Courses

Prerequisites: MATH S1202, MATH S2010, or the equivalent. Students must have a current and solid background in the prerequisites for the course: multivariable calculus and linear algebra. Elements of set theory and general topology. Metric spaces. Euclidian space. Continuous and differentiable functions. Riemann integral. Uniform convergence.

Risk/return tradeoff, diversification and their role in the modern portfolio theory, their consequences for asset allocation, portfilio optimization. Capitol Asset Pricing Model, Modern Portfolio Theory, Factor Models, Equities Valuation, definition and treatment of futures, options and fixed income securities will be covered.

Prerequisites: all 6 MAFN core courses, at least 6 credits of approved electives, and the instructors permission. See the MAFN website for details. This course provides an opportunity for MAFN students to engage in off-campus internships for academic credit that counts towards the degree. Graded by letter grade. Students need to secure an internship and get it approved by the instructor.

The purpose of this foundational course is to introduce Columbia undergraduate students, in the context of their Global Core curriculum, to the seminal field of critical theory. The historical domain of this course is within the last century and its geographical spectrum is global. European critical thinkers are included in this course but not privileged. Thinkers from Asia, Africa, Europe, North, South, and Latin America, are examined here in chronological order and in equal democratic footing with each other. This course as a result is decidedly cross-cultural, one step forward towards de-alienating critical thinkers from around the globe and the issues they address without pigeonholing them as something “other” or “different.” The course is designed and offered in the true spirit of the “Global Core.” The purpose of the course is to reach for the common denominator of serious critical thinking about the fate of our humanity and the health of our social relations in an increasingly fragile world—where the false binaries of “the West” and “the Rest” no longer hold. The roster of critical thinkers we will examine is by no means exhaustive but representative. Any number of other critical thinkers can be added to this roster but none of those we will examine can be excluded from them. The course is divided into thirteen successive weeks and for each week a number of seminal, original, and groundbreaking texts are identified. Each week we will examine selected passages from these texts. The course is designed as a lecture course, and my lectures are based on the totality of these texts but students will be assigned specific shorter passages to read.

This class offers insight through composing, analysis, and performance for the composer, singer/songwriter, and performance artist. Coupling specifics of rhythm, melody, and harmony with story telling, lyric writing and the voice itself, students will be encouraged to share their imagination in song regardless of style, genre, or aesthetic. Music ranging from Chant to Music Theatre, the German lied to international pop fusion will be included as models upon which to base discussion and creative endeavor. Improvisation and musicianship techniques will complement pedagogical presentations of tonal and non - tonal compositional practice. A required final project based on any combination of composition, analysis, and performance, and in any media will be due at the end of the semester. All levels of experience and all types of instruments are welcome. Notation software is recommended but not required.

As music moves into the 21st century, we find ourselves surrounded by an ever-evolving landscape of technological capability. The world of music, and the music industry itself, is changing rapidly, and with that change comes the opening – and closing – of doorways of possibility. What does this shift mean for today’s practicing artist or composer? With big label recording studios signing and nurturing fewer and fewer artists, it seems certain that, today, musicians who want to record and distribute their music need to be able to do much of the recording and production work on their own. But where does one go to learn how to do this – to learn not only the “how to” part of music production, but the historical underpinnings and the development of the music production industry as well? How does one develop a comprehensive framework within which they can place their own artistic efforts? How does one learn to understand what they hear, re-create what they like and develop their own style? This class, “Recorded Sound,” aims to be the answer. It’s goal is to teach artists how to listen critically to music from across history and genres in order to identify the production techniques that they hear, and reproduce those elements using modern technology so they can be incorporated into the artist’s own musical works.

Prerequisites: high school mathematics, but not calculus. Basic Physics serves as preparation for General Physics 1201-1202 and is intended for those students who do not have a solid foundation in high school physics or who have been away from school for several years. The course will provide an introduction to the basic concepts and fundamental laws of physics, focusing on mechanics, together with a review of the mathematical techniques needed for problem-solving.