transformation: including music and spirituality, the interrelation of music and social spaces, mapping and musical practices, and the poetics of the natural world. Currently she is working on two book projects; one that examines the historical relationship between cartography and the musical score, Maps and Music: Stories of the Cartographic Score, and another that considers the creative use and reception of the music of the Estonian composer Arvo Pärt, entitled Arvo Pärt and Visual Culture. She has edited Arvo Pärt’s White Light: Media, Culture, Politics (Cambridge University Press, 2017) and is co-contributor to Cambridge Companion to Arvo Pärt (Cambridge University Press, 2012), Artistic Citizenship: Artistry, Social Responsibility, and Ethical Praxis (Oxford University Press, 2016) and The Oxford Companion to Music and Medievalism (Oxford University Press, 2018). Her research also appears in 19th-Century Music, the Journal of Musicological Research and altrelettere. She holds a PhD in Historical Musicology from Columbia University.
Professor of Music
Jeffrey Gall made his Metropolitan Opera debut in 1988 – the first countertenor ever to sing at the Met. He sang Tolomeo in Handel’s Giulio Cesare, and in 1994 returned to the Met for Britten’s Death in Venice. He studied voice at the Yale School of Music with Blake Stern, and holds degrees in Slavic languages from Princeton and Yale Universities. He sang with such early music ensembles as the Waverly Consort and Pomerium Musices early in his career and then moved on to solo roles in Baroque and contemporary opera. He has sung principal roles at La Scala, Teatro San Carlo (Naples) and La Fenice in Italy; the Théâtre des Champs-Élysées and the Salle Garnier in France; the Monnaie in Brussels; the Netherlands Opera; the Cologne and Frankfurt Operas in Germany; the Canadian Opera, as well as the Spoleto, Edinburgh, Innsbruck, Halle, Schwetzingen, and Bordeaux Festivals. In the United States he has sung at the San Francisco, Chicago Lyric, Santa Fe, Los Angeles, Dallas, Philadelphia, and Boston Operas, and has made many concert appearances at Lincoln Center and Carnegie Hall in New York, as well as at the Kennedy Center in Washington. He has recorded for CBS, Harmonia Mundi, Erato, Nonesuch, Titanic and Smithsonian Records, and appears in the title role on the London video of Peter Sellars’ production of Handel’s Giulio Cesare. Prof. Gall has conducted clinics and master classes in both standard repertory and early-music techniques at music schools across the United States. In addition, he is a founding member of the Italian vocal ensemble Il Terzo Suono.
Pianist David Witten has performed extensively in Europe, Russia and South America. As a 1990 Fulbright Scholar, he spent five months in Brazil. Witten has recorded piano music of various Latin American composers. Witten’s involvement in music has not been limited to performance. He is editor of Nineteenth-Century Piano Music: Essays in Performance and Analysis (Garland, 1997), which includes his landmark analytical study of the Chopin Ballades. Born in Baltimore, Witten studied at Peabody Conservatory and Rubin Academy of Music in Jerusalem. His undergraduate studies at Johns Hopkins University led to a degree in Psychology. Later graduating with high honors from Boston University, he earned the DMA degree in piano performance. Witten is currently Coordinator of Keyboard Studies at the Cali School of Music at Montclair State University.
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Maja Cerar is a violinist, musicologist and multimedia creator. She earned her Master of Arts, Master of Philosophy and Doctor of Philosophy degrees in Historical Musicology at Columbia University with a dissertation on Schubert’s late string quartets, advised by Profs. Walter Frisch and Joseph Dubiel. She is a member of the Associate Faculty of the Music Performance Program at Columbia University, where she teaches chamber music and individual lessons. She has also taught undergraduate and graduate music courses at Columbia University, Fordham University, Rutgers University and Brooklyn College, CUNY. Ms. Cerar’s performance repertoire ranges from the Baroque to the present, and her stage experience, besides solo and chamber music, includes performances with live electronics as well as theater and dance productions. She has a continuing interest in new music and has worked with composers Sebastian Currier, Beat Furrer, György Kurtág, Tania León, Alvin Lucier, Katharine Norman, Morton Subotnick and John Zorn, as well as many emerging New York composers. She has also premiered and recorded numerous works written for and dedicated to her.
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Lucie Vágnerová is a Core Lecturer in Music Humanities at Columbia University, where she got her PhD in Historical Musicology in 2016. Her dissertation, titled “Sirens/Cyborgs: Sound Technologies and the Musical Body,” explores the political stakes of women composers’ work with sound technologies that extend the body (vocal filters, synthesized voices, technologies of broadcast, gesture controllers). Her other research spans J-pop, hip-hop and women’s labor in the transnational electronics assembly industry. Dr. Vágnerová has presented her work at a number of cross-disciplinary conferences and served on the editorial board of Current Musicology and as Assistant Editor of Women & Music. She has taught courses on Western art music, sound technology, and sound art at the Department of Music and the Institute for the Research of Women, Gender, and Sexuality at Columbia.
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Reba Wissner received her MFA and PhD in musicology from Brandeis University and her BA in Music and Italian from Hunter College of the City University of New York. She is the author of articles on seventeenth-century Venetian opera, Italian immigrant theater in New York City, music in 1950s and 1960s television, and music history pedagogy and has presented her research on these topics at conferences throughout the United States and Europe. She is the author of A Dimension of Sound: Music in The Twilight Zone (Pendragon Press, 2013) and We Will Control All That You Hear: The Outer Limits and the Aural Imagination (Pendragon Press, 2016) and is currently working on both her third book, Music and the Atomic Bomb in American Television, 1950-1969 (under contract with Peter Lang International Academic Publishers, forthcoming in 2020) and a collaborative book and database project called Cues and Contracts: Music and the American Television Industry that examines music cues and their reuses, as well as administrative documents related to American television music production. She is also co-editing a volume on the music and sound design in Twin Peaks. Dr. Wissner is the recipient of numerous awards and grants including a travel grant to Venice for dissertation research from the Andrew W. Mellon Foundation and a Sight and Sound Subvention from the Society for American Music.