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George E. Lewis

Faculty of Composition CMC Historical Musicology Edwin H. Case Professor of American Music, Composition & Historical Musicology full-time faculty Composition Area Chair (2021–22) Director of the Reiner Center (2021–22) Office address: 615 Dodge Office hours: By appointment gl2140@columbia.edu (212) 854-5837 New music box: George E. Lewis - The story is told

George E. Lewis is Edwin H. Case Professor of American Music at Columbia University, where he is an Area Chair in Composition and a Faculty in Historical Musicology. Lewis is a Fellow of the American Academy of Arts and Sciences, the American Academy of Arts and Letters, and a Corresponding Fellow of the British Academy. Other honors include a MacArthur Fellowship (2002) and a Guggenheim Fellowship (2015), a Doris Duke Artist Award (2019), a United States Artists Walker Fellowship (2011), an Alpert Award in the Arts (1999) and fellowships from National Endowment for the Arts.

Lewis studied composition with Muhal Richard Abrams at the AACM School of Music and trombone with Dean Hey. A member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Lewis' work in the fields of electronic and computer music, computer-based multimedia installations as well as recorded and improvisative forms is documented on more than 150 recordings. His works have been presented by the BBC Scottish Symphony Orchestra, London Philharmonia Orchestra, Radio-Sinfonieorchester Stuttgart, Mivos Quartet, Boston Modern Orchestra Project, London Sinfonietta, Spektral Quartet, Talea Ensemble, Dinosaur Annex, Ensemble Dal Niente, Ensemble Pamplemousse, Wet Ink, Ensemble Erik Satie, Eco Ensemble and others, with commissions from the American Composers Orchestra, International Contemporary Ensemble, Harvestworks, Ensemble Entweder / Or, Orkestra Futura, Turning Point Ensemble, Studio Dan, San Francisco Contemporary Music Players, Vancouver Cultural Olympiad 2010, IRCAM, Glasgow Improvisers Orchestra and others. Lewis ’music was released by Edition Peters.

Lewis was the Fromm Visiting Professor of Music at Harvard University; Ernest Bloch Visiting Professor of Music, University of California, Berkeley; Paul Fromm Composer in Residence, American Academy in Rome; Resident Scholar, Center for Disciplinary Innovation, University of Chicago; and CAC Fitt Artist in Residence, Brown University. Lewis received the 2012 SEAMUS Award from the Society for Electro-Acoustic Music in the USA and his book, A force stronger than itself: The AACM and American experimental music (University of Chicago Press, 2008) received the American Book Award and the Music in American Culture Award from the American Musicological Society; Lewis was elected an honorary member of the Society in 2016. Lewis is co-editor of the two volume Oxford Handbook of Critical Improvisation Studies (2016) and his opera epilogue (2015), commissioned by the University of Chicago's Gray Center for Arts and Inquiry, was performed in the USA, Great Britain and the Czech Republic.

In 2015 Lewis received a Doctor of Music degree (DMus, A matter of honor) from Edinburgh University. In 2017, Lewis received a Doctor of Humane Letters (PhD, honoris causa) from the New College of Florida. Lewis received a Doctorate in Music from Harvard University in 2017.

Professor Lewis came to Columbia in 2004 after previously teaching at the University of California, San Diego, Mills College, the School of the Art Institute of Chicago, the Koninklijke Conservatorium Den Haag, and the Contemporary Arts Summer Institute at Simon Fraser University.

George Lewis and Vijay Iyer in concert

At the AAR, Arnold Davidson and George Lewis on 'Improvisation as a way of life'

George Lewis and Marina Rosenfeld Sour Mash

Either / Or: George E. Lewis - Thistledown (World Premiere)

George Lewis: Icons (2011)

Current publications

Das Oxford Handbook of Critical Improvisation Studies, Band I September 2016 Das Oxford Handbook of Critical Improvisation Studies, Band II September 2016 Wet ink: relay May 2012 A force stronger than itself: The AACM and American experimental music October 2009Degrees from other institutions: BA Philosophy Yale University1974

BOOKS

  • Lewis, George E. and Benjamin Piekut, eds. Das Oxford Handbook of Critical Improvisation Studies , Bd. 1&2. New York: Oxford University Press, 2016.
  • Lewis, George E. A force stronger than itself: The AACM and American experimental music . Chicago: University of Chicago Press, 2008.

SELECTED COMPOSITIONS AND INSTALLATIONS

  • H.narrans (2020), for voice and five instruments, 10 minutes in one movement. World premiere October 2020, Donaueschinger Musiktage (online), https://www.swr.de/swrclassic/donaueschinger-musiktage/elaine-mitchener -...

  • Blombos workshop (2020), composition for piano, commissioned by the Skaņu Mežs Festival for the pianist Agnese Eglina, Riga, Latvia, October 2, 2020, 25 minutes in one movement.

  • Kulokker (2020), version for brass band. Played by Oslo Band. World premiere at Ultima Festival, Oslo, Norway, September 2020. 20 minutes in one movement.

    over the rainbow original
  • Breaking out (2020), for harp, viola and bass flute. Performed by the New Gates Trio. 60 seconds in one movement. Premiere on France Musique, July 2020, https: //www.francemusique.fr/emissions/le-festival-france-musique/le-new ...

  • A little brain fog (2020), for violin solo. 3 minutes in one movement. Jennifer Koh premiere on June 9, 2020. https://www.youtube.com/watch?v=kHJ5B-lPtHs&t=1

  • Kulokker (2020), composition for wind orchestra. Performed by the Norwegian Naval Forces Band on behalf of the Borealis Festival, Bergen, Norway. World premiere on March 4, 2020. 20 minutes in one movement.

  • Big shoulders, sharp elbows (2020), composition for wind orchestra. Performed by the Norwegian Naval Forces Band on behalf of De Paul University. Performed at Borealis Festival, Bergen, Norway. World premiere on March 4, 2020. 8 minutes in one movement.

  • Lonnie and Lonie (2019), double concerto for orchestra with trumpet and piano. Written for Glen Whitehead (trumpet), Susan Grace (piano) and the Chamber Orchestra of the Springs under the direction of Thomas Wilson. World premiere November 24, 2019, First Methodist Church, Colorado Springs, Colorado. 12 minutes in one movement.
  • a whispered nine (2019), for quartet (s, fl, vla, perc), with text by Lyn Hejinian. Commissioned and premiered by the Soundscape Festival, Cesena, Italy, July 13, 2019
  • Konnektom (2019), for three chamber ensembles. Composed for Ensemble Adapter, Ensemble Dal Niente and Ensemble Distractfold. World premiere July 21, 2019, Radialsystem, Berlin, Germany.
  • Memory / mutation (2019), for two violins and live electronics. Commissioned and world premiere of the violin duo String Noise, Roulette Intermedium, Brooklyn, NY, June 6, 2019. 18 minutes in one movement.

  • Soundlines: A dreaming track (2019), for drummer-speaker and chamber ensemble with live electronics, with libretto by George Lewis, based on a text by Steven Schick. Commissioned by the Los Angeles Philharmonic Association and the International Contemporary Ensemble, with the support of the Ernst von Siemens Music Foundation. Premiere at Walt Disney Concert Hall, June 1, 2019. 22 minutes in one sentence.

    what is the difference between pandemic and epidemic
  • Apis (2019), for quartet. Commissioned and premiered by Loadbang, Opera America, New York City, April 18, 2019. 10 minutes in one sentence.

  • Remnants of the sky (2018), interactive, weather-controlled installation with multi-channel surround sound and light, composed for the James Turrell Skyspace at Rice University in Houston, Texas, as a forty-minute nightly sequel to Turrells Twilight Epiphany. The work summarizes the last fifteen hours of weather around the university for this day in light and sound. Software by Damon Holzborn.

  • Simultaneous tissue (2018), for harpsichord. Commissioned by the Miller Theater. Written for Mahan Esfahani and premiered by him on November 7, 2018 at the Miller Theater, New York City. 15 minutes in one sentence.

  • Many grams (2018), for several ensembles with situational form and flexible cast. Written for Ensemble Evolution and commissioned by the Banff Center for Arts and Creativity 2018, with support from the Gay Mitchell and Archie McIntosh Creation Endowment Fund. World premiere at Rolston Recital Hall, Banff Center for Arts and Creativity, Alberta, CA, June 29, 2018. Variable duration and number of movements.

  • float, sting (2018), on behalf of Bang On A Can All-Stars (cl / bcl, VC, drumset, pf, e-gtr, cb. Premiere at Abraham Merkin Hall, New York City, February 15, 2018. 9 minutes in one in motion.

  • Traveller's Dreams (2017), for Korean gugak Orchestra (Sogeum, 3 Daegeums, 3 Hyang-piris, Dae-piri, 5 Gayageums, 5 Geomungos, Janggu, Bak, Jing, Jegeum (large, medium), Daego, Buk (high, medium, low), Jwago, timpani, Yanggeum, Haegeum I, Haegeum II, So-ajaeng, 3 Dae-ajaeng). First performed by the Korea National Gugak Center Creative Traditional Orchestra under the direction of Jeong Chi-Yong. Pacific Rim Music Festival 2017, October 28th (Cal Performances, University of California, Berkeley) and October 29th (Music Center, University of California, Santa Cruz). 11 minutes in one movement

  • How we can feel (2017), for chamber ensemble (Vl, Vc, Cb, Pno, Fl, Asax, Tpt, Tbn, drums), 24 minutes in one movement. Commissioned composition and world premiere by Studio Dan, October 5, 2017, Musikprotokoll Festival, Graz, Austria.
  • Seismological (2017), for bassoon and computer sound processing, 24 minutes in one sentence. Commissioned by Dana Jessen. World premiere on April 25, 2017 at the Bohemian National Hall, New York City, under the auspices of the S.E.M. Ensemble under the direction of Petr Kotik. 24 minutes in one movement.

  • String quartet 2.5, playing with seeds (2017). Written for the Mivos Quartet. Commissioned by Music of the Centuries Stuttgart. Premiered February 5, 2017, Eclat Festival, Stuttgart, Germany. 20 minutes in one movement.
  • Spinner (2016-17), for cello solo. Commissioned and premiered by Mariel Roberts, National Sawdust, New York City, May 19, 2017. 14 minutes in one sentence.
  • The Oracle (2016), for trombone solo. Commissioned by Musikfabrik and world premiere by Bruce Collings, Huddersfield Contemporary Music Festival (UK), November 18, 2016. 12 minutes in one movement.
  • String Quartet 1.5, Experiments in Life (2016). Commissioned by the Fromm Music Foundation for the Spektral Quartet. World premiered October 7, 2016, Harris Theater, Chicago IL. 15 minutes in one movement.
  • Stories of the Traveler (2016), for chamber ensemble with soloist (fl, cl, tpt, e-gtr, e-bs, pc, pf, vln, vla, vc). Commissioned by the London Sinfonietta. World premiere 3rd April 2016, Coronet Theater, London, UK, by the London Sinfonietta, with Fred Frith, soloist for electric guitar. 23 minutes in one movement.
  • In the breach (2015), for two percussionists, two pianists and violin. World premiere on December 4, 2015, National Sawdust, Brooklyn, New York, by Yarn / Wire (percussion piano quartet) and Miranda Cuckson (violin). 15 minutes in one movement.
  • Calder (2015), for trombones, piano and percussion. World premiere on October 23, 2015, AACM Concert Series, Community Church of New York. Cast: Thurman Barker, Eli Fountain, drums; Tyshawn Sorey, trombone, piano, drums; George Lewis, trombone. 20 to 40 minutes in one or more movements.
  • Creative Building SetTM (2015), open form / instrumentation work. Commissioned work and world premiere by Berlin Splitter (large electroacoustic improvisation ensemble), Jazzfest Berlin, November 5, 2015. 20 to 50 minutes in one movement.
  • Not alone (2014-15), for cello and computer sound processing, 18 minutes in one movement. Written for Seth Parker Woods. World premiere on November 10, 2015, New York University.
  • Epilogue, an opera (2015), with libretto by George Lewis. World premiere 16.-17. October 2015, Museum of Contemporary Art Chicago, by the International Contemporary Ensemble, David Fulmer, conductor; Sean Griffin, director, in association with Catherine Sullivan. Duration about two hours.
  • Whispering bayou (2015), multi-channel videosonic installation, in collaboration with Carroll Parrott Blue and Jean-Baptiste Barriere. On display August 1 through November 1, 2015, Museum of Contemporary Art Houston.
  • The ancient world (2015), for sixteen solo voices (SSSSAAAATTTTBBBB), with text by Mei-Mei Berssenbrugge, 13 minutes in one movement. Written for the Helsinki Chamber Choir under the direction of Nils Schweckendiek. World premiere July 3, 2015, Time of Music Festival, Viitasaari, Finland (Viitasaari Music Time).
  • monument (2015), for voice and solid electronic sound carriers, with text by Keorapetse Kgositsile, 12 minutes in one sentence. Written for Elaine Mitchener. World premiere June 1, 2015, OVADA (Oxford Contemporary Music), The Warehouse, Oxford, United Kingdom.
  • A concert for Terry Adkins (2014), for quintet, video and computer sound processing. Written for Ensemble Pamplemousse with the assistance of the Homer in Harlem Project, Columbia University. World premiere December 2, 2014, St. Paul's Chapel, Columbia University, New York City. Duration about an hour.
  • The lack of practice (2014), for violin and piano. Written for the violinist MingXuan Xu and the pianist Winston Choi of the Ensemble Dal Niente, 14 minutes in one movement. On behalf of the McKim Fund in the Library of Congress. World premiere October 30, 2014, Elizabeth Sprague Coolidge Auditorium, Library of Congress, Washington, D.C.
  • Emerging (2014), for flute and computer sound processing. Written for Claire Chase and commissioned by the Pnea Foundation, 15 minutes in one sentence. Premiere on October 2-3, 2014 at The Kitchen Center, New York City.
  • flow (2014), for sixteen players (fl, cl, ob, bsn, hn, tpt, tbn, 2 pc, hp, pf, 2 vln, vla, vc, cb). Written for the Oberlin Contemporary Music Ensemble, 12 minutes in one sentence. First performed May 7, 2014, Warner Concert Hall, Oberlin, Ohio.
  • Memex (2014), for symphony orchestra. Written for the BBC Scottish Symphony Orchestra, 17 minutes in one sentence. Premiere on February 22nd, 2014, City Halls, Glasgow, Scotland.
  • Assembly (2013), for nine musicians (fl, cl / bcl, ss / ts, pc, hp, pf, vl, vla, vc). Written for Ensemble Dal Niente, 16 minutes in one sentence. World premiered October 18, 2013, Bowling Green New Music Festival, Bowling Green State University, Ohio.
  • Born forcibly (2013), for septet (Kl, Bsn, Hn, Vl, Vla, Vc, with optional drums and electronics). Written for the International Contemporary Ensemble, 25 minutes in six movements, premiered on August 22, 2013, Mostly Mozart Festival, Lincoln Center, New York City.
  • last words (2013), for choir (SATB), text by Charles Bernstein. Sections premiered at Walden School, Dublin, New Hampshire, August 2, 2013. The entire work is 5 minutes in one movement.
  • Hexis (2013), for sextet. Written for the San Francisco Contemporary Chamber Players (fl / bfl / picc, cl / bcl, perc, pf, vl, vc). 12 minutes in one movement, premiered on February 24, 2013.
  • Impromptu (2012), for ensemble with improvisation. Written for Ensemble Pamplemousse (fl / picc, Schlag, Pf, Soprano, Vl, Vc,. Variable duration, approx. 10 minutes in one movement, world premiere December 9, 2012, Brecht Forum, New York City.
  • contract (2012), for ensemble with improvisation. Written for Glasgow Improvisers Orchestra (variable scoring: nominal picc, 2 fl, ob, a.sax, t.sax, b.sax, horn, tp, 2 tbn, drumset, elec gtr, acoustic gtr, hp, pf, d, Schlag,, 2 soprano, Vc, 3 Cb, electronics). Variable duration, approx. 25 minutes in one movement, world premiere on December 1, 2012, Center for Contemporary Arts, Glasgow.
  • Mnemose (2012), for septet. Written for the Talea Ensemble (fl / ffl / picc, cl / bcl, perc, pf, vl, vla, vc). 14 minutes in one movement, world premiere on December 14, 2012, Mannes College of Music.
  • Can you (2012), for ensemble with improvisation. Written for Orkestra Futura (t.sax, tp, tb, elec gtr, a.sax, b.sax, drumset, pf, vl, cb, electronics). Variable duration, approx. 16 minutes in one sentence, premiere on November 23, 2012.
  • Merce and baby (2012), for quartet. Written for the John Cage 2012 Centennial Festival, Washington DC (fl, vl, vc, drums / drums), 9 min in one sentence. World premiere September 9, 2012, National Gallery of Art, Washington DC. 9 minutes in one movement.
  • Thistledown (2012), piano trio with drums. Written for ensemble either / or (Vl, Vc, Perc, Pf), 11 minutes in one sentence. World premiere April 27, 2012, The Kitchen, New York City
  • The will to decorate (2011), composition for large chamber ensemble. Written for the International Contemporary Ensemble; World premiere November 12, 2011, Miller Theater, New York City. 16 minutes in one movement.
  • Anthem (2011), composition for voice, chamber ensemble and electronics. Written for the Wet Ink Band. 11 minutes in one movement.
  • Spiritual exercises for eight instruments and computer sound processing. Forum de Blanc-Mesnil, Paris region. Commissioned by the Banlieues Bleues Festival, Arnaud Petit (conductor).
  • Symbol , sculptural-sound installation by Eric Metcalfe and George Lewis, with the corresponding composition for eight instruments by George Lewis, 13 minutes in one movement. Premiere: January 27, 2010, Vancouver, BC Canada. Commissioned by the Vancouver Cultural Olympiad 2010.
  • Sour mash , Composition for vinyl turntablists by George Lewis and Marina Rosenfeld. First performance at the New York Electronic Art Festival, Frederick Loewe Theater, New York University, October 26, 2009. Variable duration in one sentence.
  • December 4th / Something like Fred , Composition for creative orchestra. Commissioned and presented by Millennium Park, City of Chicago. First performed August 2, 2009, AACM Great Black Music Ensemble. 11 minutes in one movement.
  • The painted bed , Composition for tenor and viola, with text by Donald Hall. Commissioned and presented by Works and Process, Guggenheim Museum, New York City, Nov. 10-11. May 2009. 7 minutes in one sentence.
  • Travel report , Sound installation. On display at the Studio Museum in Harlem, November 2008-March 2009.
  • Interactive duo (Version one, 2007), composition for interactive computer-controlled piano and human instrumentalist. Variable duration in one movement.
  • Interactive duo (Version 2, 2007), composition for two interactive computer-controlled pianos. Variable duration in one movement.
  • Interactive trio (2007), composition for interactive computer-controlled piano, human pianist, and additional instrumentalists. Variable duration in one movement.
  • Artificial Life 2007 , Composition for improvisers with open cast. Commission, Scottish Arts Council, for the Glasgow Improvisers' Orchestra. World premiere December 2007, Institute of Contemporary Arts, Glasgow, Scotland. Variable duration in one movement.
  • Exhibition, Rio Negro II , robotic acoustic sound installation, Contemporary Art Museum Houston, May 2007
  • Commission, Harvestworks, new work for robotic sound sculptures. Premiere, 3-Legged Dog Art and Technology Center, New York City, May 2007
  • Hallo Mary Lou (2007) for chamber ensemble and live electronics. World premiere, Vancouver, BC, January 2007. 30 minutes in one sentence.
  • Virtual concert (2004) for improvising computer piano soloists and orchestra. World premiere, Carnegie Hall, April 2004, American Composers Orchestra. 16 minutes in one movement.
  • Crazy quilt (2002), composition for infrared-controlled 'virtual percussion' and four percussionists classically trained in Europe.
  • Informationsstation Nr. 1 (2000), multi-screen interactive video installation for the Point Loma wastewater treatment plant, San Diego, California. Commissioned by the San Diego Commission for Arts and Culture, with support from the National Endowment for the Arts.
  • Ring Scream Walk (1998), for saxophone quartet, commissioned by the Lila Wallace / Readers Digest Commissioning Program and premiered in October 1998 by the ROVA Saxophone Quartet, Spruce Street Forum, San Diego, CA. Performances planned in the US and Europe.
  • Significant riffs (1998), for string quartet and percussion. New York premiere, November 2000, Association for the Advancement of Creative Musicians concert series.
  • Nordstern Boogaloo (1996), for drummers and computers. First performed February 1996, Mandeville Auditorium, UCSD. Steven Schick, drums. Numerous appearances internationally. 15 minutes in one movement.
  • Collage (1995), for poets and chamber orchestra. First performed November 1995, Society for Ethical Culture, New York City. Quincy troop, poet.
  • Endless scream (1994), composition for piano, world premiere in March 1994, De Ijsbreker, Amsterdam, Frederic Rzewski, pianist. 14 minutes in four movements.
  • Virtual discourse (1993), composition for infrared controlled 'virtual percussion' and four percussionists classically trained in Europe. First performed October 1993, Museum of Fine Arts, Bordeaux, France.

ITEMS

  • Lewis, George E. Toni Dove's non-modern ontologies. in the Toni Dove: Embodied machines , herausgegeben von Matthew McLendon, 31-41. New York: Scala Arts Publishers & John and Mable Ringling Museum of Art, 2018.

  • Lewis, George E. 'Why do we want our computers to improvise?' in the The Oxford Handbook of Algorithmic Music , edited by Alex McLean and Roger T. Dean, 123-30. New York: Oxford University Press, 2018.
  • Lewis, George E. 'The Situation of a Creole. Convened in Defining Twentieth- and Twenty-First-Century Music, Forum and edited by David Clarke. 20th century music 14/3 (2017): 442-46.

  • Lewis, George E. 'The Sound of Terry Adkins. in the Terry Adkins: Recital , edited by Ian Berry. Saratoga Springs, New York: Frances Young Tang Teaching Museum and Art Gallery at Skidmore College; Munich, London and New York: DelMonico Books / Prestel, 2017

  • Lewis, George E. From Network Ribbons to Ubiquitous Computing: Rich Gold and the Social Aesthetics of Interactivity. in the Improvisation and social aesthetics , edited by Georgina Born, Eric Lewis, and Will Straw, 91-109. Durham and London: Duke University Press, 2017.
  • Lewis, George E. Soprano part for Impromptu. In B AX 2016: Best American Experimental Writing , edited by Charles Bernstein and Tracie Morris, 106. Middletown: Wesleyan University Press, 2017.

  • Lewis, George E. Foreword. in the Christian Wolff, Occasional Pieces: Writings and Interviews, 1952-2013 , vii-xv. New York: Oxford University Press, 2017.
  • Lewis, George E. and Benjamin Piekut. 'Introduction: On Critical Improvisational Studies.' in the The Oxford Handbook of Critical Improvisation Studies, Volume I, edited by George E. Lewis and Benjamin Piekut, 1-36. New York: Oxford University Press, 2016.
  • Lewis, George E. Foreword: Who is Jazz? in the Jazz worlds / world language , edited by Philip V. Bohlman and Goffredo Plastino, ix-xxiv. Chicago and London: University of Chicago Press, 2016.
  • Lewis, George E. Are there scores for this type of music, Mr. Patterson? Music lyrics 151 (November 2016).
  • Lewis, George E. Benjamin Patterson, 1934-2016. Art forum (November 2016): 73-74, 204.
  • Lewis, George E. Pierre Boulez, 1925-2016. Art forum (May 2016): 77-78, 80.
  • Lewis, George E. Clockwork: Stockhausen's Sound. Art forum (March 2016): 135-36, 298.
  • Lewis, George E. Foreword: In Gay guerrilla: Julius Eastman and his music , published by Renée Levine Packer and Mary Jane Leach, vii-xix. Rochester: University of Rochester Press, 2016.
  • Lewis, George E. 'Die Unzeitlichkeit des Blues / The Timeless Blues' (revised bilingual version, German and English). in the I Got Rhythm: Art and Jazz since 1920, edited by Ulrike Groos, Sven Beckstette, and Markus Müller, Simpson. New York, 246-257 Munich and London: Prestel, 2016.
  • Lewis, George E. Jennie C. Jones: “Amazing Parallels.” In Jennie C. Jones: Compilation , edited by Valerie Cassel Oliver, 18-23. Houston: Gregory R. Miller / Museum of Contemporary Art Houston, 2015.
  • Lewis, George E. Expressive Awesomeness: New Music and Art in Chicago, 1965-75. in the The principle of freedom: experiments in art and music, 1965 to the present day , edited by Naomi Beckwith and Dieter Roelstraete, 115-127. Chicago and London: Museum of Contemporary Art Chicago in collaboration with the University of Chicago Press, 2015.
  • Lewis, George E. What is a co-author? Pew Center for Arts and Heritage (2014)
  • Lewis, George E. enter open or closed space (diagrammatic version of the text score by Benjamin Patterson). In Patterson, Benjamin. Sneak Review: a free staging . Edited by Petra Stegmann. Potsdam: Down with Art !, 2014.
  • Lewis, Georg. Review of The Shadows Took Shape, exhibition at the Studio Museum in Harlem. Art forum (Summer 2014): 359-60.
  • Adkins, Terry, and George Lewis. Event results: Terry Adkins and George Lewis in conversation. Art forum (March 2014): 244-53.
  • Lewis, George E. Collaborative Improvisation as Critical Pedagogy. Nka: magazine for contemporary African art 34 (spring 2014): 40-47.
  • Lewis, George E., and John Corbett. 'George E. Lewis in conversation with John Corbett.' Nka: magazine for contemporary African art 34 (spring 2014): 52-54.
  • Lewis, George E. 'Benjamin Patterson's Spiritual Exercises'. in the Tomorrow the question is: new ways in experimental musicology , edited by Benjamin Piekut, 86-108. Ann Arbor: University of Michigan Press, 2014.
  • Lewis, George E. Improvisation. Im Grove Dictionary of American Music, 2. Auflage, Ed. Charles Hiroshi Garrett. Oxford and New York: Oxford University Press (2014), 311-318.
  • Lewis, George E. 2013. 'Critical Responses to' Theorising Improvisation (musical). ' Musiktheorie Online 19, Nr. 2. Available at http://mtosmt.org/issues/mto.13.19.2/mto.13.19.2.lewis.php .
  • Lewis, George E. Christian Wolff: An Aesthetics of Suggestion. Liner notes too Christian Wolff: 8 Duos , New World 80734 (2 CDs), 2012.
  • Lewis, George E. 'The Timeless Blues'. in the Blues for smoke , edited by Bennett Simpson. New York and London: Prestel / Museum of Contemporary Art Los Angeles (2012), 74-91.
  • Lewis, George E. 'In Search of Benjamin Patterson: An Impromptu Journey.' in the Benjamin Patterson: Born in the state of FLUX / us , edited by Valerie Cassel Oliver. Houston: Museum of Contemporary Art Houston (2012), 126-137. Reprinted in Callaloo, Flight. 35, No. 4, 979-991.
  • Lewis, George E. Review of Robert R. Faulkner and Howard Becker, 'Do You Know ...?': The Jazz Repertoire in Action. Sociology of Culture, Vol. 5, No. 4 (December 2011), 559-61.
  • Lewis, George E. American Musicology and Nomadic Noise. Journal of the American Musicological Society, Vol. 64, No. 3 (Fall 2011), pp. 691-695.
  • Lewis, George E. When improvisers speak, where do their words go? In Da Rin, Renate, ed. Silent Solos: improvisers speak. Cologne: Buddy's Knife, 2010, 11.-13.
  • Lewis, George E. Review too Freedom Sounds: Civil rights call for jazz and Africa , by Ingrid Monson (New York: Oxford University Press, 2007). Journal of the Society for American Music, Vol. 3, No. 3 (2009), pp. 365-369.
  • Lewis, George E. Interactivity and Improvisation. In Dean, Roger T., ed. The Oxford Handbook of Computer Music . New York and Oxford: Oxford University Press (2009), 457-466.
  • Lewis, George E. Benjamin Patterson: Piece of Paper. Chamber Music, September-October 2009, 107.
  • Lewis, George E. 'The Virtual Discourses of Pamela Z.' In Hassan, Salah M. and Cheryl Finley, eds. Diaspora, remembrance, location: David Hammons, Maria Magdalena Campos-Pons, Pamela Z. Munich: Prestel (2008), 266-281.
  • Lewis, George E., 'Foreword: After Afrofuturism. Journal of the Society for American Music, Volume 2, Number 2, pp. 139-153 (2008).
  • Lewis, George E., “Improvisation and Pedagogy: Background and Focus of the Study. Critical Studies on Improvisation, Vol. 2, No. 3, No. 2 (2008), 1-5
  • Lewis, George E., 'Stan Douglas's Suspiria: Genealogies of Recombinant Narrativity.' In Stan Douglas - Past Imperfect: Works 1986-2007. Ostfildern, Germany: Hatje Cantz Verlag, 42-53 (2008).
  • Lewis, George E., 'Improvising Tomorrow's Bodies: The Politics of Transduction.' E-misférica, Bd. 4.2, November 2007. Erhältlich bei http://www.hemi.nyu.edu/journal/4.2/eng/en42_pg_lewis.html
  • Lewis, George E., 'Mobilitas Animi: Improvise Technologies, Intend Opportunities.' Parallaxe, Vol. 13, No. 4, (2007), 108-122.
  • Lewis, George E., 'Living with Creative Machines: An Improviser Reflects.' In Anna Everett and Amber J. Wallace, eds. AfroGEEKS: Beyond the Digital Divide. Santa Barbara: Center for Black Studies Research, 2007, 83-99.
  • Lewis, George E. 'Live Algorithms and the Future of Music.' CT Watch Quarterly, May 2007. http://www.ctwatch.org/quarterly/
  • Lewis, George E. 'Leroy Jenkins'. Chamber Music America, Vol. 24, No. 3, June 2007, 32-34.
  • Lewis, George E. The Virtual Discourses of Pamela Z. Journal of the Society for American Music, Vol. 2, No. 1, Nr. 1 (2007), 57-77.
  • Lewis, George E. Improvisation and the Orchestra: A Composer Reflects. Contemporary Music Review, Vol. 25, No. 5/6, October / December 2006, pp. 429-434.
  • Lewis, George E. Interview with Amina Claudine Myers. BOMBE, No. 97, Fall 2006, 54-59.
  • Lewis, George E .. The Secret Love Between Interactivity And Improvisation Or Missing In The Interaction: A Prehistory Of Computer Interactivity. In Fähndrich, Walter, ed. Improvisation V: 14 articles. Winterthur: Amadeus (2005).
  • Lewis, George E. Book Review, Northern Sun, Southern Moon: Europe’s Reinvention of Jazz (Mike Heffley, Yale University Press 2005). Current Musicology, No. 78 (Fall 2004), 7-21.
  • Lewis, George E. 2004. The AACM in Paris. Schwarze Renaissance Noire, Vol. 5, No. 3, Spring / Summer 2004, 105-121.
  • Lewis, George E. 2004. Gittin 'to Know Y'all: Improvised Music, Interculturality, and the Racial Imagination. Critical Studies in Improvisation (peer-reviewed online journal), Vol. 1, No. 1, ISSN 1712-0624, www.kritischeimprov.com .
  • Lewis, George E. 2004. Living with Creative Machines: Reflections of an Improvising Musician. In Knauer, Wolfram, ed. Improvising: Darmstadt Contributions to Jazz Research, Volume 8. Hofheim: Wolke Verlag, 123-144.
  • Lewis, George E. ([1996] 2004). Improvised Music after 1950: African and Eurological Perspectives. In Fischlin, Daniel and Ajay Heble, eds. The other side of nowhere: Jazz, improvisation and communities in dialogue. Middletown: Wesleyan University Press, 131-162.
  • Lewis, George E. 2004. Epilogue to 'Improvised Music After 1950': The Changing Same. In Fischlin, Daniel and Ajay Heble, eds. The other side of nowhere: Jazz, improvisation and communities in dialogue. Middletown: Wesleyan University Press, 163-172.
  • Lewis, George E. Gittin ’to know y’all: From improvised music, from meeting cultures and from‘ racial imagination. ’In Knauer. Wolfram, ed. Jazz and Society: Social-Historical Aspects of Jazz. Hofheim: Wolke-Verlag (2002), 213-247.
  • Lewis, George E. 'Experimental Music in Black and White: The AACM in New York, 1970-1985. Current Musicology, No. 71-73, spring 2001-spring 2002, 100-157. Reprinted in O'Meally, Robert G., Brent Hayes Edwards, and Farah Jasmine Griffin, eds. 2004. Uptown Talk: The New Jazz Studies. New York: Columbia University Press, 50-101.
  • Lewis, Georg. Virtual speech (in French). Champs Culturel June 11, 2000.
  • Lewis, George E. Too Many Notes: Computers, Complexity, and Culture in Voyager. Leonardo Music Journal 10, 2000, 33-39. Reprinted in Everett, Anna, and John T. Caldwell, eds. 2003. New Media: Theories and Practices of Intertextuality. New York and London: Routledge, 93-106
  • Lewis, Georg. Stan Douglas: Off-screen, always and forever. In Jenny Löwe, ed. 2000. Magnetic North: Canadian Experimental Video. Minneapolis: University of Minnesota Press.
  • Lewis, George E., 'Deliberate Patterning: Jeff Donaldson, Muhal Richard Abrams, and the Multidominance of Consciousness.' Lenox Avenue, Vol. 5, 1999, 63-69.
  • Lewis, George E. Interaction with Modern Music Automatons. Contemporary Music Review, Volume 18, Part 3, 1999, pp.99-112.
  • Lewis, Georg. Teaching Improvised Music: An Ethnographic Memory. In Zorn, John, ed. Arcana: musicians about music. New York: Granary Books (2000), 78-109.
  • Lewis, Georg. The ancients speak of sound: personality, empathy, community. In INSITE 97: Private Time in Public Space. Sally Yard, Ed. 1998. San Diego: Installation Gallery.
  • Lewis, George E. 'Singing Omars Song: A (re)construction of Great Black Music.' Lenox Avenue, Bd. 4, 1998, 69-92
  • Lewis, George E. 'Improvised Music after 1950: African and Eurological Perspectives'. Black Music Research Journal, vol. 16, No. 1, Spring 1996, 91-122. Reprinted in Volume 22, Supplement (2002) for the magazine's 20th anniversary, as one of the magazine's twenty-one most cited articles. Excerpt from Cox, Christoph and Daniel Warner. 2004. Audio Culture: Readings in Modern Music. New York: Contiuum, 272-286.
  • Lewis, George, 'Singing the Alternate Interactivity Blues'. Front page, Vol. 7, No. 2, November / December 1995, pp. 18-22. Reprinted in Grantmakers in the Arts, Vol. 8, No. 1, Spring 1997.

RECORDS

  • Lewis, Georg. Not alone (2014) , for cello and electronics; Seth Parker Woods, cello .. About Seth Parker Woods: a single word is not enough . Confront recordings, 2017, http://www.confrontrecordings.com/seth-parker-woods
  • George Lewis, The will to decorate (2011), with International Contemporary Ensemble. Tundra / New focus shots TUN005 (2017), http: //www.newfocusrecordings.com/catalogue/george-lewis-and-ice-the-wil ...
  • George Lewis and Splitter Orchestra: Creative Building SetTM (2015). Microton recordings, Microton CD 50 (2016), http://www.mikroton.net/recordings/index.php/catalog/mikroton-cd-50/
  • Lewis, Georg. Epilogue, an opera (2015, excerpt). Track 12, accompanying CD to Gottschalk, Kurt, The Creative Constructions of George Lewis, Musical works 124, spring 2016.
  • Wadada Leo Smith-George Lewis-John Zorn: Sonic Rivers (Tzadik 4001, 2014).
  • George Lewis and the Monash Art Ensemble: Hexis (Jazzhead HEAD199, 2014).
  • Glasgow Improvisers Orchestra and George Lewis, Artificial Life 2007. FMR records, 2013.
  • Lewis, Georg. Spiritual exercises, Zadik, 2011.
  • Lewis, George and Marina Rosenfeld, Sour Mash, Innova Recordings, 2009.
  • Glasgow Improvisers Orchestra and George Lewis: Metamorphic rock (Iorram, 2009)
  • Lewis, George and Joelle Leandre, Transatlantic Visions , Rogue Art, 2009.
  • Lewis, George, Roscoe Mitchell, and Muhal Richard Abrams. Stream. PI recordings, 2006.
  • Lev Manovich and Andreas Kratky, Soft Cinema: Navigate through the database . DVD-Video with 40-page color booklet, with invited contributions from leading personalities from other cultural areas: DJ Spooky, Scanner, George Lewis and Jóhann Jóhannsson (music), Servo and Andreas Angelidakis (architecture), Schoenerwissen / Office for Computational Design (data visualization .)) and Ross Cooper Studios (media design). Cambridge: MIT Press, 2005
  • Various artists: From the kitchen archives: New Music New York 1979 . Orange Mountain Music OMM 0015, 2004
  • Lewis, George et al. Audiologie: Live in Berlin, Total Music Meeting 2001 , ALL 002, 2002
  • Lewis, Georg. The Shadowgraph series: compositions for creative orchestras (with the NOW orchestra). Coil, 2001
  • Lewis, Georg. Endless scream . Zadik, 2000.
  • Lewis, George and Bertram Turetzky. conversations . Inkus, 1999.
  • Lewis, George and Miya Masaoka. The usual uproar . Music and Art, 1998.
  • Lewis, George, Vinny Golia and Bertram Turetzky, Triangulationen , Nine Winds, 1997.
  • Iyer, Vijay: Memorophilia . Asian improvisation records, 1995.
  • Slip (Ray Anderson, Craig Harris, George Lewis, Gary Valente) Huthütte, 1995
  • Braxton, Anthony: Concert in Dortmund . hat kind, 1994
  • Lewis, George and Anthony Braxton. Donaueschingen (duo). Hat hat, 1994.
  • Lewis, Georg. Travel. Disk Union, Tokyo, 1993
  • Lewis, Georg. Change over time. New World, New York, 1992
  • Teitelbaum, Richard: Cyberband Moers Music 03000 CD, 1993
  • Globe-Unity-Orchester: 20th anniversary . FMP, 1993.

KURSE IN COLUMBIA

Courses for students to achieve a bachelor's degree

  • Humanities W1123, Masterpieces of Western Music

  • Music V2015, Music in the United States
  • Music V3248, Interactive Music Composition
  • Music V3158, Music, Race and Nation
  • Musik V3163, Sonic Texts of the Black Atlantic
  • Music V3165, jazz and improvised music after 1950
  • Music V3172, 20th Century Music
  • Music W4540, jazz stories after 1960

Graduate courses

  • Music G4601, Musical Interactivity
  • Music G6105, Proseminar Historical Musicology
  • Music G6379, music since 1900
  • Music G8112, Seminar in Historical Musicology: Discourses of Experimentalism
  • Music G8231, Seminar in Music Composition
  • Music G8142, Seminar in Historical Musicology: Theorizing Improvisation
  • Music G8160, sound art and new media

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